Quavo and Travis Scott released theirHuncho Jack, Jack Hunchojoint project to close out 2017, and there are rumblings the duo is looking to spin the block for a sequel seven years later.
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The Migos rapper previewed a melodic unreleased collaboration with Travis Scott while cruising on a luxurious speedboat off the coast of Miami on Monday (July 8). “Thinkin HJ2 ? Tag Jack,” Quavo wrote while teasing the sequel.
Fans were ecstatic at the idea of Huncho and La Flame reuniting for another project, and expressed that in his comments section.
“Things i would do for them to run this shi back 7 years later,” one person wrote, while another said, “We need it big bro the first one was an underrated classic!”
Huncho Jack, Jack Huncho arrived in December 2017 boasting 13 tracks with features from Migos running mates Offset and Takeoff, who died in November 2022.
The joint LP debuted at No. 3 on the Billboard 200 with 90,000 album-equivalent units in the first week, which was good enough to reach the top spot on the Top R&B/Hip-Hop Albums and Top Rap Albums charts.
Quavo and Travis are no strangers to collaborating and have teamed up on tracks such as the Migos’ “Kelly Price” and “Give No Fxk.” They exchanged features on “Oh My Dis Side” and “Rerun,” and both appeared on other artists’ tracks, such as Major Lazer’s “Know No Better,” Drake’s “Portland,” Ye’s “Champions” posse cut, Lil Baby’s “Hats Off” and more.
It’s been a busy start to the summer for the Atlanta trapper. Showing off his versatility, Huncho headed to the countryside to team up with Lana Del Rey for a Western-trap collab titled “Tough,” which arrived on July 3.
Watch the clip of Quavo teasing sequel with Travis Scott below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 18:47:592024-07-09 18:47:59Quavo Teases ‘Huncho Jack 2’ Sequel With Travis Scott
Here’s Everything We Know About Eminem’s ‘The Death of Slim…
The Detroit dignitary took to social media on Tuesday (July 9) to post the official album artwork, which finds Em wide-eyed while getting zipped up into a body bag.
Eminem appears to be killing off an older version of himself as evidenced by the album title. The cover features a more youthful-looking Slim Shady featuring his vintage blond-bleached hair.
“THE DEATH OF SLIM SHADY (COUP DE GRÂCE)…Friday,” he wrote. The album’s title is inscribed on the cover art with alternating vibrant colors, with the hues and scribble of his alter ego’s name similar to that on The Slim Shady LP cover.
The Eminem hive couldn’t contain their excitement as they hyped up the artwork and upcoming LP in his X replies. “THIS WILL BE A CLASSIC,” one confident fan declared. Others are hoping that a tracklist reveal is up next from Em.
Another proclaimed: “Not enough body bags for the whole industry when that album drop!”
The Death of Slim Shady (Coup De Grâce) will finally arrive on Friday (July 12). Eminem has dropped off a pair of singles ahead of the project. “Houdini” gave Em his highest charting Billboard Hot 100 entry of the decade when it debuted at No. 2.
He took it back to his roots when Detroit rappers BabyTron and Big Sean joined him on “Tobey.” Cole Bennett directed the bloody visual for the upcoming album’s second single, with the video arriving on Monday (July 8). The Lyrical Lemonade boss revealed that the track started off with just BabyTron before inviting Sean Don and ultimately Eminem into the fold, who loved it so much that he turned it into a single leading into his 12th album.
Check out The Death of Slim Shady (Coup De Grâce) cover art below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 18:38:532024-07-09 18:38:53Eminem Brings Out the Body Bag to Reveal ‘The Death of Slim Shady’ Album Cover Art
Tay Lautner is still wonderstruck over Taylor Swift‘s Speak Now (Taylor’s Version) premiere, one year later.
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In an Instagram post Monday (July 8), the podcaster — who is married to actor Taylor Lautner — gushed about her experience in the pop star’s orbit ahead of the re-recorded album’s 2023 release. “One year ago🫶🏼,” she wrote. “A core memory of mine with some amazing humans.”
The Squeeze host shared photos with Swift and the Twilight star from the set of the singer’s “I Can See You” music video, which premiered on the same day Speak Now (Taylor’s Version) dropped exactly one year prior. The actor played a secret agent who helps bust Swift out of a symbolic solitary confinement cell in the visual, and he later joined the pop superstar and costars Joey King and Presley Cash on stage at the Eras Tour in Kansas City to play the project for the audience on July 8 last year.
Tay, whose maiden name is Dome, also included a clip of her partner back-flipping onto the stage moments before the video’s premiere. “Getting to see my husband do what he is so good at on a jumbo screen with 70,000 swifties screaming out of sheer excitement was such a surreal moment and one I hold onto dearly,” she added.
The influencer has long been open about her love for Swift, something that has not been curbed in the slightest by her husband’s past romance with the 14-time Grammy winner (the pair briefly dated in 2009 before Swift ended things). “She is truly unbelievable. She can do it all,” Tay said of the musician on The Squeezelast year. “Honestly, the most impressive thing about her is that she is such a genius, and she does do it all, but you would never think so just talking to her. She’s the most humble person I’ve ever encountered.”
Swift has also sung the Lautners’ praises, calling them two of her “close friends” during the “I Can See You” premiere in Kansas City. After the visual dropped, she also wrote on Instagram, “Taytay is INCREDIBLE in this (didn’t have a stunt double!) and shout out to Tay Lautner for being so awesome to hang with on set.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 18:06:532024-07-09 18:06:53Tay Lautner Celebrates One Year of Taylor Swift’s ‘Speak Now’ Re-Record & ‘I Can See You’ Premiere
In between being hit hard and soft — but mostly hard — by varying levels of spiciness on First We Feast’s latest Hot Ones Versus episode Tuesday (July 9), Billie Eilish and Finneas opened up about disagreements they had while making the former’s new album Hit Me Hard and Soft together.
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“He’s a lot of times barefoot, a lot of the times in very filthy shoes,” the 22-year-old singer began, miming how her older brother would put his feet up on the sound board right in front of her. “My face is right there. And actually we filmed so much in making the album that almost all the footage is his feet and then me.”
That said, the 26-year-old producer revealed that another conflict during the album-recording process takes the cake. “I think the longest, biggest argument was during a period of transition in maybe both of our lives where we were just trying to be kind of honest,” he shared as his younger sister nodded in agreement. “To give [Billie] credit, I was very much high and mighty about, like, ‘You’re not being honest or authentic enough.’”
“So I learned a lot from being too egocentric in that process,” Finneas added.
As the duo braved increasingly spicy vegan chicken wings — which caused them both to get progressively sweaty and tear up — Billie and Finneas also took turns answering questions about their childhood fears (Star Trek‘s Salt Monster and parents turning into pigs in Spirited Away, respectively) and their love for their Barbie soundtrack contribution “What Was I Made For?” At one point, the elder sibling revealed which star he never wants to produce for ever again — although the name was bleeped out — while the “Lunch” singer rated some of her old outfits but refused to rank her idols Tyler, the Creator, Lana Del Rey, Justin Bieber and Childish Gambino.
The pair have previously opened up about butting heads while making their third studio album together, telling Apple Music 1‘s Zane Lowe in May that they clashed over how vulnerable Billie was willing to be in their songwriting sessions. “I was like, ‘Subject-wise, I’m not being led into what you’re actually feeling, and I think that there are real guards up,’” Finneas recalled telling his sister at the time.
They also reached a boiling point when Finneas temporarily felt like he no longer wanted to make music. “It was very interesting because I saw myself in that,” Billie added to Lowe. “I was like, ‘I have felt that way and you have always been the thing that keeps the ship moving, and now you feel that way. What does that mean for us? And what are we going to do?”
Watch Billie and Finneas on Hot Ones Versus above.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 17:56:132024-07-09 17:56:13Billie Eilish & Finneas Reveal the Biggest Argument They Had While Making ‘Hit Me Hard and Soft’
Will Smith’s first Christian/gospel single, “You Can Make It,” featuring Fridayy and Sunday Service Choir, arrives on Billboard’s charts (dated July 13).
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Released June 28, the track enters the streaming-, airplay- and sales-based Hot Gospel Songs chart at No. 3, as well as the multimetric Hot Christian Songs tally at No. 23.. It drew 726,000 in radio audience and 665,000 official U.S. streams and sold 1,000 through July 4, according to Luminate.
The screen star and rapper makes his first appearance on the rankings. His latest film, Bad Boys: Ride or Die, also starring Martin Lawrence, premiered June 7.
“I was really talking to myself,” Smith tells Billboard of the song, which he co-wrote. “To see so many people resonate with the intention gives me a clear North Star for this next chapter of my creative life.”
Smith and Sunday Service Choir performed “You Can Make It” live for the first time at the 2024 BET Awards at the Peacock Theatre in Los Angeles on June 30, joined by Kirk Franklin and Chandler Moore.
Like Smith, R&B/hip-hop artist Fridayy earns his first Hot Gospel Songs top 10, while Sunday Service Choir adds its third. The track also opens in the top 10 on Gospel Digital Song Sales (No. 3), Christian Digital Song Sales (No. 6) and Gospel Streaming Songs (No. 10), as well as at No. 28 on Gospel Airplay.
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Smith has scored a pair of No. 1s as a soloist on the Billboard Hot 100: “Gettin’ Jiggy Wit It” in 1998, and “Wild Wild West,” featuring Dru Hill and Kool Mo Dee, in 1999. He broke through in the late 1980s/early ‘90s as (the latter) half of duo D.J. Jazzy Jeff & The Fresh Prince, who reached a No. 4 Hot 100 high with “Summertime” in 1991, and as the lead on NBC’s pop-culture cornerstone The Fresh Prince of Bel-Air.
Smith, who won a best actor Academy Award for his role in the 2022 film King Richard, and who has taken home four Grammy Awards, is reportedly working on a full Christian/gospel album.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 17:52:282024-07-09 17:52:28Will Smith’s First Faith-Based Song ‘You Can Make It’ Debuts on Billboard Charts: ‘I Was Really Talking to Myself’
Adrian Olivares, an ex-member of famed Latin boy band Menudo, died at the age of 48 on Monday (July 8).
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The news was confirmed by fellow bandmate Robert Avellanet, who shared a photo carousel on Instagram of the time they were both part of the group. “I’m still in shock! Strength for your family,” he captioned the post. “Happy transition to your soul. I will always remember his great sense of humor. We will meet there, brother. RIP Adrian.”
The official Menudo Instagram account also shared various throwback photos and videos in remembrance of Olivares. “Remembering Adrian, the 23rd member of Menudo, who brought joy to many from 1990-1993,” the group captioned its post. “His legacy will forever live in our hearts.”
Olivares, who hosted a podcast at Wynwood Radio, unexpectedly died at 5:30 a.m. on Monday, July 8, after being diagnosed with Crohn’s disease only a week ago, according to the GoFundMe page created by his loved ones and shared by Menudo. The disease was further complicated by ulcerative colitis.
“Adrian was an incredible father to his three daughters Eliana (18), and the twins Lia and Lilly (8),” the organizer wrote. “If you would please consider donating anything you can, it would be greatly appreciated as the family does not have the means to give Adrian his final farewell and help these girls with all their necessary expenses. All donations will be given to his mother, Natasha … Fly high Adrian, we love you!”
Olivares, from Mexico, formed part of Menudo from 1990 to 1993 when he was 13 to 16 years old, joining after Ricky Martin’s departure in 1989. He’s the third Menudo member of menudo to pass on, following Rey Reyes and Anthony Galindo.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 17:41:252024-07-09 17:41:25Adrian Olivares, Former Menudo Band Member, Dead at 48
The U.S. Copyright Office has finalized a new rule aimed at ensuring that songwriters who invoke termination rights to regain control of their music will actually start getting paid streaming royalties after they do so.
The provision, issued on Tuesday, will overturn what the Copyright Office called an “erroneous” earlier policy by the Mechanical Licensing Collective, which critics feared would have kept sending money from streamers like Spotify to former owners in perpetuity, long after a songwriter took back ownership.
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Proposals to force the MLC to change that approach, first reported by Billboard in 2022, were supported by a slew of songwriters like Don Henley, Sheryl Crow and Sting, who feared they would be “deprived of the rights afforded to them by copyright law.” The effort was led by groups including the Music Artists Coalition, Songwriters of North America, Black Music Action Coalition and the Recording Academy.
In a statement on Tuesday, Music Artists Coalition board member Jordan Bromley called the Copyright Office’s new termination rule a “landmark victory for songwriters.”
“This decision not only ensures fair compensation for songwriters who reclaim their rights, but also sets a precedent that strengthens the very foundation of copyright law in the digital age,” Bromley said. “It’s a clear message that in the evolving landscape of music streaming and licensing, the rights of creators must be protected and respected.”
A spokeswoman for the MLC did not return a request for comment.
HOW IT WORKS
The new rule issued Tuesday addresses complex questions about how MLC’s blanket license for streaming royalties, created by the Music Modernization Act in 2018, interacts with so-called termination rights – a federal provision that empowers authors to reclaim the rights to their copyrighted works decades after selling them away.
Though a powerful tool for songwriters, termination comes with an important exception. Even though a publisher must hand back the rights to the original song, they’re entitled to keep selling any existing “derivative works” they created when they owned it. Those continue to be fair game, and any fees under existing licenses keep flowing back to their old publisher.
That exception makes practical sense: It would be unfair to let a terminating songwriter suddenly send cease-and-desists over a famous sample that had been legal when it was initially cleared, or sue over a movie that featured the song under a synch license. But it also creates difficult ambiguity for the MLC and the blanket license.
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Say a songwriter terminates their publisher’s control of their music. The writer is now the owner of those songs — that’s easy to figure out. But by paying the MLC for access to the blanket license, Spotify arguably already has an existing license in place with the old publisher. So, isn’t the copy of the song on Spotify an existing derivative work? And shouldn’t the royalties from it continue to go to the old publisher under that license?
Under a dispute resolution policy issued by MLC in 2021, that appeared to be the case. The rules seemed to choose who to pay based on when a song was uploaded to a digital streamer’s servers; if it was uploaded prior to when a songwriter invoked their termination right, the royalties would keep going to the old owner — seemingly forever.
The MLC’s approach was not intended as a scheme to hurt songwriters. According to the Copyright Office, the group saw it as a “middle ground,” aimed at preventing drawn-out disputes that would lock up royalty payments “to the disadvantage of both songwriters and publishers.” But advocates argued that it would undermine the very purpose of termination rights, which were created to level the playing field for small creators who sold their works away to powerful companies.
In October 2022, the Copyright Office largely agreed. In a proposed new rule, the agency said the MLC’s policy was based on an “erroneous understanding and application of current law.” Ordering the group to “immediately repeal its policy in full,” the proposal said that when a songwriter gets their rights back, they should obviously start getting the royalties, too.
Nearly two years later, that rule was finalized on Tuesday. The final version retains most of the core features of the original proposal, though certain elements have been changed to address “practical and administrative concerns” raised by industry groups. In particular, the agency said it had modified how the rule identifies the payee to whom the MLC must distribute royalties, and pushed back deadlines to give the MLC more time to “update its processes and systems.”
QUIETING THE CRITICS
Over the past two years, the proposed rule underwent a so-called public comment period, during which it was met with both support and criticism from outside groups. According to Tuesday’s final rule, one of the “principal critics” was the National Music Publisher’s Association, which argued that the MLC’s original approach had been supported by historical precedent in industry practice.
In the new rule, the Copyright Office said it was “not persuaded by NMPA’s argument” on that issue.
“We do not dispute NMPA’s assertion that certain publishers may have adopted a different approach to termination, but this approach is not supported by the law in the context of the blanket license,” the agency wrote. “The Office is not adopting a new position, or changing the law as it relates to termination or the exception. Nor are we contending that the MMA or blanket license altered the law as it relates to the exception. The Office is merely stating what the law is and has always been.”
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The Copyright Office also rejected separate arguments from the NMPA that the new rule was an impermissible “retroactive” rule, or even an unconstitutional “taking” that violated the Fifth Amendment. In doing so, the agency said that “these royalties always belonged to the post-termination copyright owner” and that the new rule simply “implements the law as it already existed.”
Despite earlier disagreements, NMPA President & CEO David Israelite celebrated the final enactment of the rule in a statement Tuesday, saying the group was pleased with a policy that “ensures songwriters are properly and expediently paid post termination.”
“Having clear guidance on this issue will make the MLC and larger industry even more efficient as it gives a clear roadmap to those who have decided to reclaim their copyrights,” Israelite said. “The songwriter groups deserve much credit for working with the Copyright Office and music publishers to push for this decision.”
A spokesperson for the NMPA declined to comment the Copyright Office’s decisions on the group’s specific objections.
Notably, the new rule will not just change the MLC’s approach going forward, but also require “corrective royalty adjustments” to address any money that was paid improperly under the old policy. But such payments are likely to be relatively small: In filings, the MLC has said that it voluntarily suspended the old termination policy while the case played out at the Copyright Office, and that it expects any corrections to total “less than $2 million.”
Bob Dylan will look back on one of the most exciting times in his half-century live performance career this fall with the release of a sprawling 27-disc chronicle of the singer’s iconic 1974 tour featuring The Band as his backing group.
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Bob Dylan – The 1974 Live Recordings will be released by Columbia Records and Legacy Recordings on September 20 as a massive set including 431 tracks — 417 of which are previously unreleased performances — with fans getting a sneak peek on Tuesday (July 9) via a never-released version of “Forever Young” recorded in Seattle on Feb. 9, 1974.
The set’s release is timed to celebrate the 50th anniversary of Dylan’s return to touring that year; Dylan retired from the road following a 1966 motorcycle accident. The 40-city North American outing was Dylan’s first tour in eight years and it resulted in the live double album Before the Flood.
After making their name as Dylan’s backing band in 1966 on the folk legend’s first plugged-in tour, the group featuring Robbie Robertson, Rick Danko, Levon Helm, Garth Hudson and Richard Manuel re-joined him in 1974 for his first arena tour. Barnstorming across North America while playing 30 shows in 42 days — sometimes performing two sets per day — the tour kicked off in Chicago on Jan. 3, 1974. According to the release, the outing helped “create the template for the major rock tour,” cementing such live concert staples as fans holding up their lighters en masse (pre-cellphone) and the bright flash of the house lights during pivotal moments in the set.
The group performed many songs for the first time on the tour, including such beloved tracks as “All Along the Watchtower,” “Forever Young” and “Most Likely You Go Your Way (and I’ll Go Mine)” as well as such rarities including “Ballad of Hollis Brown,” “Song to Woody” and “Nobody ‘Cept You.”
A release announcing the box set noted that it will feature 133 of the recordings newly mixed from 16-track tape and every surviving soundboard recording of the tour, as well as new liner notes by journalist/critic Elizabeth Nelson.
A three-LP colored vinyl highlights release, The 1974 Live Recordings – The Missing Songs From Before The Flood, will be issued by Third Man Records featuring versions of every song from the 1974 tour not included on the original Before the Flood album.
Dylan, 83, is currently on the road as part of his “Never Ending Tour,” with his next show slated for July 29 at the North Island Credit Union Amphitheatre in Chula Vista, CA.
Listen to the 1974 recording of “Forever Young” and see the full track listing below.
Track list:
DISC 1
January 3, 1974 – Chicago Stadium, Chicago, IL
1. Hero Blues
2. Lay, Lady, Lay
3. Tough Mama
4. It Ain’t Me, Babe
5. Leopard-Skin Pill-Box Hat
6. All Along the Watchtower
7. Song to Woody
8. The Lonesome Death of Hattie Carroll
9. Nobody ‘Cept You
10. It’s Alright, Ma (I’m Only Bleeding)
11. Forever Young
12. Something There Is About You
13. Like a Rolling Stone
14. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 2
January 4, 1974 – Chicago Stadium, Chicago, IL
1. Hero Blues
2. Just Like Tom Thumb’s Blues
3. It Ain’t Me, Babe
4. Tough Mama
5. Ballad of a Thin Man
6. Leopard-Skin Pill-Box Hat
7. Knockin’ on Heaven’s Door
8. The Times They Are A-Changin’
9. Love Minus Zero/No Limit
10. The Lonesome Death of Hattie Carroll
11. Nobody ‘Cept You
12. It’s Alright, Ma (I’m Only Bleeding)
13. Maggie’s Farm
DISC 3
January 6, 1974 (Afternoon) – The Spectrum, Philadelphia, PA
1. Ballad of Hollis Brown
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. Tough Mama
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Leopard-Skin Pill-Box Hat
9. Knockin’ on Heaven’s Door
10. To Ramona
11. Mama, You Been on My Mind
12. The Lonesome Death of Hattie Carroll
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. I Don’t Believe You (She Acts Like We Never Have Met)
16. Forever Young
17. Something There Is About You
18. Like a Rolling Stone
DISC 4
January 6, 1974 (Evening) – The Spectrum, Philadelphia, PA
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. I Don’t Believe You (She Acts Like We Never Have Met)
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Leopard-Skin Pill-Box Hat
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. It’s All Over Now, Baby Blue
12. Song to Woody
13. Mr. Tambourine Man
14. Nobody ‘Cept You
15. It’s Alright, Ma (I’m Only Bleeding)
16. Forever Young
17. Something There Is About You
18. Like a Rolling Stone
19. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 5
January 7, 1974 – The Spectrum, Philadelphia, PA
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. I Don’t Believe You
(She Acts Like We Never Have Met)
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. Just Like a Woman
11. Girl from the North Country
12. Wedding Song
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 6
January 9, 1974 – Maple Leaf Gardens, Toronto, Canada
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. It Take a Lot to Laugh, It Takes a Train to Cry
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. Just Like a Woman
11. Girl from the North Country
12. Wedding Song
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 7
January 11, 1974 – Montreal Forum, Montreal, Canada
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. I Don’t Believe You (She Acts Like We Never Have Met)
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 8
January 14, 1974 (Afternoon) – Boston Gardens, Boston, MA
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. I Don’t Believe You (She Acts Like We Never Have Met)
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 9
January 15, 1974 – Capital Centre, Largo, MD
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. I Don’t Believe You (She Acts Like We Never Have Met)
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Wedding Song
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 10
January 16, 1974 – Capital Centre, Largo, MD
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. One Too Many Mornings
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 11
January 17, 1974 – Coliseum, Charlotte, NC
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 12
January 19, 1974 (Afternoon) – Hollywood Sportatorium, Hollywood, FL
1. All Along the Watchtower
2. Ballad of Hollis Brown
3. Knockin’ on Heaven’s Door
4. The Times They Are A-Changin’
5. Don’t Think Twice, It’s All Right
6. Gates of Eden
7. Just Like a Woman
8. It’s Alright, Ma (I’m Only Bleeding)
9. Forever Young
10. Something There Is About You
11. Like a Rolling Stone
12. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 13
January 21, 1974 – The Omni, Atlanta, GA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Leopard-Skin Pill-Box Hat
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 14
January 22, 1974 – The Omni, Atlanta, GA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. Ballad of Hollis Brown
8. Knockin’ on Heaven’s Door
9. The Times They Are A-Changin’
10. Don’t Think Twice, It’s All Right
11. Gates of Eden
12. It’s All Over Now, Baby Blue
13. It’s Alright, Ma (I’m Only Bleeding)
14. Forever Young
15. Something There Is About You
16. Like a Rolling Stone
17. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 15
January 26, 1974 (Afternoon) – Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 16
January 26, 1974 (Evening) – Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 17
January 30, 1974 – Madison Square Garden, New York City, NY
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. All Along the Watchtower
5. Ballad of Hollis Brown
6. Knockin’ on Heaven’s Door – released on Before the Flood
7. The Times They Are A-Changin’
8. Don’t Think Twice, It’s All Right
9. Gates of Eden
10. Just Like a Woman
11. It’s Alright, Ma (I’m Only Bleeding) – Incomplete
12. Forever Young
13. Something There Is About You
14. Like a Rolling Stone
15. Most Likely You Go Your Way (and I’ll Go Mine)
16. Blowin’ in the Wind
DISC 18
January 31, 1974 (Afternoon) – Madison Square Garden, New York City, NY
1. All Along the Watchtower
2. Ballad of Hollis Brown
3. Knockin’ on Heaven’s Door
4. The Times They Are A-Changin’
5. Don’t Think Twice, It’s All Right
6. Gates of Eden – Incomplete
7. Forever Young
8. Highway 61 Revisited – released on A Musical History (The Band)
9. Like a Rolling Stone – Incomplete
DISC 19
January 31, 1974 (Evening) – Madison Square Garden, New York City, NY
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower – Incomplete
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Highway 61 Revisited
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
19. Blowin’ in the Wind
DISC 20
February 9, 1974 (Afternoon) – Seattle Center Coliseum, Seattle, WA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. All Along the Watchtower
5. Ballad of Hollis Brown
6. Knockin’ on Heaven’s Door
7. She Belongs to Me
8. The Times They Are A-Changin’
9. The Lonesome Death of Hattie Carroll
10. Don’t Think Twice, It’s All Right
11. Wedding Song
12. Forever Young
13. Highway 61 Revisited
DISC 21
February 9, 1974 (Evening) – Seattle Center Coliseum, Seattle, WA
1. The Times They Are A-Changin’
2. Just Like a Woman
3. Wedding Song
4. Don’t Think Twice, It’s All Right
5. It’s All Right, Ma (I’m Only Bleeding)
6. Forever Young
7. Highway 61 Revisited
8. Like a Rolling Stone
9. Most Likely You Go Your Way (and I’ll Go Mine)
10. Blowin’ in the Wind
DISC 22
February 11, 1974 (Afternoon) – Alameda County Coliseum, Oakland, CA
1. All Along the Watchtower
2. Ballad of Hollis Brown
3. Knockin’ on Heaven’s Door
4. She Belongs to Me
5. The Times They Are A-Changin’
6. The Lonesome Death of Hattie Carroll
7. Don’t Think Twice, It’s All Right
8. Wedding Song
9. Forever Young
10. Highway 61 Revisited
11. Like a Rolling Stone – Incomplete
12. Most Likely You Go Your Way (and I’ll Go Mine)
13. Blowin’ in the Wind
DISC 23
February 11, 1974 (Evening) – Alameda County Coliseum, Oakland, CA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Just Like a Woman
12. Gates of Eden
13. Don’t Think Twice, It’s All Right – Incomplete
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Highway 61 Revisited – Incomplete
17. Like a Rolling Stone
18. Maggie’s Farm
19. Blowin’ in the Wind
DISC 24
February 13, 1974 – The Forum, Inglewood, CA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay – released on Before the Flood
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35 – released on Before the Flood
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. She Belongs to Me
11. The Times They Are A-Changin’
12. Love Minus Zero/No Limit
13. Don’t Think Twice, It’s All Right
14. Just Like a Woman
15. It’s Alright, Ma (I’m Only Bleeding)
16. Forever Young
17. Highway 61 Revisited
18. Like a Rolling Stone – released on Before the Flood
19. Most Likely You Go Your Way (and I’ll Go Mine)
20. Blowin’ in the Wind – released on Before the Flood (first two verses only)
DISC 25
February 14, 1974 (Afternoon) – The Forum, Inglewood, CA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man – released on Before the Flood
7. All Along the Watchtower – released on Before the Flood
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. She Belongs to Me
11. It’s All Over Now, Baby Blue
12. The Times They Are A-Changin’
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Highway 61 Revisited
17. Like a Rolling Stone
18. Blowin’ in the Wind – released on Before the Flood (last verse only)
DISC 26
February 14, 1974 (Evening) – The Forum, Inglewood, CA (Pt. 1)
1. Most Likely You Go Your Way (and I’ll Go Mine) – released on Before the Flood
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe – released on Before the Flood
6.Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Mr. Tambourine Man
10. Knockin’ on Heaven’s Door
DISC 27
February 14, 1974 (Evening) – The Forum, Inglewood, CA (Pt. 2)
1. She Belongs to Me
2. The Times They Are A-Changin’
3. Just Like a Woman – released on Before the Flood
4. Gates of Eden
5. Don’t Think Twice, It’s All Right – released on Before the Flood
6. It’s Alright, Ma (I’m Only Bleeding) – released on Before the Flood
7. Forever Young
8. Highway 61 Revisited – released on Before the Flood
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 17:24:042024-07-09 17:24:04Bob Dylan Releasing 27-Disc, 431-Track Live Recording Box Set of 1974 Shows With The Band
Joe Bonsall, the tenor in The Oak Ridge Boys, died on Tuesday (July 9) from complications of Amyotrophic Lateral Sclerosis (ALS), the group announced on its website and social media accounts. He was 76, and died in Hendersonville, Tenn. Bonsall had announced his retirement from touring at the beginning of the year.
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The Oak Ridge Boys, in which Bonsall teamed with Duane Allen, William Lee Golden and Richard Sterban, first found success as a gospel group. They segued into country music in 1977 with “Y’All Come Back Saloon,” their first of 34 top 10 hits on Billboard’s Top Country Songs chart.
The Oaks landed 17 No. 1 hits on that chart, the third-highest total among duos and groups after Alabama (33) and Brooks & Dunn (20). Two of the Oaks’ country chart-toppers became top 20 hits on the Billboard Hot 100 – “Elvira” (No. 5 in 1981) and “Bobbie Sue” (No. 12 in 1982).
The group landed three No. 1 albums on Billboard’s Top Country Albums chart, two of which became top 20 albums on the all-genre Billboard 200 – Fancy Free (No. 14 in 1981) and Bobbie Sue (No. 20 in 1982).
The Oaks won five Grammys. The first four were in gospel categories; the fifth in country, for “Elvira.” That platinum-selling smash won best country performance by a duo or group with vocal.
The Oaks won two CMA awards – vocal group of the year in 1978 and single of the year in 1981 for “Elvira.”
They won four ACM Awards – top vocal group in 1978, album of the year that same year for Ya’ll Come Back Saloon, single record of the year in 1981 for “Elvira” and the Cliffie Stone Pioneer Award in 2007.
As a 50-year member of the The Oak Ridge Boys, Bonsall was a member of the Grand Ole Opry and was inducted into the Philadelphia Music Hall of Fame, the Gospel Music Hall of Fame, the Vocal Group Hall of Fame, and the Country Music Hall of Fame, the latter in 2015.
“For 50 years, Joe Bonsall was the Oak Ridge Boys’ sparkplug,” Kyle Young, CEO of the Country Music Hall of Fame and Museum, said in a statement. “He was as exciting a performer as any who ever hit a gospel or country stage. His tenor voice was high and clear, and his jovial spirit always provided a jolt of energy, immediately rousing audiences to come on in and take a load off. He certainly lightened our cares every time he sang.”
“When I think of the Oak Ridge Boys and their place in country music history, the image of Joe with his huge smile and boundless energy comes to mind so clearly,” Sarah Trahern, Country Music Association CEO, said in a statement. “His commitment to serving others while developing country music into a worldwide sensation will never be forgotten and our industry has been made better because of him. Today, we lost an incomparable energy and voice in music. He will be missed greatly by all who were fortunate to know him.”
Bonsall was also the author of 11 books including his latest, a memoir entitled I See Myself, which is set for release in November.
At Bonsall’s request, there will be no funeral. In lieu of flowers, donations may be made to The ALS Association or to the Vanderbilt Medical Center ALS and Neuroscience Research Center.
Survivors include his wife, Mary Ann; daughters Jennifer and Sabrina; granddaughter Breanne; grandson Luke; two great grandsons, Chance and Grey; and a sister, Nancy. He is preceded in death by his parents, Joseph S. Bonsall Sr. and Lillie Bonsall.
Bonsall’s death comes just eight days after the death of William “Rusty” Golden, a musician, songwriter and son of The Oak Ridge Boys member William Lee Golden. The younger Golden died on July 1 at his home in Hendersonville, Tenn. He was 65.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 17:16:262024-07-09 17:16:26Joe Bonsall, Longtime Member of The Oak Ridge Boys, Dies at 76
Heather Morris paid loving tribute to her late Glee co-star Naya Rivera on the fourth anniversary of Rivera’s tragic death. In a sweet Instagram post featuring a black and white snap of the two women cuddling on a bed, Morris wrote, “I can’t believe it’s been 4 years..boy how time flies. Yet every year I’m taken by surprise how much it still hurts. We grow up together, fell apart, and came back together in such a beautiful way.”
After going missing for six days, Rivera, 33, was found after taking a boat ride with her then four-year-old son during which she drowned while swimming. The two women worked together on six seasons of the Fox musical comedy, with Morris starring as cheerleader Brittany Pierce, whose romance with Rivera’s closeted fellow cheer teamer Santana Lopez was a fan favorite storyline. “God you’re missed so much… except I can’t shake the feeling you never left… you’re still here with us..guiding us to our highest potential,” Morris, 37, added. “I miss you Nay Nay.”
Rivera starred on Glee from 2009-2015, winning a Screen Actors Guild Award and an ALMA Award for her work on the show, as well as sharing two Grammy Award nominations with her cast mates. In addition to Glee, Rivera appeared in a number of films, including her debut in 2002’s Dana Carvey comedy The Master of Disguise, as well as 2014’s At the Devil’s Door and a posthumous voice role in 2021’s Batman: The Long Halloween.
The singer/actress married former flame Ryan Dorsey in 2014, and they had a child together in September 2015, a year before filing for divorce; the couple reconciled, but then she refiled for divorce in December 2017. Rivera was reported missing on July 8, 2020 after the couple’s son was found alone on a rented boat in the Lake Piru reservoir in Ventura County, CA. The child told investigators that his mom went swimming and was unable to climb back on the boat before she disappeared. Rivera’s body was found by divers in the lake on July 13.
During Rivera’s disappearance, Morris helped organize search parties to help with rescue efforts, later posting an emotional tribute to her friend and former co-star that included pics of their sons playing together.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-09 16:28:482024-07-09 16:28:48Heather Morris Pays Tribute to Late ‘Glee’ Co-Star Naya Rivera on 4th Anniversary of Death: ‘You’re Still Here With Us’
