Journey's Steve Perry Sues To Block Unreleased Music

Harris was asked about the idea of retiring during a recent appearance on Rock Talk With Mitch Lafon and he responded, "I try not to think too much about it, because it's not really a nice thing to be thinking about the end of the career. I mean, obviously, we're at the ass end of the career rather than the beginning of it, so it is what it is. But we certainly think we could carry on for a while yet, but you just never know.

"I think you've just gotta take it as it comes, especially when you get to our age, I suppose. You never know what's around the corner, especially after what happened with Bruce and everything [referenceing the singer's cancer battle] So you've just gotta enjoy the gigs and enjoy life and be out there and just have fun, which is exactly what we're doing - we're enjoying it, probably more than ever, I think. But how long we're gonna go on for, I don't know.

The tune was the band's opening song at the city's Philippine Arena, which marked the third fall 2018 date on the Not In This Lifetime reunion tour, which resumed in Monterrey, Mexico on November 3.

The two played together in The Jeff Beck Group in the 1960s and in a new interview, Stewart was asked if he thinks the two could work together again.

He responded, "Well, my voice and his guitar is a match made in heaven. It would be a lovely thing to do. It'd be a complete left-hand turn. We did try it once, but we couldn't see eye to eye. I mean, a serious clash of egos, but you know, never say never.

The first promotional clip for the song, written by Syd Barrett, was filmed in early July of that year - a month before the album's release - as part of a Path� newsreel.

Prior to its inclusion on the band's debut, "The Scarecrow" originally surfaced two months earlier as the b-side to Pink Floyd's second single, "See Emily Play."

Following the addition of David Gilmour in the lineup in January 1968 - in an effort to stabilize the group as Barrett's alleged drug-fueled and mental health behaviour continued to spin out of control during rehearsals, live shows and media interviews - the band decided to remove Syd a few weeks later and continued with their busy schedule.

A trip to Brussels, Belgium in mid-February 1968 led to the filming of a second video for "The Scarecrow", with bassist Roger Waters lip-syncing Barrett's vocals as the group mimed the song in the city's Parc de Laeken (Laeken Park).

Thayil and his Soundgarden bandmates Matt Cameron and Ben Shepherd reconnected last month in public for the unveiling of a life-size bronze statue of Cornell outside the Museum Of Pop Culture in Seattle, WA.

"It's not likely that we could ever do Soundgarden without a missing piece," explains Thayil in a new interview with Billboard. "I'd like to do more with Matt in the future. I'd like to do something with Ben in the future. It's likely Matt and Ben and I will do something in the future -- it just probably won't be Soundgarden. I don't see the dignity in pursuing that course."

Thayil, who has been overseeing the group's ongoing reissue series, has come to terms with the Seattle band's legacy. "I'm completely satisfied, but it needs to be maintained," says the rocker. "That's why I'm overseeing the catalog and the merchandise, and I've been doing that all along because it's important that the legacy is understood. There's an ever-expanding demographic of potential Soundgarden fans amidst a shrinking demographic of consumers, so it's important that they there are good ways for them to hear what we did."

As for what's ahead, Thayil adds: "Really, the 'Screaming Life' and 'Sub Pop' sessions. We recorded enough material for an album-plus, but we only released an EP initially (in 1987), and the moved on to doing the Fopp thing (in 1988) and had some new songs for that. So there were things that were recorded for (a full) album that weren't released because we had to compact it into a nice little EP, which is what Sub Pop was interested in doing 'cause in the early and mid-80s, EPs were punk rock albums and a great way to introduce new artists. So we have other material and Sub Pop is interested in putting it out, so we're gonna do that, with Jack Endino mixing.

"There's interest in putting out the 'Live At The Paramount' that was part of the 'Badmotorfinger' 25th anniversary, in the super deluxe version, as a standalone. We're coming up on the 30th anniversary of 'Louder Than Love', and the 'Louder Than Live' album was never released commercially, just as a promotional thing. I'm sure there'll be another greatest hits recording. And there are so many lives shows we recorded over the years that have interesting takes and covers."

Roy Clark's decade-defying success could be summed up in one word - sincerity. Sure, he was one of the world's finest multi-instrumentalists, and one of the first cross-over artists to land singles on both the pop and country charts. He was the pioneer who turned Branson, Mo., into the live music capitol of the world (the Ozark town today boasts more seats than Broadway). And his talents turned Hee Haw into the longest-running syndicated show in television history.

But the bottom line for Roy Clark was the honest warmth he gave to his audiences. Bob Hope summed it up when he told Roy, "Your face is like a fireplace."

Frontman Trevor Phipps had this to say about the song and clip, "We chose 'One With the Sun'as the first video off 'Extinction(s)' because we feel it's one of the hardest hitting tracks in our entire catalog.

"Musically it's everything Unearth is about and lyrically it deals with the effects of climate change we are feeling today as well as the bleakness of our future unless we make drastic changes now.

The Jimi Hendrix Experience would exist for only two short years and produce three truly revolutionary records. By January of 1968, Hendrix had made the decision to move his band and business from London to New York. For Hendrix it was a bit of a homecoming, complete with the trappings of Rock'n'Roll stardom. For his mentor, manager and producer Chas Chandler, it would signal his departure, leaving Hendrix free to experiment with his sound and career. Hendrix biographer John McDermott sets the scene with IN THE STUDIO host Redbeard.

"By the time you get to Electric Ladyland, the third album, it's really Jimi having graduated from that education Chas (Chandler) provided him. I think Hendrix saw that he had made two very successful albums based on short compact songs, kind of in that Chandler mindset...The technology change in America with the Record Plant being a 12 track studio fascinated him, and I think Chas was a little too inflexible early on and didn't give Hendrix the time to experiment." - John McDermott (Hendrix biographer)

Recorded in the Autumn of 1975 at Abbey Road studios (with some sessions also taking place at AIR studios in London), Sunburst Finish was the third album by Be-Bop Deluxe and the first to feature the line-up of Bill Nelson (vocals, guitars, keyboards), Charlie Tumahai (bass, vocals), Andy Clark (keyboards) and Simon Fox (drums). It was also the first Be-Bop Deluxe album to be co-produced by Bill Nelson and John Leckie. An album of immense musical inventiveness and creativity, Sunburst Finish was one of the finest albums of its era, a perfect cohesion of ten classic songs written by Bill Nelson (featuring his highly imaginative guitar playing) and a stylized and striking artwork package. Featuring such classic material as "Heavenly Homes", "Crying to the Sky", "Sleep that Burns", "Life in the Air Age", "Crystal Gazing" and "Blazing Apostles", the album also spawned the hit single "Ships in the Night" and launched Be-Bop Deluxe as one of the major breakthrough acts of 1976.

This expanded reissue has been newly re-mastered from the original master tapes and features an additional 39 bonus tracks drawn from a stunning new 5.1 surround sound & stereo mixes from the original multi-track tapes by award winning engineer Stephen W. Tayler, previously unreleased out-takes from the album sessions, a BBC Radio "In Concert" performance from January 1976, a rare John Peel Show session from February 1976 (unavailable on CD for over twenty years), along with an unissued and previously unreleased 1976 Harvest Records promotional video for "Ships in the Night" and a session for BBC TV's "Old Grey Whistle Test" show from January 1976.

The band offered up this explanation about why they decided to cover this timeless classic track from the legendary metal band, "Black Sabbath remains a big influence on the band.

The new visual can be streamed here and was directed by vocalist Scottie James and Jason Williams (with assistance from Savannah Bowles). James had this to say, "I tend to get lost in my head quite frequently thinking about life and how we choose to live it. I see a lot of people who get stuck in the cycle of get up, go to work, come home, watch tv, go to bed, and repeat.

"Falling into this kind of lifestyle terrifies me, and I've found music is my escape from that cage. I think a lot of people get stuck into that routine because they are afraid of the unknown, afraid of failure, or just afraid of change. They let their own anxiety and emotions control their fate, much like a puppet is controlled by its strings.

Ford recorded the new album in a small kitchenette area entirely with his laptop computer with almost all of the effort being performed and sung by the veteran musician. See the tracklisting below and watch the promo video here.

Disc 1 A New Day | Little Man | Running Out Of Time | Natasha | The Blue Angel | Butterflies In June | Until The Day I Die | I Got You | God Is | Precious Little Boy | Merry Go Round | Cowboy Joe | Restless Heart | He's An Angel | Left My Heart In Mexico | When Will It End | Dreamland

Grayson had this to say, "'Tell Me No' is a high energy, upbeat song highlighting the apprehensive excitement of new found chemistry between two people. It's a side of me that I'm very nervous yet excited to share.

I wrote 5:35 in LA on a bored sunny afternoon. In a jam session I prompted the drums to play dah-da-da so I could riff over it until I found the chords on the guitar.�

We recorded the drums and distorted the hell out of them.�I looped it over and over again in my headphones, I thought it sounded just like the slow motion knocks and bangs of a train approaching through the subway.�

When I started singing out loud over it, with not much direction, I found some words and phrases I felt good about and then it happened really quickly. "5:35 on the Ginza Line". 5:35am; the first train of the day.

I realised it was about my experience riding home early morning on the Ginza Line train (from Shibuya to Gaien-mae). At 19, 20 years old, I was a drinking party girl-slob and remember observing all my fellow all nighter's and the after math. Drunken salary men, white faced sleeping students, general miscreants (in Japanese known as "Yanki"), tourists, prostitutes - you name it... but it's very harmonious and peaceful. You hardly ever see fights like you do in the West.

Tokyo is a very cold and clinical place sometimes but the morning after is when you get to see a whole new side of Tokyo. People are very human and unguarded and soft. For a place that seems so efficient and logical, there is a lot of self destruction and it is very normal and not judged badly at all.

I really enjoy singing this song live in Tokyo because there is always such a big reaction from the audience and people always comment on how it resonates with their own personal experience.