@therollingstones US tour set to feature iconic popstar after setlist leak.

Avid Rolling Stones fans have spread the word that @ladygaga could be featuring on their US tour after finding the rehearsal location where they heard the band play “Sweet Sounds of Heaven” - a track featuring the iconic popstar.

Their army of diehard fans discovered the band’s rehearsal location and heard them play “Sweet Sounds of Heaven,” a track featuring Lady Gaga.

This has fuelled rumours she will join them for a duet when they play two dates in Los Angeles in July.

Sir Mick Jagger, Keith Richards and Ronnie Wood kick off their sold-out Hackney Diamonds Tour on April 28 at the NRG Stadium in Houston, Texas. This week they were polishing songs at a venue in Burbank, LA.

The high-octane rehearsal included nine of the 12 tracks from the latest album, though sources say that only four or five will be performed per night. “Mess It Up,” “Depending on You,” “Bite My Head Off” and “Tell Me Straight” – with a blistering solo from Keith, 80 – will all feature during the tour.

The group have also been rehearsing rarely heard songs such as “Sad Sad Sad,” as well as ballads “Angie,” “She’s A Rainbow,” “Sweet Black Angel” and “Let It Bleed.”

Meanwhile, uptempo favourites “Start Me Up,” “Sympathy for the Devil,” “Jumpin’ Jack Flash,” “Honky Tonk Women,” “Street Fighting Man,” “Paint it Black” and “Gimme Shelter” are likely to be highlights during the 19-date tour.

But “Brown Sugar,” which the band ditched in 2021 after controversy over lyrics referring to slavery, remains off the list.

The tour – which takes in stadiums in cities such as Las Vegas, Seattle and Cleveland and winds up on July 17 – marks the 60th anniversary of the band’s first US tour in 1964.

Among other songs they have been rehearsing are “Get Off My Cloud,” “Like A Rolling Stone,” “Beast of Burden,” “Emo­­tional Rescue,” “Fool to Cry,” “Midnight Rambler,” “Tumbling Dice” and “Shattered.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg ...

A tribute album to @littlefeat_official and Mothers of Invention guitarist Lowell George is on the way.

The double LP, “Long Distance Love - A Sweet Relief Tribute to Lowell George,” features 25 Lowell George tracks reinterpreted by Elvis Costello, Ben Harper, and Dave Alvin, among many other artists.

The tribute will be released May 17 in collaboration with Sweet Relief, an organization dedicated to providing financial support to career musicians and music industry workers struggling to make ends meet.

Lowell George began his music career as a member of Frank Zappa’s legendary Mothers of Invention. After leaving the band, he formed Little Feat with Bill Payne.

During his seven-year tenure with Little Feat, the band released eight albums through which he showcased his virtuosic lead and slide guitar skills – Jimmy Page once named Little Feat as his “favorite American group“.

During that time, George was also an in-demand slide guitar session player. You can hear his work in many seminal albums recorded during the ‘70s, including John Cale’s “Paris” 1919 (1973), Bonnie Raitt’s “Takin’ My Time” (1973), and Jackson Browne’s “The Pretender” (1976).

In a 1976 interview with Guitar Player, Lowell George recounted how he adopted the slide guitar style:

“Actually, I was in a session, and I used to play a lot of open D tuning, and a friend of mine said “Watch this.” He tuned the A string down to G, and in fact it was an open G tuning! Then he went, “see this!” and he picked up an old flower vase and went whee! I said to myself, “That’s it!” and that’s what started it about six years ago.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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Hey there, fellow K-ZAPers, we`ve got a rockin` photo of local legend Greg King from the Greg King & Friends band, strutting his stuff in a K-ZAP Spider Black tie dye (available at k-zap.org/product/kzap-tye-dye-long-sleeve/ for all you K-ZAP enthusiasts). 🎸🕷️
But wait, there`s more! We want to see your inner rock star too! Calling all Sacramento musicians – show us your favorite pic of you rocking a Sacramento`s K-ZAP shirt, and let`s make this a Sacramento symphony of style! 🎵🏙️
So, grab your instruments, strike a pose, and share your K-ZAP pride below with the world! 🌎🎶

#kzaporg #sacramentomusicians #rockstar #gregkingandfriends ...

Listeners to this week’s Rush Hour Blues are in for a treat as we dig into some rare radio broadcasts from one of the pillars of Blues and Blues Rock Nick Gravenites.

For more than sixty years from his tenure playing with Big Brother & The Holding Company, The Electric Flag, as well as a long solo career Gravenites has impacted all the music we listen to.

Join Sacramento’s K-ZAP and host Cale Wiggins this Friday, 5p for this special broadcast.

RHB sponsored by @blackrockauto, 1313 C Street, Sacramento. “They can do stuff.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg ...

The @ledzeppelin artwork @jimmypage called a “disappointment”

For obscure artists, a good cover can make or break an album, but even when Led Zeppelin were in their prime, Jimmy Page had a few reservations about what happened to “Led Zeppelin III.”

For everyone who turned off the album on the first listen, this is one of the few Zeppelin projects that rewards you on every repeated listen.

Such an experimental album needed a cover to wrap everything together, but what they got was a bit of a hot mess. Considering how much Page oversaw most of Zeppelin’s productions, he admitted that the cover was one of his least favourite parts of the record.

When speaking to Guitar World, Page believed it was a shadow of what he wanted it to be, saying, “[It was] A disappointment. I will take responsibility for that one. I knew the artist and described what we wanted with this wheel that made things appear and change… I was not happy with the final result — I thought it looked teeny-bopperish. But we were on top of a deadline, so of course, there was no way to make any radical changes to it.”

If anything, the drastic departure from their previous output contained inside makes the cover look even worse. This album has softer songs like ‘That’s the Way’ and ‘Tangerine’ across the track listing, so why are we looking at a cover that promises the band will be making the kind of music that even Grandma would approve of?

If there’s one thing that the album taught Page, it was that he needed to have control over what the design would look like. By the time they got around to making their fourth record, the band had decided to shy away from the traditional promotion altogether, not putting their name on the album and letting most fans find it on their own.

It may not have gotten the same appreciation from fans at the time, but Led Zeppelin III is the ultimate example of never judging a book by its cover.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg ...

📻 Hey K-ZAP Family! 📻

We`re on a quest to uncover the magic that brought you to K-ZAP and keeps you tuned in today! Share your stories, memories, and what makes Sacramento`s K-ZAP your go-to radio station! Let`s reminisce together and celebrate the K-ZAP spirit! 🎉 #KZAPFamily #SacramentoProud #RadioLove ...

When Eric Clapton And Mick Taylor Went Back To The Bluesbreakers

John Mayall’s 1971 album temporarily welcomed back two now world-famous former members of his band.

In 1971, John Mayall was already widely recognized as a British blues pioneer. He had won great respect for helping to put the music on the map in the UK, and of course for giving a national and international stage to a succession of Bluesbreakers band members who went on to further greatness.

On April 17 that year, Mayall charted in the US with “Back To The Roots,” on which Eric Clapton and Mick Taylor temporarily returned to the fold as guest guitarists.

Recorded in London and Los Angeles between November 15 and 25, 1970, the double album was conceived by Mayall as a nod to what he and his evolving band line-up had achieved thus far. “The initial idea,” he said when it was released, “was to gather all the major musicians who have played in the bands throughout my career.

But “Back To The Roots” was far more than an exercise in nostalgia. It featured no fewer than 18 Mayall compositions, with the bandleader also on lead vocals, rhythm guitar, harmonica and keyboards as usual.

But it was certainly made more newsworthy by the presence of Clapton (during his Derek and the Dominos era) and Taylor, two years into his tenure with the Rolling Stones, still aged just 22 and with their new album “Sticky Fingers” just coming out.

“Back To The Roots” also featured Mayall’s former drummer Keef Hartley. Other guest guitarists included Jerry McGee and Canned Heat members Larry Taylor and Harvey Mandel, and there was an appearance on violin by Don “Sugarcane” Harris, from the rock‘n’roll duo Don & Dewey.

Mandel had Stones connections of his own, later playing lead guitar on both “Hot Stuff” and “Memory Motel” from their 1976 album “Black and Blue.”

#johnmayallandthebluesbreakers
#kzaporg ...

On this day April 17, 1970 @paulmccartney released his debut solo album “McCartney.”

Paul McCartney recorded it in secrecy, mostly using basic home-recording equipment at his house in St John’s Wood.

Mixing and some recording took place at professional London studios. In its loosely arranged performances, McCartney eschewed the polish of the Beatles’ past records in favour of a lo-fi style.

Apart from occasional contributions by his wife, Linda, McCartney performed the entire album alone by overdubbing on four-track tape.

McCartney received mostly negative reviews, while McCartney was vilified for seemingly ending the Beatles. The record was widely criticised for being under-produced and for its unfinished songs, although the ballad “Maybe I’m Amazed” was consistently singled out for praise.

In later years, the album was credited for influencing DIY musicians and lo-fi music styles. McCartney also recorded two successor albums: “McCartney II”
(1980) and “McCartney III” (2020).

#kzaporg ...

K-ZAP is thrilled to have the support of Black Rock Auto, a dedicated Tesla repair shop that keeps your electric dreams alive. If you need a tune-up or a repair, don`t hesitate to give them a call at 833-726-0753 or visit their website at blackrockauto.com/index.html for more information. Remember, they`re not just any auto shop, they`re Tesla fixers! 🚀🔧 #K-ZAP #BlackRockAuto #Tesla ...

A Stratocaster master and stompbox pioneer with an astonishing vibrato, @robintroweruk’s blues guitar style is up there with the best.

British blues-rock legend Robin Trower has an instantly recognisable sound, and is known for his displays of real fire and skill. Admired by fans around the globe for his artistic individuality. While not a household name as is arguably deserved, he is important in the evolution of blues guitar.

Trower was born in London in 1945 and grew up in Essex, where he developed a keen interest in his parents’ vinyl collection. Elvis Presley, and particularly Elvis’s guitarist, Scotty Moore, inspired Trower to pick up the instrument that he heard bursting from the speakers. 

Musical explorations led him to the blues, and he cites BB and Albert King as two of his biggest influences. The greatest inspiration for his style, though, is Jimi Hendrix, whom Trower (quite rightly) revered as a truly groundbreaking musician.

This appreciation encouraged Trower to switch from the Gibson guitars he had favoured early on in his career, particularly during his four-year stint with rock group Procol Harum, and become a Stratocaster devotee as he embarked on a solo career with his own power trio. 

He also adopted various effect pedals, namely, wah pedal, fuzz, and Uni-Vibe, which at the time were still novel and thrilling contraptions. These new devices, along with his talent for composition, allowed Robin to explore the psychedelic side of British blues-rock, and his music delivered a fresh sound that resonated with audiences in both Britain and the USA, where he enjoyed mainstream radio airplay and multiple stadium tours.

Part of the appeal was Trower’s emotive style, which is simultaneously both elegant and exciting. His fiery pentatonic-based lead is complemented by funk-inspired rhythm chops and soulful chord progressions, all delivered with a colossal tone achieved by a cranked Marshall amp or two. Throw in the Uni-Vibe for a swirling, throbbing, psychedelic sound, and you have a winning formula. ...

@jefflynneselo recalls how easy it was for ELO to take over the 70s.

Only the wildly optimistic would have predicted from listening to Electric Light Orchestra at the start of the 70s that by the end of the decade, they would be one of the biggest bands on the planet.

Electric Light Orchestra’s self-titled debut album was more progressive than pop.

Lynne does admit to loving @paulmccartney’s DIY job on McCartney (1970). Of course, The Beatles had always been one of Lynne’s primary influences. And he had first-hand experience of his idols when he met them during the making of The White Album.

One of the original aims of the Electric Light Orchestra was to take up “where The Beatles had left off, and to present it on stage,” so it must have come as a pleasant surprise when John Lennon himself rechristened the group “the sons of The Beatles.”

I would venture into all different types of worlds to make tunes,” he says. “You could do what the hell you liked. I did quite a few of those adventurous, ‘out there’-type things in those days.

There would be more praise as ELO’s music became progressively less progressive.

“Eldorado” (1974) may have had a loose concept about a daydreamer journeying to fantastical places to escape his boring reality, but it was ELO’s first bona fide pop album. It even contained a US Top 10 hit, “Can’t Get It Out Of My Head.”

ELO’s upward trajectory continued apace with 1975’s “Face The Music”and singles “Strange Magic” and “Evil Woman,” which Lynne professes to have written in minutes.

Really, it couldn’t get any better for ELO. By “Out Of The Blue” and the follow‑up, 1979’s “Discovery,” they were the biggest rock band on Earth, arguably rivalled only by fellow quasi-proggers Supertramp. Everything they released, everything they did, was a newsworthy event. Was Lynne aware of how mega ELO were?

“Not really,” he says. Perhaps he had learned by then to switch off – their commercial enormity was only matched by the critical enmity they faced as the punk and post-punk music press poured scorn on the band’s every lavish note. ...

Win tickets to George Lopez September 21st at Hard Rock Live from Sacramento`s K-ZAP! We have several pairs of tickets to the see the star of comedy stages and television, and to win just send an email to free@k-zap.org by Sunday midnight. Put Lopez in the subject line. We’ll pick names Monday morning and let you know if you’ve won. Include your name and phone number, one entry per person, previous winners may be disqualified. George Lopez September 21st at Hard Rock Live. Tickets on sale Friday. Free laughs from K-ZAP! Tickets will be available Friday at 10AM at ticketmaster.com ...

50 years ago, ‘Come and Get Your Love’ put Native culture on the bandstand.

This soulful pop tune by the band Redbone became the first song by an all-Native and Mexican American band to crack the Billboard Top 10, peaking at No. 5 on April 13, 1974.

Redbone’s founders had always cultivated a striking look, though the decision to showcase their Native culture onstage took time.

Brothers Pat and Lolly Vasquez grew up in Fresno, Calif. According to Pat’s memoir, their mother was Shoshone, while their father had both Mexican and Native roots including Yaqui, Papago and Navajo.

Their maternal grandfather was a musician from Texarkana who played Cajun and Mariachi music, and who taught Pat and Lolly to play guitar. When the brothers started playing as a duo, Pat switched to bass.

Pat & Lolly set out to form a band of all Native and Mexican American players. They were joined by rhythm guitarist Tony Bellamy, who was of Mexican and Yaqui descent, and drummer Pete DePoe, who was Cheyenne. They grew their hair long, and began performing in Native dress on stage.

The new group called itself Redbone, a slang term that some might find offensive, though the members said they used it to mean mixed race. The band signed with Epic Records and set about creating its own sound, what Vegas has called “Native American swamp rock.”

For Redbone’s album “Wovoka” there was, a song on that the label thought could be a hit. As Pat tells it, he and his brother worked on “Come and Get Your Love” late one night in Philadelphia, where they were performing a series of gigs.

“Come and Get Your Love” spent 18 weeks in the Top 40 and was the fourth most popular song of Billboard’s Hot 100 for 1974.

In the years since, its presence has continued to echo through pop: The Eurodance group Real McCoy released a club-ready cover, Cyndi Lauper updated her own “Girls Just Want to Have Fun” by mashing it up with Redbone’s hit —and, in 2020, Sony’s Legacy Recordings released the song’s first official music video, an animated short by Native artist Brent Learned and producer and director Juan E Bedolla.

#redboneband
#kzaporg ...

Join Sacramento`s K-ZAP tonight and every Tuesday night at 8pm, Pacific for Floydian Slip. A full hour of rarities, favorites, and all things Pink Floyd with host, Craig Bailey.
Craig works classic Floyd songs, deep album cuts, and Floyd’s unique brand of ambient segues into a seamless blend of music and sound best described as a “listening experience”.
Join us this week for Floydian Slip #1462: It’s “Storm Effect” — our annual tribute to the late Pink Floyd sleeve designer Storm Thorgerson.
All sort of artists — from AC/DC to Rick Wakeman — all with album art created by Storm and the team at Hipgnosis.
Floydian Slip every Tuesday night at 8pm, Pacific on Sacramento’s K-ZAP. Streaming at K-ZAP.org, the free K-ZAP Apple & Android apps, and on your dial at 93.3FM in Metro Sacramento area.
#kzap #sacramento #pinkfloyd #floydianslip ...

🎉 K-ZAP is over the moon, as our radio waves are filled with joy thanks to the out-of-this-world support from our longtime sponsor, Allstate agent Jeff Beck! 🌟 His dedication to K-ZAP is as legendary as the rock classics we play. Need insurance that rocks? Give Jeff a call at (916) 897-5199. 📞

For a sneak peek into the world of Jeff Beck`s Allstate agency, check out his website: agents.allstate.com/jeff-beck-elk-grove-ca.html 🔍

And remember, just like Jeff supports K-ZAP, we support you with the best rock/blues tunes in Sacramento! 🚀🎸 #Allstate #JeffBeck #K-ZAP ...

@thebeatles’ Let It Be’ Film Will Be Available for the First Time in Over 50 Years.

The Michael Lindsay-Hogg-directed film, restored by Get Back mastermind Peter Jackson, arrives on Disney+ next month.

In May 1970, Let It Be premiered, and not a single Beatle showed up. The film was a bleak portrayal of the world’s greatest band falling apart, released just weeks after @paulmccartney officially announced their split. It’s been largely unavailable for decades, but all of that will change on May 8, when the film arrives on Disney+.

Arriving on the streaming platform 54 years to the month that it hit theaters, Let It Be was directed by Michael Lindsay-Hogg and restored by Peter Jackson — who recently combed through 60 hours of footage to create the now-classic docuseries Get Back.

Hogg, who defended his film to Rolling Stone in 2021, said in a statement that the longtime negative perception of the movie derives from the fact that it dropped directly after their breakup. “The people went to see Let It Be with sadness in their hearts, thinking, ‘I’ll never see the Beatles together again. I will never have that joy again,’ and it very much darkened the perception of the film,” he said. “But, in fact, how often do you get to see artists of this stature working together to make what they hear in their heads into songs?

And then you get to the roof, and you see their excitement, camaraderie, and sheer joy in playing together again as a group and know, as we do now, that it was the final time, and we view it with the full understanding of who they were and still are and a little poignancy. I was knocked out by what Peter was able to do with Get Back, using all the footage I’d shot 50 years previously.”

“I now think of it all as one epic story, finally completed after five decades. The two projects support and enhance each other: Let It Be is the climax of Get Back, while Get Back provides a vital missing context for Let It Be. Michael Lindsay-Hogg was unfailingly helpful and gracious while I made Get Back, and it’s only right that his original movie has the last word …looking and sounding far better than it did in 1970.”

#kzaporg ...

@neilyoungarchives to Perform Lost ‘Cortez The Killer’ Verses on Summer Tour With Crazy Horse

In a Zoom with fans, Young also revealed plans for a 1969 CSNY live box set.

When Neil Young hits the road this summer with Crazy Horse, he’s planning on performing “Cortez The Killer” with verses that have been missing from the song for 50 years. “Just a couple of days ago, I found the other verses,” Young said.

When the band cut the song originally in a California house near Zuma Beach, the power to the recording console died in the middle of the take, though the band was completely oblivious.

“It was a good take,” Young told fans on Zoom. “So what we did was take the master tape and find ways to cut it together so that it would work, but we lost a couple of verses.

In a 2012 interview with Rolling Stone, Crazy Horse guitarist Frank “Poncho” Sampedro recalled cutting “Cortez The Killer” shortly after he joined the band. “It was a sunny day at Zuma Beach, and this guy came by, and I smoked angel dust with him,” he said. “And then Neil came up and said, ‘Let’s try this song,’ We never played it, and I was like, ‘Oh, damn.” If you listen to the first recording, I thought the second chord was the first chord.

This live album is a holy grail for CSNY fans since it was recorded during their peak as a live band and was captured in pristine sound quality. “It’s amazing. There’s an 18-minute ‘Down The By The River’ on there that’s maybe the best ‘Down By The River’ ever. Stills is just smokin’ it. I think I might have already smoked when we started off, so it was a lot of fun.”

Young largely dodged questions about what songs he plans on playing this summer with Crazy Horse, though he noted that he enjoyed playing “Tonight’s The Night,” “Everybody Knows This Is Nowhere,” and “Ragged Glory” at intimate club gigs late last year. “The songs that the Horse plays are so simple you can go almost anywhere with them,” he said. “A lot of them only have two or three chords in them, and they just repeat.

#csny
#kzaporg ...

Producer claims “Van Halen III” was never going to be an @eddievanhalen solo album: “It was just gonna be an album Eddie’s way.”

“The record was kind of crappy but it’s the way Ed wanted it.”

Speaking on The Hustle podcast, Post reveals that he was hired by the late guitarist to produce the record due to his clean track record with addiction and substances.

According to Post, “Van Halen III” was “not ever going to be a solo album. It was just going to be an album Eddie’s way. Without any negotiations with the lead singer… This lead singer [Gary Cherone] grew up on Van Halen and it wasn’t somebody with a big sense of himself the way that Sammy [Hagar] was.”

“Eddie came in and basically said, ‘Look, sing this this way.’ You know, ‘Do this this way.’ So what I did is encapsulated in a conversation I had with [Alex Van Halen].”

Recalling a conversation he shared with the late rocker before the album’s recording, Post says: “We’re going to do the whole thing at Ed’s place and I said, ‘Look, Ed, I’m not gonna to show you how to play guitar. I’m not gonna show you how to write a song.

I’m not gonna show Gary how to sing it. What I’m really going to do is find ways for you to execute your dreams on this and if I don’t think something sounds right, I’m gonna say it. But that’s really it. It’s not gonna emanate from me.”

“The way he got me to do it was, he said, ‘I wanna do one sober. I want to do one without being altered.’ I said, ‘Great. I’m here for you….and I will do that.’”

As recording began, it soon became clear to Eddie that Alex, who was going through a rough patch with his divorce and drinking at the time, wasn’t playing as he should.

Post managed to convince Alex to hand over drum duties to the younger Van Halen. And the result, says Post, was a Van Halen III record that sounded “kind of crappy but it’s the way Ed wanted it.”

That said, things eventually took a turn for the better when the band went on the road to promote the album: “And so they start rehearsing, and God, Al just sounds like Al, and it’s great. He’s twice as good as what Ed played on the record.” ...