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On this day May 16, 1969 @theofficialccr and Blues Image played Sacramento’s Memorial Auditorium.

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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@foofighters PartWith DrummerJosh Freese

Josh Freese has been let go from the Foo Fighters, two years after being tapped to fill the vacancy left by the late Taylor Hawkins.

Freese revealed the decision in a statement shared on Instagram, saying the Foo Fighters called him earlier this week to let him know that they had decided “to go in a different direction with their drummer.”

Freese added, “No reason was given,” and he later joked, “Stay tuned for my ‘Top 10 possible reasons Josh got booted from the Foo Fighters’ list.” Freese continued: “Regardless, I enjoyed the past two years with them, both on and off stage, and I support whatever they feel is best for the band.

In my 40 years of drumming professionally, I’ve never been let go from a band, so while I’m not angry — just a bit shocked and disappointed. But as most of you know I’ve always worked freelance and bounced between bands so, I’m fine.” 

A rep for the Foo Fighters declined to comment. The band has yet to share a statement of its own, nor have the Foos said who will replace Freese.

The Foo Fighters have not performed live since last fall, and they have no concerts scheduled for 2025, outside of an Oct. 4 performance at the F1 Singapore Grand Prix. 

Freese joined the Foo Fighters in May 2023 as the band prepared to embark on its first tour since Hawkins’ sudden death in March 2022.

Prior to joining the Foos, Freese was an in-demand session and live drummer who’d played with everyone from Guns N’ Roses and Nine Inch Nails to Paramore and Devo. He is currently on the road with A Perfect Circle.

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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On This Day in 1966, @thebeachboys Released Their Magnum Opus, ‘Pet Sounds’

Inspired by the Beatles’ “Rubber Soul,” Brian Wilson set forth to make an album that was so rife with rich material that no song would be skippable.

He certainly achieved that with this feat of production. “Pet Sounds” came out nearly 60 years ago today.

In the mid-’60s, Brian Wilson decided to take a step back from touring with The Beach Boys to focus solely on the studio side of things. The end result was “Pet Sounds.”

Effectively a Wilson solo project, this album didn’t have much input from his bandmates. Moreover, they were largely absent from the sessions.

Wilson really didn’t need much input from his bandmates…With the help of some session musicians, Wilson created one of the most innovative albums of all time.

From new-age production techniques that had seldom been attempted, to employing off-the-wall instruments, “Pet Sounds” was something completely new to the music industry.

Wilson is famously a perfectionist. Not only did he broaden his horizons, he made sure his experimentation didn’t take away from the overall craft. “Pet Sounds” is equal parts stellar rock album and cultural reset.

Beach Boys fans have long lauded this album, but their fellow musicians were impressed too. One of the biggest fans of “Pet Sounds,” peer wise, was Paul McCartney.

The Beatle has spoken about this album at length, including noting it as necessary for a proper musical education.

“It was Pet Sounds that blew me out of the water,” Paul McCartney once said. “First of all, it was Brian’s writing. I love the album so much. I’ve just bought my kids each a copy of it for their education in life—I figure no one is educated musically ’til they’ve heard that album.”

McCartney’s applauding of “Pet Sounds” means even more when you consider that Wilson was inspired by one of the Beatles’ album. A full circle compliment.

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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The mistake at the centre of @johnlennon’s ‘I Am The Walrus’

Lennon was tasked with writing a great deal of music during his time with The Beatles, and therefore, it was important that he broadened his horizons when it came to picking artists that influenced the work he did.

One of the writers who played a big part in his creativity was the author of Alice in Wonderland, Lewis Carroll. 

Carroll was most famous for his books Alice in Wonderland and Through the Looking-Glass.

In the latter, there is a poem recited by Tweedledum and Tweedledee, which inspired John Lennon’s famous psychedelic track ‘I Am The Walrus.’

The song was famous and one that many Beatles fans took the time to ponder to work out what Lennon was actually writing about. It turns out, even Lennon didn’t fully understand what he was writing, as while he used Carroll’s poem as inspiration, he misinterpreted what it meant. 

The poem in question was called The Walrus and the Carpenter. It followed a sea creature and a labourer who were walking down the beach and found a bed of oysters. They asked the oysters to come walk with them and then, during a break, ate them all. While both characters are culpable, the walrus seems to be the main manipulator.

When Lennon read the poem back, realised he had made a mistake with the song, as the Walrus was one of the antagonists in the story. He said if he were given the chance, he would rewrite the track but use the carpenter as inspiration instead.

“To me, it was a beautiful poem,” said Lennon in an interview. “It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles’ work. Later, I went back and looked at it and realised that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, ‘Oh, s***. I picked the wrong guy; I should have said, ‘I am the carpenter.’ But that wouldn’t have been the same, would it?”

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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Farm Aid to Celebrate 40th Anniversary in Minneapolis

The lineup for the September 20 show at Huntington Bank Stadium features Willie Nelson, Neil Young, John Mellencamp, Margo Price, Billy Strings, Nathaniel Rateliff, and Waxahatchee ,Trampled by Turtles, Eric Burton of Black Pumas, Jesse Welles, Madeline Edwards, and others that have yet to be announced. Ticket sales begin May 16.

“Family farmers are the heart of this country, and we depend on each other for good food and strong communities,” Nelson says in a statement. “For 40 years, Farm Aid and our partners have stood with farmers, supporting them to stay on their land even when corporate power, bad policies and broken promises make it harder to keep going. This year, we’re proud to bring Farm Aid to Minnesota to celebrate the farmers who sustain us and to fight for a food system that works for all of us. Family farmers aren’t backing down, and neither are we.”

Farm Aid has been held virtually every year since the inaugural event in Champaign, Illinois, back in 1985. But this is the first time it’s touched down in Minneapolis. It will be the kickoff event to a year-long celebration of Farm Aid.

The 2024 incarnation of Farm Aid took place at the Saratoga Performing Arts Center in Saratoga Springs, New York.

It featured the debut of Neil Young’s new band the Chrome Hearts. They’re set centered around classics like “Harvest Moon,” “Heart of Gold,” “Unknown Legend,” and “Powderfinger.”

They hit the road this year for their first proper tour, and will play Farm Aid at the end of the run.

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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The musical legacy of the late, great @officialgreggallman continues with the release of The Gregg Allman Band – One Night In DC,

“The Gregg Allman Band – One Night In DC,” May 15, 1984, a full-length concert recording arriving digitally and on CD June 20, 2025, via the Rock and Roll Hall of Famer’s posthumous label, Sawrite Records.

Recorded live at The Bayou in Washington, DC before a capacity crowd of 900 lucky fans, the latest release from Allman’s personal archives sees the Gregg Allman Band flying at full force, rocking the house with a stacked setlist highlighted by new songs, iconic covers, and fiery renditions of classic songs from the Allman Brothers Band repertoire.

Though his passing in 2017 has left an immense space in rock ‘n’ roll that can never truly be filled, “Gregg Allman Band – One Night In DC,” May 15, 1984 stands as a stunning audio snapshot in time that magnificently captures Gregg Allman during his quest to prove that no matter what the challenges, the road would go on forever.

The core line-up of Gregg on vocals and Hammond organ, Danny Toler on lead guitar, his brother Frankie on drums, bassist Gregg Voorhees, Bruce Waibel on rhythm guitar, and percussionist Chaz Trippy had been augmented by the addition of keyboardist Tim Heding, which brought another lead instrument to the GAB.

A further advancement was that Gregg was writing new songs with the brothers Toler, which further expanded the band’s repertoire. From the opening notes of “Dreams,” it is clear the band was primed for a great night at The Bayou. The hits keep coming throughout the incredibly energized 12-song setlist, from a swaying rendition of “Sweet Feelin’” which wholly displays Gregg’s passion for R&B, and GAB favorites like “Yours For The Asking” and “Faces Without Names,” to full-throttle takes on Allman Brothers Band staples including “Hot ‘Lanta,” “Trouble No More,” “Statesboro Blues,” and a closing “One Way Out” that leaves the packed house calling for more.

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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This week’s Rush Hour Blues takes a deep dive into the music of legendary guitarist Peter Green.

From his days spent with John Mayall’s Bluesbreakers through his time before starting Fleetwood Mac we’ll revisit the songs where Green stepped up to the mic.

Join Sacramento’s KZAP this Friday, 5p as your host Bill Prescott celebrates this highly influential guitarist, singer and songwriter.

RHB is 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.
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@paulrodgersofficial is known as one of rock music’s greatest vocalists.

Beyond Rodgers’ vocals and work as both rhythm guitarist and keyboardist, Bad Company featured bass guitar player Boz Burrell, drummer Simon Kirke and guitarist Mick Ralphs, whose expressive lead guitar work — frequently performed on a 1958 Gibson Les Paul — helped place the band in the upper echelons of 1970s rock groups.

“I think he’s very versatile, and his sound is very versatile, and he locks into a song perfectly,” Rodgers said of Ralphs. “If it’s ‘Can’t Get Enough’ or ‘Bad Company,’ or ‘Feel Like Makin’ Love’ or ‘Shooting Star,’ you can immediately recognize his playing and go, ‘That’s Mick Ralphs.’”

Ralphs has been in a nursing facility since he suffered a stroke in 2016.

In a new interview with Eddie Trunk on his SiriusXM show, Trunk Nation, Rodgers explains he called the guitarist to tell him Bad Company would be inducted into the Rock and Roll Hall of Fame.

Rodgers recalled to Trunk how producer Ron Nevison, eager to capture the right vibe for the vocal track on the song “Bad Company” had Rodgers sing the tune in the middle of field behind Headley Grange where Led Zeppelin composed and cut several of their albums

“He said, ‘Well, we’re gonna do the vocal for “Bad Company” out in the field here because it’s a full moon tonight.

“And so we did that, trumping across these fields in the middle of the night and singing the song basically with headphones on and the microphone there.

“It was really, really atmospheric. It was very beautiful. You know, you can hear a cold wind blowing at the very end of it because the mic picked it up.”

As for that Rock Hall induction Rodgers says Ralphs will not attend the event. Burrell died in 2006, but the singer says the bassist’s wife, Cathy, will attend, and Simon Kirke is reportedly appearing.

Rodgers says he doesn’t know who will induct the group, but of course most people hope it will be Jimmy Page, who helped sign Bad Company to Led Zeppelin’s Swan Song record label.

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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Help K-ZAP Zap the Gap—We’re WAY Behind, and We Need YOU!
K-ZAP fans, we’re in a bind. We’re WAY behind on our goal of 10,000 signatures to secure a second tower and expand our signal. This isn’t just about rocking tunes—it’s about keeping our community strong and connected, especially when it matters most. The best part? You can help in less than two minutes!
Here’s what to do:
Sign the petition at k-zap.org/zapthegap

Spread the word by sharing this post

That’s it! EVERYBODY can sign now—whether you’re in our signal area or not. Your signature brings us closer to a bigger, better K-ZAP for all.
We’re counting on you—let’s close this gap together. Sign now at k-zap.org/zapthegap! …

Becoming @ledzeppelin shows acoustic guitar’s vital role in Jimmy Page’s heavy-metal musical vision

The key moment is the first time Robert Plant comes to Page’s house and starts flipping through his albums.

Before the two even begin to cast the die for modern heavy metal, they bond over a folk singer.

Page recalls, “I played him the Joan Baez version of ‘Babe, I’m Gonna Leave You’ and said, ‘If you can sing that top line there, I’ve got an arrangement that goes with it. And it really dovetailed together. He just sang beautifully.”

As it turns out, guitars of every variety were always part of Page’s plan for the group’s debut album.

“I was going to throw everything I could at it,” the multidimensional guitarist says with a chuckle. “I was going to play acoustic guitar. I played pedal steel guitar, slide guitar, and electric guitar. I wanted to have so many different textures and moods on it that the whole album would totally arrest the listener and take them into a realm that they’d never been in before.”

The fact that Page decided to include a solo acoustic guitar piece on the band’s blistering debut demonstrates his conviction about a diverse guitar vision and for his dedication to the unplugged side of the equation.

Becoming Led Zeppelin addresses the band’s first two albums, and the acoustic continues to play a large role in the latter. “Thank You” even includes a rare acoustic guitar solo. It’s particularly fascinating to hear the band members describe how the group first heard crushing tunes such as “Whole Lotta Love” and “What Is and What Should Never Be.”
“Jimmy would sit down with an acoustic guitar, and we’d work the songs out,” Jones explains.

Zeppelin’s ability to seamlessly incorporate the acoustic guitar into heavy tunes as well as to completely surrender to the acoustic realm on master strokes such as “The Battle of Evermore” with John Paul Jones switching to mandolin is what truly set them apart from all other hard rock groups in the end.

And it was always there, right from the beginning.

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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Jorma Kaukonen to Celebrate 85th Birthday with Tight Coast-to-Coast Tour

Jorma Kaukonen will celebrate his 85th birthday on the road.

The musician known for his Jefferson Airplane roots will participate in a four-stop run, beginning on November 1, 2025, at the Warner Theatre in Washington, D.C.

The impending jaunt comes before the artist’s December 23rd birthday, and lays the tracks for in-person celebrations. 

The musician’s follow-up on November 29, 2025, is billed to include special guests, including his Hot Tuna unit, during the highly anticipated arrival at New York’s Carnegie Hall.

On the other side of the country, Kaukonen will resume his birthday concert schedule with a performance at San Francisco’s Masonic Auditorium on December 5. 

His final performance for this tour will be held on December 13 at the Paramount Theatre in Denver.

Before his newly announced concert appearances, Kaukonen will spend parts of June on the road with guitarist John Hurlburt, before picking up a slate of fall Acoustic Hot Tuna gigs. 

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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When @thebeatles stole the @therollingstones’ thunder and dropped “Hey Jude” at the “Beggars Banquet” launch party

It was an exclusive night with three aims – to mark a new club’s opening, to celebrate Jagger’s recent milestone 25th birthday, and, most excitingly of all, to give the lucky attendees the first chance to hear the freshly completed ‘Stones record, “Beggars Banquet.” 

A fashionably late McCartney sauntered in as “Banquet”
was nearing the end of its first spin.

Paul surreptitiously sidled over to Tony Sanchez who was presiding over the record player. He handed over a freshly-minted acetate of the Beatles’ upcoming new single.

Sanchez later recalled how Paul covertly slid over to the booth; “As Paul walked in, everybody was leaping around to “Beggars Banquet,” which was far and away the best album of The Stones’ career,” Sanchez recalled. “Paul discreetly handed me a record and said, ‘See what you think of it, Tony. It’s our new one’”

As the final strains of “Salt of the Earth” wrapped-up “Beggars Banquet,” Sanchez eyed-up McCartney’s flimsy record – it read ‘Hey Jude.’

And so, without consulting Jagger or anyone else in the Stones’ circle, Tony gave it a spin…

“I stuck the record on the sound system and the slow thundering build-up of ‘Hey Jude’ shook the club,” Sanchez remembered. I turned the record over, and we all heard John Lennon’s nasal voice pumping out “Revolution.” When it was over, I noticed that Mick looked peeved. The Beatles had upstaged him.”

Jagger might have been cowed by the obvious merit of the Beatles’ song (s) that night, but he would absorb the influence of “Hey Jude’s” embracing arrangement with 1969’s “You Can’t Always Get What You Want.” 

Like Hey Jude, it too featured a lengthy outro and orchestral ornamentation.

“I liked the way the Beatles did that with “Hey Jude,” Jagger stated prior to its recording. “The orchestra was not just to cover everything up – it was something extra. We may do something like that on the next album.”

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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The Two-Pronged ‘Déjà Vu’ Song @stephenstillsofficial Wrote Partly About Crosby, Stills, & Nash’s Imminent Breakup

“Getting that second album out of us was like pulling teeth, there was song after song that didn’t make it,” recalled Stills in a 1971 interview. The track ‘Déjà Vu’ must have meant 100 takes in the studio. But “Carry On” happened in a grand total of eight hours from conception to finished master.” So you never know.”

During the Déjà Vu sessions, it was Nash who originally recommended that Stills write what became “Carry On” since they needed another “Suite: Judy Blue Eyes”-like opener for the second album.

“I said to Stephen one day, ‘You know, we don’t have “Suite: Judy Blue Eyes,”’ said Nash in 2021. “He goes, ‘Yeah, I know. We did it on the first record.’ I said, ‘No, no, no. We don’t have the song that guarantees that people won’t get up and take the needle off the record. And when you hear ‘Suite: Judy Blue Eyes,’ and we come to the end of it, I defy you to get up and turn the record off. You wouldn’t do that. We need that kind of song.’”

Nash continued, “The next day, he comes to me and he goes, ‘What do you think about this, Willy?’ [sings opening notes to “Carry On”] and he played me ‘Carry On.’ It shows you the genius of Stephen Stills.”

“It was something of a message to the group,” recalled drummer Dallas Taylor in the liner notes of the band’s 1991 box set CSN, “since it had become a real struggle to keep the band together at that point.”

By July of 1970, Still was fired from the band during their two-night run of shows at the Auditorium Theatre in Chicago. Stills rejoined the band that summer, but Crosby, Stills & Nash broke up soon after. Déjà Vu was their final album together before the trio reconfigured for their third album, CSN, in 1977.

Though the first part was a lighter memo to the band, its second half Stills pulled the second part of the song was pulled from “Questions,” a song he originally wrote for his band Buffalo Springfield’s 1968 album “Last Time Around.”

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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@bobdylan Offers Break Outs Galore & Debuts Pogues Cover At 1st 2025 Outlaw Festival Stop

Willie Nelson’s 10th Anniversary Outlaw Music Festival began on Tuesday in Phoenix, where Bob Dylan loaded his setlist with one surprise after another.

Dylan dusted off long-lost songs, premiered three covers and reworked a classic at Talking Stick Resort Amphitheatre.

This run marks Bob Dylan’s second consecutive year co-headlining the traveling festival.

Lily Meola, Sierra Hull and Billy Strings each performed in Phoenix before Dylan set the stage for Willie Nelson to close the concert.

Bob Dylan established a precedent in 2024 by shaking up his setlist for the Outlaw Festival in comparison to his shows since 2021, which found him focusing on material from his 2020 album, “Rough And Rowdy Ways.”

After opening with staples “I’ll Be Your Baby Tonight” and “It Ain’t Me, Babe” in Phoenix, Dylan dusted off “Forgetful Heart” for the first time since July 11, 2015.

The song from Bob’s 2009 LP, Together Through Life, was co-written with Grateful Dead lyricist Robert Hunter.

Next came a debut cover of George “Wild Child” Butler’s blues number “Axe And The Wind.”

The setlist surprises continued with the return of “To Ramona.” Originally released on 1964’s Another Side Of Bob Dylan, the beloved favorite was last played in 2017.

Dylan dug even deeper into his repertoire with the ensuing cover of Bobby Troup’s “(Get Your Kicks On) Route 66,” which had been shelved by Bob since 1986 according to Setlist.FM. He then led his band through a fresh arrangement of “All Along The Watchtower.”

Another cover debut, Charlie Rich’s “I’ll Make It All Up To You,” followed. Dylan then performed fan-favorite “It Takes A Lot To Laugh, It Takes A Train To Cry” for the first time since November 3, 2021. Next, Bob busted out the beloved “Mr. Tambourine Man” after a 15-year absence from his concerts. From there, the 83-year-old icon delivered the 2025 debuts of “Under The Red Sky” and “Scarlet Town” before unveiling his take on The Pogues’ “A Rainy Night In Soho” to close his set.

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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On this day May 14, 1969 @neilyoungarchives released “Everybody Knows This Is Nowhere.”

It was Young’s second studio album and first with his longtime backing band Crazy Horse.

Guitarist, songwriter and singer Danny Whitten, bassist Billy Talbot and drummer Ralph Molina had already been performing and recording together as The Rockets. They met Young through the Laurel Canyon music scene and started playing together.

Young credits the album’s unique sound to the guitar playing of Danny Whitten and the interplay between the two.

He explains in the biography Shakey:

“That’s what was so great about Crazy Horse in those days: Danny understood my music, and everyone listened to Danny. He understood what we were doing. A really great second guitar player, the perfect counterpoint to everything else that was happening. His style of playing was so adventuresome. So sympathetic. So unthoughtful. And just so natural. That’s really what made “Cowgirl in the Sand” and “Down by the River” happen: Danny’s guitar parts. Nobody played guitar with me like that; that rhythm. When you listen to “Cowgirl in the Sand,” he keeps changing: plays something one and a half, maybe two, times, and he’s on to the next thing. Billy and Ralph will get into a groove and everything will be goin’ along and all of a sudden Danny’ll start doin’ somethin’ else. He just led those guys from one groove to another, all within the same groove. So when I played these long guitar solos, it seemed like they weren’t all that long, that I was making all these changes, when in reality what was changing was not one thing, but the whole band. Danny was the key.”

The album contains several songs that became standards in Young’s performance repertoire. “Cinnamon Girl,” “Down by the River,”and “Cowgirl in the Sand” were written in a single day while Young had a 103 °F (39.5 °C) fever.

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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@janisjoplin The Undisputed Queen of Rock ‘n’ Roll Whose Legacy Still Reigns

Janis Joplin was born Janis Lyn Joplin in Port Arthur, Texas, on January 19, 1943.

She grew up in a middle-class household and began cultivating a love for blues music as a child.

She began singing as a teenager, which was often a refuge for her as she was teased relentlessly at school for being a rebel. Many believe that Joplin’s horrible school experience would later inspire many of her most profound songs.

Later, in 1966, Joplin joined the psychedelic rock band Big Brother and the Holding Company, which resulted in success for the singer.

Joplin’s popularity would later soar after she performed at Woodstock in 1969. The incredible eleven-set performance, which included hits like “To Love Somebody” and “Work Me Lord,” would later cement her place in rock ‘n’ roll history as an icon.

Nearly fifty-five years after her death, fans are still intrigued by the life and legacy of Janis Joplin.

Now, a movie detailing her incredible yet sad life is in the works.

Although Hollywood has tried for years to make a film about her, in 2024 it finally achieved the green light from producers.

According to a 2024 report in Variety, the yet untitled film will star actress Shailene Woodley.

In a December 2024 interview on The Tonight Show with Jimmy Fallon, Woodley discussed her involvement with the film. “I’m really excited. We’ve been working on this for seven years now, and she’s such a groovy chick. She really brought light to this planet. You know, in a really singular way. And it’s been so much fun to dive into her story. But it’s been great to also work alongside Linda Perry, our music producer on the set, who is another legend.”

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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@paulmccartney fans beg for huge ‘sequel’ to Beatles classic to be released

Sir Paul McCartney was said to have recorded an entire album as a follow-up to one of The Beatles’ most famous records, with fans still hopeful of an official release.

Dubbed ‘Return to Pepperland,’ this unfinished gem was a collaborative effort between McCartney and American producer Phil Ramone, intended as an homage to the 20th anniversary of the Beatles’ groundbreaking 1967 album, “Sgt. Pepper’s Lonely Hearts Club Band.” Fans are now begging for the album to be released.

Fans have been sharing their hopes on the r/PaulMcCartney Reddit page, where enthusiasts debate why the album remains unreleased. Those who’ve had a listen via bootleg recordings claim it’s among McCartney’s finest works.

The album has become one of McCartney’s most pirated pieces, with ardent followers painstakingly compiling official recording tapes to recreate what might have been the lineup for his never-released sequel to “Sgt. Pepper’s Lonely Hearts Club Band.”

While “Return to Pepperland,”McCartney’s envisioned successor to the mid-60s psychedelic masterpiece that shaped The Beatles’ image, can be heard in its unofficial form, there’s still hope among fans for an authentic release.

One fan asked: “Why hasn’t “Return to Pepperland” been released? It’s a great album and the title song is fantastic. Cuts have been released but not the whole album. So why not?.”

There are numerous potential explanations for why the album remains unreleased, with its recording sessions dating back to the 1980s. Another fan speculated that McCartney’s vault could be brimming with “albums worth” of material that might never emerge into the public eye.

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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