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Pavarotti 90 Tribute Launches in Wales with Lost Concert Album and Global Celebrations

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This year marks what would have been the 90th birthday (12 October) of one of the most iconic voices in music history – Luciano Pavarotti. To honour this milestone, Decca Records is spearheading PAVAROTTI 90, a worldwide tribute celebrating the tenor’s unmatched contribution to classical music, his international appeal, and his legacy of bringing opera to the masses.

The year-long tribute begins in Wales, at the Llangollen International Musical Eisteddfod — the very place where a defining moment in Luciano Pavarotti’s life took place.  Pavarotti’s widow, Nicoletta Mantovani, returned to North Wales on July 12th, 2025, where her late husband, first stepped onto the international stage at the age of 19. Decca will release The Lost Concert: Live from Llangollen (1995) on 21 November 2025 — a never-before- released recording of Pavarotti’s emotional return to the Llangollen International Musical Eisteddfod, 40 years after the Welsh festival changed the course of his life. Speaking about the significance of the event, Nicoletta Mantovani said: “It was the beginning of everything. Luciano often said that without Llangollen, there would have been no career.

In July 1955, at just 19 years old, Luciano Pavarotti travelled outside Italy for the first time, joining his father in the Modena-based Corale Rossini choir to compete in the Llangollen International Musical Eisteddfod in North Wales. Singing against 22 choirs from around the world, they won the male voice competition by a distance. Pavarotti would later describe this moment as a turning point — the experience that first inspired him to consider a professional career in music and he promised himself he would one day return.

40 years later, in 1995, he fulfilled that promise. At the peak of his international fame — following landmark performances with The Three Tenors in Rome (1990), Hyde Park (1991), and Central Park (1993) — Pavarotti returned to Llangollen to give a deeply personal concert. Addressing a packed Pavilion crowd, he reflected: “Forty years ago, my God — it seems to be just yesterday for me. I have done so many things. I always say to the journalists when they ask me what is the most memorable day in my life, and I always say it is when I won this competition, because it was with all my friends.” This historic and previously unreleased concert was recorded, capturing a unique homecoming moment in his remarkable career.

‘The Lost Concert: Live At Llangollen (1995)’ recording features the tenor at the height of his powers performing with the BBC Philharmonic Orchestra, soprano Atzuko Kawahara and Corale Rossini. The recording has been re-mastered and comes with a 100-page collector’s book filled with essays, photographs and archive material. It also includes two original 1955 recordings of the Corale Rossini, Bonjour mon cœur and In Nomine Jesu, believed to be the earliest surviving audio featuring Pavarotti’s voice, as well as a rare interview where he recalls his first visit to Wales.

Alongside the Decca recording, Mercury Studios will also release the film of The Lost Concert on BluRay (21 November 2025), including archive of Pavarotti and interviews and observational footage from the day.

To commemorate this very special occasion, Nicoletta Mantovani attended the 2025 Eisteddfod on 12 and 13 July for the first time, and handed over the coveted Pavarotti Trophy to Llangollen’s Choir of the World and the Pendine Trophy to the winner of the International Voice of the Future competition, the finals of which took place at the closing weekend of the 2025 festival. A giant chalk mural of Pavarotti’s face appeared on the fields above the Eisteddfod site, with images revealed today.

The celebration continues with a 74-track collection that explores the full journey of Pavarotti’s musical life entitled ‘Novanta’ (Ninety), It includes his earliest studio recordings, famous duets with artists including Bono, Elton John and Andrea Bocelli, as well as rare performances from Montreal’s Notre-Dame Basilica. The album will be released worldwide on 10 October.

This year, the world remembers a voice and a legacy that transformed the landscape of classical music and continues to inspire generations. And the celebration doesn’t end in 2025 – more special tributes will follow into 2026, marking a full year of commemorations. Further details will be revealed in due course.

Matthew Good and His Band with I Mother Earth Headed to OLG Stage at Fallsview Casino This November

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Fallsview Casino Resort  welcomes two iconic Canadian rock bands Matthew Good and His Band and I Mother Earth to the OLG Stage at Fallsview Casino on Friday, November 21, 2025. Tickets go on sale on Friday, July 18 at 10:00am through ticketmaster.ca.

“This tour celebrates an incredible legacy of Canadian rock music, and we are thrilled to welcome them to OLG stage at Fallsview Casino. Matthew Good and His Band and I Mother Earth in concert is a Canadian rock music moment to experience” says Cathy Price, Vice President of Marketing and Resort Operations at Niagara Casinos.

Matthew Good is a multi-platinum selling Canadian recording artist, best known for his signature vocal style, guitar-driven melodies, and cinematic lyrics. He began his career as the frontman for the Matthew Good Band, one of the most successful Canadian alternative rock bands during the 1990s and early 2000s. Rock radio staples such as “Hello Timebomb,” “Everything Is Automatic,” “Indestructible,” “Apparitions,” and “Load Me Up” made the group a household name, selling out shows throughout Canada over seven years and four full-length album releases. After disbanding in 2002, Good started writing and recording his first solo record, 2003’s Avalanche, hailed as a masterful work of emotional and intellectual depth, the album struck a chord with critics and audiences alike. To date, Good’s body of work includes thirteen full-length studio albums, four EPs, two compilation LPs, and one live album. He has been nominated for 21 Juno Awards throughout his career. He has also garnered eight Top 10 radio singles in Canada as a solo artist, including “Weapon,” “In A World Called Catastrophe,” “Alert Status Red,” “Born Losers” and “Last Parade.”

When I Mother Earth first ended their eight Year Hiatus in March of 2012 they did so by putting a countdown clock on their website that expired just in time for the band to perform two sold out shows in Toronto.  In 2016 they turned the clock back 20 years back to be exact and reunited with the bands original vocalist Edwin to celebrate the 20th anniversary of critically acclaimed multi Platinum album Scenery and Fish.  This reunion caused the band to tour nationally for the first time since ending their hiatus. The album Scenery and Fish generated four Top 10 Hits in Canada with Raspberry”, “Another Sunday”, “Used to be Alright”, and “One More Astronaut”but it’s the new music on the horizon and the opportunity to dive into their first record Dig that has both the fans and the band excited to explore.  The debut record featured four top singles as well.  “Levitate”, “Rain Will Fall”, “So Gently We Go” and “Not Quite Sonic” all hold a distinct place in the Hearts of I Mother Earth fans.

I Love Lucy Scene Highlights the Chaos of English Words Ending in “OUGH”

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English is tough. Or is it “tough-enough-through-cough”? Ricky Ricardo finds out the hard way in a classic I Love Lucy moment that proves the English language needs a timeout.

1000 Musicians Perform “Another Brick in the Wall” Live in Portugal with Rockin’1000

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Take one iconic stadium, one iconic Pink Floyd song, and 1,000 musicians from around the world. Rockin’1000 turned “Another Brick in the Wall” into a worldwide rock choir—and it’s glorious.

Too Many Zooz Bring Jazz Mayhem to a 1940s Swing Dance Party In “Carvan” Music Video

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Too Many Zooz didn’t just cover “Caravan”—they kicked down the doors of a 1940s swing hall and blew the roof off. Vintage vibes, modern brass, and enough groove to make your grandpa dance again.

The Cult Headed to OLG Stage at Fallsview Casino This October

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The legendary English rock band The Cult, known for fusing elements of gothic rock, hard rock and psychedelia over the decades, will take the OLG Stage at Fallsview Casino on Thursday, October 9, 2025 with their North America 8525 tour. Joining The Cult is special guest Death Cult. Tickets go on sale on Friday, July 18 at 10:00am through ticketmaster.ca.

“The Cult has a special connection to Canadian fans and we are thrilled to bring this iconic band to the OLG Stage at Fallsview Casino,” says Cathy Price, Vice President of Marketing and Resort Operations at Niagara Casinos. “The Cult is known for their exceptional live performances, and we are counting down the days!”

The Cult formed in 1984 England, with the seminal post-punk band going on to sell millions of albums with numerous international and U.S. gold and platinum certifications. Ian Astbury (vocals) and Billy Duffy (guitar) have released 11 studio albums over The Cult’s career. The band, dubbed “Shamanic goths”, found international renown with the 1985 album, Love, which featured the enduring rock anthem “She Sells Sanctuary,” as well as the oft-heard follow-up single, “Rain.” Electric arrived in 1989, with journalists saying the collection of songs (particularly “Love Removal Machine,” “Wild Flower,” and “Lil’ Devil”) “swaggers, crunches and howls.” Most recently, The Cult released Under the Midnight Sun. In late 2023, Astbury and Duffy reformed Death Cult for a series of live performances and sold out shows – and 2025 marks more outstanding performances including a stop at the OLG Stage at Fallsview Casino.

Tom Petty and the Heartbreakers Artifacts Join Rock Hall Exhibit

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The Rock & Roll Hall of Fame is excited to welcome new artifacts from 2002 Rock & Roll Hall of Fame Inductees and legendary rock band, Tom Petty and the Heartbreakers, into the Museum’s Main Exhibit Hall. 

From studio notes and handwritten lyrics to backstage passes and tickets stubs, this new display tells the story of Tom Petty and the Heartbreaker’s groundbreaking 1982 album, Long After Dark, from the earliest stages through its subsequent tour.

Featured in the exhibit is Petty’s acoustic guitar, a piece he played at home, used in the studio and took with him on the road, the music video script from the “You Got Lucky” music video, and cassette tapes from a 1982 tour stop in Edinburgh, Scotland among other artifacts.  

Despite it being a golden era of The Heartbreakers playing at the height of their powers, Long After Dark is widely known as the band’s most misunderstood and underrated success. The album, the band’s third and final project with legendary producer Jimmy Iovine, features an edgy collection of rock ballads and guitar anthems backed by the unmistakable sound of The Heartbreakers with the new addition of Howie Epstein on bass and backing vocals.

In 1982, fans were able to experience the folklore of Long After Dark in the cult-classic documentary, TOM PETTY: HEARTBREAKERS BEACH PARTY. A rowdy era-defining look at rock & roll, the film takes place during the finalizing, promoting and touring of Tom Petty & the Heartbreakers’ Long After Dark. Directed by Academy Award-winning director Cameron Crowe (Almost Famous, Jerry Maguire), the film originally aired only once on MTV in February 1983. Last year, The Petty Estate, in partnership with Trafalgar, facilitated the critically acclaimed documentary’s theatrical and streaming debuts which will have a special showing at the Rock & Roll Hall of Fame later this year.

The 15 Most Underrated Drummers in Rock

While guitar gods and lead singers take the limelight, rock’s heartbeat has always lived in the back — behind the kit. These drummers shaped genres, broke rules, and made songs soar, often without the credit they truly deserve. Here are 15 drummers who deserve louder applause.

Abe Cunningham (Deftones)
His grooves glide like silk and hit like bricks. Abe’s drumming turns Deftones songs into atmospheric rollercoasters — nuanced, dynamic, and always in control, even when chaos erupts.

Barrett Martin (Screaming Trees, Mad Season)
Barrett fused grunge with global rhythms and jazz timing. His drumming wasn’t just backing — it was breathing. The quiet mystic of the drum world, with thunder in his hands.

Bill Berry (R.E.M.)
He wrote “Everybody Hurts,” left the band at their peak, and made every beat matter. R.E.M.’s backbone was subtle, smart, and soulful — and his absence was always felt.

Bill Ward (Black Sabbath)
More than just heavy — Bill brought jazz chops to doom metal. His fills were fluid, unpredictable, and full of fire. Sabbath wouldn’t have been the same without his swing.

Brendan Canty (Fugazi)
He played like the floor was lava. Explosive, precise, and politically charged, Canty drummed with the urgency of a revolution and the discipline of a conductor.

Charlie Benante (Anthrax)
Thrash metal’s secret MVP. His double-kick fury, punk speed, and tight fills made Anthrax one of the most rhythmically thrilling bands of the Big Four — and he’s a killer riff writer, too.

Chad Gracey (Live)
A master of dynamics. Chad made every snare crack and tom rumble feel like a heartbeat. His work on Throwing Copper is a clinic in restraint and release.

Clem Burke (Blondie)
A glam-punk hybrid with Keith Moon flair. Clem added adrenaline to Blondie’s polished pop, bringing urgency, drama, and the best hi-hat work this side of CBGB.

Doug Clifford (Creedence Clearwater Revival)
Simple on the surface, genius underneath. “Cosmo” had groove for days and the unshakable steadiness that let Creedence boogie down bayous and Vietnam soundtracks alike.

Gina Schock (The Go-Go’s)
Powerful, precise, and never playing it safe. Gina’s drumming gave The Go-Go’s punk bones under all that pop sugar. Listen to Beauty and the Beat again — she owns it.

Jody Stephens (Big Star)
There’s a wistful swing in every beat. Jody brought emotional depth to Big Star’s power pop — loose but never sloppy, like the sound of someone chasing down heartbreak with hope.

Phil Collins (Genesis)
Yes, he sang and sold out stadiums — but Phil’s drumming was explosive, experimental, and deeply musical. His work on The Lamb Lies Down on Broadway alone is a prog masterclass.

Reni (The Stone Roses)
Reni blended breakbeats, funk, and Madchester groove into something entirely his own. His rhythms danced and swaggered, holding down the band even as they floated into psychedelia.

Stephen Morris (Joy Division, New Order)
He played like a drum machine with a soul. Stephen’s cold, mechanical precision helped define post-punk — but listen closer, and you’ll hear endless texture and tension.

Tony Thompson (Chic, The Power Station)
A funk legend who slid into rock like he owned it. When musicians need a solid backbone, they called Tony. He could groove a stadium into orbit.

10 Tips for Balancing Aa Day Job With A Music Career

You dream in lyrics, live for rehearsals, and somehow still show up to that morning meeting with a coffee and a smile. Whether you’re an indie rocker, jazz pianist, or bedroom producer, juggling a day job and a music career is the ultimate double life — and you’re not alone. Here are 10 fun, practical, and slightly rockstar-approved tips to help you balance it all like a legend-in-the-making.


1. Treat Your Calendar Like Your Tour Manager
Your schedule isn’t just paper — it’s your stage plot. Carve out time for practice, shows, work, sleep and yes, breathing. Google Calendar isn’t glamorous, but neither is burnout.

2. Mornings Are for Mindset, Not Just Muffins
Start your day with 5 minutes of intention. Read a lyric, hum a melody, or journal your goals. This isn’t fluff — it’s focus, and it sets the tone before the day job dials in.

3. Use Your Commute Like a Music School
Whether you’re on a train, bus, or stuck in traffic, that’s rehearsal time, baby. Listen to demos, vocal warm-ups, music business podcasts, or even write lyrics in your notes app.

4. Say “No” Like a Rock Star in Sunglasses
Not every gig is the gig. Choose shows and sessions that align with your goals. Respect your time, your energy, and your day job PTO — you’ll thank yourself later.

5. Make Weekends Sacred (for Creativity, Not Just Groceries)
Saturdays are for soundchecks. Sundays are for songwriting. Plan ahead and use weekends for deep creative work — then reward yourself with a pizza and a nap.

6. Batch Your Life Like a Pro Producer
Group similar tasks — band emails, merch orders, social media posts — into one focused session. You’ll save time, skip stress, and maybe even get to bed before midnight.

7. Let Your Boss Know You’re in a Band (But Don’t Shred in the Break Room)
Be honest. Most managers appreciate passion. Letting them know you’re in music builds trust and might earn you flexibility — or at least curiosity and a fan or two.

8. Use Vacation Days Strategically, Like Festival Slots
Save those precious days off for recording, mini-tours, or recovery time after late-night gigs. You’re not slacking — you’re managing two careers with Grammy-level precision.

9. Keep Your Gear Ready to Go, Like Batman
Your mic, cables, and guitar shouldn’t be tangled under a pile of laundry. Set up a corner of your home like a mini studio. Convenience = consistency.

10. Remember: Progress Over Perfection
Not every week will be gold records and standing ovations. But every practice, post, and performance adds up. Keep showing up. The balance is in the becoming.

79 Surprising Facts About Linda Ronstadt

Today we celebrate 79 magical, musical, magnificent years of Linda Maria Ronstadt — the voice that could soar from rock arenas to opera houses, mariachi fiestas to lullaby dreams. In her honor, here are 79 fun and whimsical facts about the First Lady of Rock, the Queen of Crossover, and the Patron Saint of Perfect Harmony.

Linda was born on July 15, 1946, in sunny Tucson, Arizona.

Her family had a 10-acre ranch with cows, chickens, and harmonies.

As a kid, she sang Mexican folk songs and Broadway tunes in the same breath.

Her dad played boogie-woogie on the piano — he was cool like that.

Linda’s mom loved Gilbert & Sullivan and passed on the drama gene.

Her great-grandfather made wagons. Her other grandpa invented the rubber ice cube tray.

At 14, she formed a band with her siblings called The Union City Ramblers.

She dropped out of the University of Arizona to chase rock dreams in L.A.

Linda’s big break? Singing “Different Drum” with the Stone Poneys.

That song was written by Monkee Michael Nesmith. Monkey business indeed.

Her first solo album was called Hand Sown…Home Grown.

Critics call it the first alt-country album by a woman.

In the early ’70s, she toured with The Doors and hung with Neil Young.

Linda helped form the Eagles. Yes, that Eagles.

She had a pet duck named Conrad. 🦆

Her 1974 album Heart Like a Wheel hit #1 on the Billboard 200.

“You’re No Good” became her first and only #1 single.

She was the first female rock star to sell out arenas.

Rolling Stone put her on the cover six times — Annie Leibovitz took the most iconic one.

Time magazine called her “Torchy Rock” and she hated that headline.

She sang barefoot on stage because she wanted to feel grounded.

Her stage outfits included roller skates and short shorts — iconic.

She turned “Blue Bayou” into a global weepy wonder.

She duetted with Aaron Neville, James Ingram, and Homer Simpson.

Linda’s version of “When Will I Be Loved” was better than the Everlys. (Sorry, boys.)

She recorded an entire album of lullabies — and it won a Grammy.

She once sang “Tumbling Dice” because Mick Jagger told her to.

She could sing country, rock, opera, jazz, and Spanish — sometimes all in one show.

Linda was the original “Trio” member with Dolly Parton and Emmylou Harris.

Their harmonies were so good, they got a star on the Walk of Fame.

Her 1983 album What’s New revived the Great American Songbook.

She recorded it with legendary arranger Nelson Riddle.

She sang at Carnegie Hall, Radio City, and her backyard.

Canciones de Mi Padre became the best-selling non-English album in U.S. history.

She won a Grammy for it — her Spanish is smoother than flan.

Linda once performed opera in The Pirates of Penzance and earned a Tony nod.

She sang “Poor Wandering One” like a soprano angel.

Her albums have gone gold, platinum, and multiplatinum so many times, we’ve lost count.

She’s collaborated with Philip Glass, Frank Zappa, and Flaco Jiménez.

She sang with Paul Simon on Graceland. “Take this child, Lord, from Tucson…”

Her 1989 duet “Don’t Know Much” with Aaron Neville hit #2 on Billboard.

She sang for the Dodgers at the World Series in 1977.

She’s been nominated for 27 Grammy Awards.

She won 11 Grammys. One for each octave she seems to have.

She’s in the Rock and Roll Hall of Fame — finally inducted in 2014.

Her live shows often featured cowboy boots and string sections.

She voiced herself in The Simpsons. Homer was a fan.

She helped popularize artists like Warren Zevon and Elvis Costello.

She once appeared on Sesame Street and sang to a muppet.

Linda has a star on the Hollywood Walk of Fame… and shared one with her Trio sisters.

She recorded a Cajun-influenced album with Ann Savoy called Adieu False Heart.

Her autobiography is called Simple Dreams. It’s dreamy.

She once said, “Music is meant to lighten your load.”

Linda called Ella Fitzgerald and Maria Callas her guiding lights.

Her version of “Desperado” is pure heartbreak in three minutes.

She sang in 6/8 time like it was second nature.

She sang for the Obamas. Twice.

She refused to lip-sync, ever.

She once sang on The Johnny Cash Show.

She dated California governor Jerry Brown — before he was governor. Twice.

Her greatest hits album sold over 7 million copies in the U.S.

Her music helped define the soundtrack of the 1970s.

She once said her concerts were like “church with beer.”

She sang harmony so well, she made Neil Young cry.

She appeared in the film FM — as herself.

She learned songs phonetically in French and Italian just to sing them right.

In the ‘90s, she recorded lullabies, country, and Afro-Cuban music.

She toured Japan, Australia, and the world — often with a mariachi band.

She loved Tucson so much, they named a music hall after her.

She was a Kennedy Center honoree in 2019.

She once said: “I don’t sing unless I believe it.”

Her music has been covered by everyone from Trisha Yearwood to Sarah Brightman.

She made stage fright seem charming.

Linda never wrote many songs — but interpreted like nobody else.

Her voice was described as “the most sterling pipes of her generation.”

She recorded with the Chieftains and sang in Irish Gaelic.

She’s sold over 100 million albums worldwide.

Her 1976 album cover featured her in a pigpen. Yes, really.

She changed music forever just by being Linda.