Classic Hits

After weeks of teasing fans, The Rolling Stones have finally spilled the beans about their new music.

The band has revealed that their next album, Foreign Tongues, will be released July 10. They also dropped the album’s first single, “In the Stars,” which is available now via digital outlets. 

While “In the Stars” is the first single, it’s actually not the first taste fans have gotten of the album. The opening track, “Rough and Twisted,” was released in April as a white label vinyl under the name The Cockroaches. It has now been released digitally.

Like their last album, 2023’s Grammy Award-winning Hackney Diamonds, Mick Jagger, Keith Richards and Ronnie Wood worked with producer Andrew Watt on the 14-track Foreign Tongues. It was recorded in under a month at London’s Metropolis Studios and is described as a “dynamic and forward-looking record that captures the band’s unmistakable sound while pushing into new sonic and lyrical territory, further cementing their unparalleled legacy.”

Foreign Tongues features an appearance by the band’s late drummer, Charlie Watts, taken from one of his final recording sessions before his death in 2021. It also features guest appearances by such A-list artists as Paul McCartney, Steve Winwood, The Cure’s Robert Smith and Red Hot Chili Peppers drummer Chad Smith.

Foreign Tongues will be released in a variety of formats and is available for preorder now.

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The Who has dropped another performance from their upcoming album, Live at Eden Project. It’s a recording of their July 2023 concert at Cornwall’s Eden Project, the home of a sustainable network of biomes in the English countryside.

The latest is a live performance of “You Better You Bet,” the hit single from The Who’s 1981 album Face Dances, which is now available on YouTube.

The Who’s Eden Project concert was part of their The Who Hits Back! tour, which saw Roger Daltrey and Pete Townshend backed by the Heart of England Philharmonic Orchestra. It featured performances of “Pinball Wizard,” which the band previously released, as well as “Who Are You,” “My Generation,” “Won’t Get Fooled Again,” “Baba O’Riley” and more.

Live at Eden Project will be released May 29. It is available for preorder now.

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Two-time Rock & Roll Hall of Famer Stevie Nicks was one of the special musical guests at Monday night’s Met Gala in New York, where she shared the stage with pop star Sabrina Carpenter.

According to Vogue, Stevie and Sabrina, one of the co-chairs of the Gala, opened up the performance with a collaboration on Stevie’s iconic Fleetwood Mac song “Landslide,” before Stevie performed the Fleetwood Mac hit “Gypsy” and her solo classic “Edge of Seventeen,” on her own. Stevie then closed the night with another Fleetwood Mac classic — “Don’t Stop” — joined by Sabrina and a 12-person choir.

The “Don’t Stop” performance comes a little over a week after she performed the tune at New Orleans Jazz Fest, which was her first performance of the track in 15 years.  The song is normally sung by Lindsey Buckingham and Christine McVie.

Stevie’s appearance at the high-profile New York event marked her Met Gala debut. On the red carpet, she wore a custom midnight blue and black Zara gown designed by John Galliano, as per People. The gown featured an enormously wide skirt, topped with a velvet and silk taffeta jacket. She crowned the look with one of her signature top hats.

Vogue reports that for her performance, Stevie wore a vintage Morgane LeFay dress and Margi Kent jacket.

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Rolling Stone is highlighting iconic guitar solos in its latest staff-curated list.

The mag has just released its picks for the 100 greatest guitar solos of all time, with tunes by such artists as Jimi Hendrix, Pink Floyd, the Eagles and more making the cut. The mag says criteria for songs making the list are that the solo “makes the song; can be sung or hummed; doesn’t repeat the main melody.”

Prince’s iconic tune “Purple Rain” tops the list, with Hendrix’s “Machine Gun” landing at #2. The mag writes that the Hendrix solo is “Hendrix at his most Hendrix,” noting it’s “the most ambitious, raw, soulful, go-for-broke expression of his musical genius.”

Coming in at #3 are the dueling guitar solos of the Eagles’ “Hotel California,” followed by David Gilmour’s solo in Pink Floyd’s “Comfortably Numb” at #4 and Eddie Van Halen’s solo on Van Halen’s “Eruption” at #5.

Rounding out the top 10 are Chuck Berry’s “Johnny B. Goode” at #6, Led Zeppelin’s “Stairway to Heaven” at #7, Steely Dan’s “Kid Charlemagne” at #8, Funkadelic’s “Maggot Brain” at #9 and The Beatles’ “While My Guitar Gently Weeps” at #10.

And while Rolling Stone may think these are the greatest guitar solos, they aren’t necessarily what your average guitar fan likes to play.

According to the mag, Guitar Center recently conducted a poll to find the most-played guitar riffs at its stores, with Metallica’s “Master of Puppets” landing at #1.

Guns N’ Roses’ “Sweet Child O’ Mine” comes in just behind Metallica at #2, with The White Stripes’ “Seven Nation Army,” Nirvana’s “Smells Like Teen Spirit” and John Mayer’s “Slow Dancing in a Burning Room” rounding out the top five.

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Ocean’s Eleven director Steven Soderbergh will premiere his new John Lennon and Yoko Ono documentary at the Cannes Film Festival, which runs May 12-23.

The film, John Lennon: The Last Interview, centers on Lennon’s final interview, which he and Ono sat for just hours before he was shot and killed on Dec. 8, 1980. The interview took place at the couple’s New York apartment, The Dakota, and was tied to the release of their album Double Fantasy.

Much has been made about Soderbergh’s use of AI in making the film, but in a new interview with Deadline, he insists it wasn’t used “to fool somebody or manipulate them” into thinking something’s real. Instead, he says, it was used like “VFX or CGI or any sort of non-photographic technology.”

“I think people, when they heard about this project and that I was using AI tech, jumped to the absolute worst conclusion, which is, ‘He’s going to try and bring John Lennon back to life,'” he says. “And all I can say is, have we met? Do I look like somebody that would do that?”

Soderbergh says he felt a “moral obligation” to himself, Ono, Lennon’s son Sean Lennon and the audience to make “the best version of this film, period,” noting, “And we were able — luckily, through good timing — to get our hands on some tools that I know resulted in the best version of this film.”

When it comes to the actual Lennon and Ono interview, Soderbergh says he was surprised by “how excited they were to talk about everything and anything.” He notes, “You’d think listening to them that they’d never been interviewed before. They had like no filter at all.”

Copyright © 2026, ABC Audio. All rights reserved.

Ocean’s Eleven director Steven Soderbergh will premiere his new John Lennon and Yoko Ono documentary at the Cannes Film Festival, which runs May 12-23.

The film, John Lennon: The Last Interview, centers on Lennon’s final interview, which he and Ono sat for just hours before he was shot and killed on Dec. 8, 1980. The interview took place at the couple’s New York apartment, The Dakota, and was tied to the release of their album Double Fantasy.

Much has been made about Soderbergh’s use of AI in making the film, but in a new interview with Deadline, he insists it wasn’t used “to fool somebody or manipulate them” into thinking something’s real. Instead, he says, it was used like “VFX or CGI or any sort of non-photographic technology.”

“I think people, when they heard about this project and that I was using AI tech, jumped to the absolute worst conclusion, which is, ‘He’s going to try and bring John Lennon back to life,'” he says. “And all I can say is, have we met? Do I look like somebody that would do that?”

Soderbergh says he felt a “moral obligation” to himself, Ono, Lennon’s son Sean Lennon and the audience to make “the best version of this film, period,” noting, “And we were able — luckily, through good timing — to get our hands on some tools that I know resulted in the best version of this film.”

When it comes to the actual Lennon and Ono interview, Soderbergh says he was surprised by “how excited they were to talk about everything and anything.” He notes, “You’d think listening to them that they’d never been interviewed before. They had like no filter at all.”

Copyright © 2026, ABC Audio. All rights reserved.

Don McLean has dipped into his archives for a new album of previously unreleased recordings.

Don McLean & The Jordanaires: Rehearsals For Carnegie Hall is out now, featuring 10 previously unheard performances taken from rehearsals for McLean’s 1984 show at Carnegie Hall with the vocal quartet The Jordanaires.

“These recordings take me right back to that moment in time,” McLean says. “There was something very special about hearing my songs come alive in the room with The Jordanaires. They brought such warmth, soul, and history to everything they touched.”

He adds, “What you hear on Rehearsals For Carnegie Hall is real music in its purest form — unguarded, heartfelt, and full of life. I’m thrilled that people finally get to hear and see this chapter of my journey.”

To coincide with the release, McLean has launched a new video series, Rehearsal Series: Carnegie Hall, on his official YouTube page, with the first release a recording of the rehearsal for the iconic tune “Crying.” A new rehearsal clip will premiere every Saturday at 7 a.m. ET through July 11.

Here is the track list for Don McLean & The Jordanaires: Rehearsals For Carnegie Hall:
“Crying (Rehearsals For Carnegie Hall)”
“Dig A Little Deeper (Rehearsals For Carnegie Hall)”
“It Doesn’t Matter Anymore (Rehearsals For Carnegie Hall)”
“It’s Just The Sun (Rehearsals For Carnegie Hall)”
“Jerusalem (Rehearsals For Carnegie Hall)”
“Believers (Rehearsals For Carnegie Hall)”
“Left For Dead on the Road of Love (Rehearsals For Carnegie Hall)”
“Love Hurts (Rehearsals For Carnegie Hall)”
“Tulsa Time/Deep In The Heart Of Texas (Rehearsals For Carnegie Hall)”
“Your Cheatin’ Heart (Rehearsals For Carnegie Hall)”

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Rush will launch their Fifty Something tour in June, their first since the death of drummer Neil Peart in 2020. In a new interview with The New York Times, frontman Geddy Lee explains why they felt the need to do so.

“In the back of my mind and in the back of my heart, it’s felt like unfinished business, like we owed him a proper thank you and a celebration,” Lee says. “Not a morbid, funereal type of thing. We want to celebrate the wonderful music the three of us spent almost 50 years writing together.”

Sitting behind the drum kit for the tour will be Anika Nilles, who says when she first started working with Lee and guitarist Alex Lifeson they gave her insight into working with Peart.

“I got a really good idea of what Neil was to the guys as a band member, but also as a friend. So you cannot replace that, you know?” she says. “I’m basically here to help them to get their music back onstage and make it feel right for them and make it feel right for the fans.”

Lee and Lifeson have credited their participation in the 2022 Taylor Hawkins tribute shows with planting the idea of them returning to the road without Peart. Lee notes the shows “taught us something really important about music. A band can end, but the music lives on.”

“I think for a while we put Rush in a box and put that box in our closet, and it’s almost like we felt weird to open the closet and open that box,” Lee says, noting after the Hawkins shows, “It’s like we had taken the box out of the cupboard and we had opened it up. And you know what? It was OK.”

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Alex Ligertwood, best known as one of the vocalists for Santana, has died. He was 79. His wife, Shawn Brogan, announced the news on her Facebook page, noting he “passed away peacefully in his sleep.” 

“It’s with great sadness and heartache to announce the passing of my sweet dear Alex Ligertwood, my husband of 25 years, we knew each other for 36 years,” Brogan wrote. “He touched so many with his extraordinary voice. He was all heart and soul. His favorite thing in life was to make music, sing and to share his gift with us.”

She added, “He performed his last show just two weeks ago. I’m grateful for that. He did it his way, on his terms, till the end. I will always love you, my sweet Alex. Rest in peace. Soar and sing with the angels, my love.”

Ligertwood’s tenure with Carlos Santana’s group started in 1979. He had five different stints with Santana until 1994 and appears on such classic Santana tunes as “Winning,” “Hold On” and “You Know That I Love You.” He performed with the group at such high-profile shows as 1982’s US Festival and 1985’s Live Aid.

In addition to Santana, Ligertwood performed with the Jeff Beck Group, British jazz-fusion ensemble Brian Auger’s Oblivion Express Band and more.

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Eagles are returning to Las Vegas this fall.

The Rock & Roll Hall of Fame band has announced six new shows of their Sphere residency: Sept. 18 and 19, and Nov. 13, 14, 27 and 28.

Registration for a presale that begins Wednesday at 10 a.m. PT is now open. Tickets will go on sale to the general public starting Friday at 10 a.m. PT.

The new dates will extend the Eagles’ record for the longest-running residency at the Sphere with 64 shows. They launched the residency on Sept. 20, 2024.

Meanwhile, Eagles headlined New Orleans Jazz Fest on Saturday but apparently had to cut their set short due to a health issue in the band.

NOLA.com reports that Eagles left the stage with 25 minutes remaining in their set, leaving out their classic ballad “Desperado.” According to the site, they ended their set after “the band’s piano player went limp and was carried offstage.” 

“Without him, they had to skip the piano-heavy ‘Desperado,'” the site explained.

It’s not that the audience hadn’t already been treated to a hit-filled show. According to setlist.fm, the band’s set featured performances of such classics as “Hotel California,” “Heartache Tonight,” “Already Gone,” “Take it to the Limit,” “Life’s Been Good,” “Take It Easy,” “One of These Nights,” “Lyin’ Eyes” and more.

Next up, Eagles will bring their The Long Goodbye Act III tour to Atlanta on Tuesday. A complete list of dates can be found at Eagles.com.

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