This August 10th-12th, Palm Springs will see another enticing return of Splash House. The music filled weekend is returning for its second run of their 6th year for the summer bash. The festival is spanned over multiple venues that festival attendees will shuttle between. Saguaro, Riviera Resort, and The Renaissance, will each hold a lineup of it’s own filled with some of the finest house music artists; as well as an incomparable after-party setting at the Palm Springs Air Museum. Photo Credit – Splash House Photo Credit – SH As you read on, listen to the sounds of Splash House August 2018. If you have yet to experience the one-of-a-kind festival, think Las Vegas pool parties with more of a retro vibe and less of the ‘in-your-face’ spring break attitude. Balconies, pools, and the much more of Palm Springs become filled with colorful, like-minded individuals who rolled into the charming city for a weekend of fun and good vibes. The ‘boutique-like’ festival creates a vibe of its own from the music, to the quality production and desert resort comforts. Photo Credit – SH Photo Credit – SH The festival was created by Tyler McLean, along with his sister Kelly, who have been partnered with Goldenvoice (who you may know for Coachella) since 2014. The creation stemmed from an age gap in Palm Springs vacationers after the city made many attempts to lure in the ‘college crowd’ but had failed due to lack of overindulgence like that of Las Vegas or Cabo. Photo Credit – SH Photo Credit – SH Photo Credit – SH Next month we can expect to get down and noodle to funky beats from Louis The Child, Gorgon City, Dateless, Walker & Royce, Kyle Watson, Will Clarke and so many more! Once the sun goes down, attendees will enjoy the unique scenery of vintage museum aircrafts, while dancing the night away to sounds of The Black Madonna – leader of the underground dance world, party-house maestro FISHER, ‘FK a Genre’ frontwoman – Mija, Noizu – OWLSA’s most recent up and comer, and a back-to-back set from LA’s A Club Called Rhonda curators Goddollars & Paradise. See the full lineup below! Photo Credit – Splash House Photo Credit – Splash House Photo Credit – Splash House Check out the official Splash House August 2018 Teaser Video! Relive Splash House June with our Photo Tour. Quick! Grab your passes and book your rooms here while they last! Follow Splash House: Website | Facebook | Twitter | Instagram |
Dio guitarist Craig Goldy said he was planning to complete a song that included some vocal work by the late singer. They’d been collaborating on the track before Ronnie James Dio’s death in 2010, but didn’t get to finish it. “It was one of the proudest and saddest times in my life because at that time, Ronnie was still in Heaven and Hell,” Goldy told All That Shreds. “He was given a clean bill of health by his doctor. So his doctor said, ‘Okay, you can do anything you want to do.’ … He said, ‘I want to write with Craig.’” Goldy said they started writing, but only “as far as one song and the vocal bridge, he never got a chance to finish. So we’re going to pick someone special. Wendy [Dio] let me write the lyrics and melody lines … and so now we’re going to find the right person to finish the song. We’ll bring it into the studio and have real drums, bass, keyboards and guitar on it. There will be Ronnie’s voice. … Ronnie wrote this material about what was going on in his life at the time. So I tell people, it’ll be emotionally difficult to listen to, but at the same time, people are going to be like, ‘This is definitely Ronnie’.” Goldy’s band Dio Disciples recently announced plans to release an album of all-new material, which drummer Simon Wright later said wouldn’t sound like the older band. “Ronnie will always be with us, his spirit and all,” he said. “We’ll see what the hell comes out. So far it’s sounding really good.” Meanwhile, Julien’s Auctions announced a Dio-themed event at New York’s Hard Rock Cafe on Sept. 14 and 15. Lots on offer will include a guitar, some of Dio’s stage props and clothes, a road case and a painting that was used as the cover for 1983 Dio album The Last in Line, which is expected to sell for as much as $30,000.
Alexander Lewis brings us the 98th Too Future guest mix, a producer who has stands out by incorporating live horns into his music and shows. His organic and progressive style has earned him a loyal following around the world and helped him dominate the trap scene. He’s already delivered what is easily one the hottest tracks of 2018 with his remix of Troyboi’s “Flamez”, which you can miraculously pick up as a free download. Now Alexander Lewis no-holds barred, runs the trap, creating one of the best mixes of the year, Too Future #98. To kick start the mix, he weaves flute samples over trap, a perfect concoction of sounds. Then he just lets that trap run and run and run. Included in his 30 minute set are songs from Mr. Carmack, Mura Masa, Medasin as well as some unreleased material from the man himself. Scope the entire tracklist below. Plug into the entire mix and you will soon expect nothing but big things out of Alexander Lewis in 2018. Too Future. Guest Mix 098: Alexander Lewis | Free Download Tracklist: Flute Loop – Keys n Krates ft. OuiciForest – ThookHell – Mura MasaAll of the Lights – Alexander Lewis x BrasstracksBig Cats – Rustie ( Porter Edit)Humble – Skrillex RemixHumble – Skrillex Remix (Whipped Cream Edit)Higher – Just Blaze & Baauer (Y2K Remix)Murder – Lido (Alexander Lewis x Y2K Remix)Soundclash – Flosstradamus & TroyboiLong Distance – Sam GellaitryHigher Ground – TNGHT (Brasstracks Remix)Flamez – Troyboi (Alexander Lewis Remix)So Nice – Alexander Lewis ft KRNETerritory – MedasinKick it up x Throw Some D’s EditHunnid on the Drop – Montell2099 ft 21 Savage (Mr. Carmack Remix)Valhalla – RL Grime ft. Djemba DjembaHellifornia – Gessaffelstein (KRNE Edit)ID – Alexander Lewis ft. William $ID – Alexander Lewis ft. Armani WhiteKaaris Charge – (Alexander Lewis Remix)New Rules – Dua Lipa (Alison Wonderland remix)Bodak Yellow – Cardi B (Y2K Remix) (Alexander Lewis trombone flip)Clockwise – Alexander Lewis ft. Nick Row Make sure to re-listen and download for free of Lewis’ take of Troyboi‘s “Flamez”. Keep up with this trap lord by following him on his social media handles linked below. Follow Alexander Lewis: Facebook | Instagram | Twitter | SoundCloud
Former Judas Priest guitarist K.K. Downing revealed he’d always had doubts over the band’s image in a quote from his upcoming memoir. Their leather-and-studs look has been referred to as having helped define heavy metal in its early years, along with groundbreaking albums such as 1980’s British Steel. “I don’t remember exactly when the thought first entered my head, but I can remember thinking on more than a few occasions, ‘You know, I’m really not sure about our image,” Downing is quoted on the back cover of Heavy Duty: Days and Nights in Judas Priest, which will be published on Sept. 18. “On reflection, I think Judas Priest had a bit of an identity crisis from the beginning. There was always a bit of a question mark about the band’s look. To me, it never seemed to say anything — and in the earliest days of our career, I suppose I actually saw that as a good thing.” His comment appears to justify his earlier assertion “some of the details [in the book] will surprise you just as they did me as I lived through them.” “Recollecting my life as I have done in this book has often brought me to close to tears, but has also made me laugh with the fondest memories,” he said. “It is true that I have made many friends along the way, but it is also true that I have made some enemies. But one thing is for sure: The music that has been everything to me has not only been my salvation, but has also brought me closer to the people of so many nations — and I can honestly say that I consider all of you to be my very dear friends.” Downing left the band in 2011, although he remains a director of its company. Earlier this year, he said he’d been “shocked and stunned” that Priest hadn’t invited him to rejoin when fellow guitarist Glenn Tipton’s health issues forced him to step back from touring. The band’s latest album, Firepower, became their highest-charting release when it came out in March.
Imagine Music Festival is returning for their 5th run of the inviting weekend in Atlanta. The expeditious growth of the festival has them bringing in heavy hitters for their special celebration. This year we will see the sounds of Bassnectar, Kaskade, Armin Van Buuren, Galantis, and a plethora of more. We have seen many changes and advancements to the aquatic fairytale over the years; from the venue change to the growing number of tickets sold. From what started with 6,000 tickets sold in 2014, Imagine organically built a following; with over 30,000 attendees in 2016. We followed the festive event from its original location at 4th Ward Park to it’s now permanent location at Atlanta Motor Speedway. In 2015 and 2016, thatDROP hosted a Meet & Greet booth where fans were able to meet their favorite artists, get autographs, and snap a picture. The exciting attraction in 2015 saw the faces of Brillz, Morgan Page, The Glitch Mob, & ill.Gates; followed by 2016, which was full of laughs with Snails, Cosmic Gate, BTSM and Cazzette. Being Atlanta’s longest running EDM festival, & being such a special event, we thought it would be appropriate to take a look back at the fun over the past years. Take a walk with us through the history of Imagine Music Festival… 2014 – The start of it all… 2014 Lineup Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival Photo Credit – Imagine Music Festival 2015 – thatDROP.com Hosts First Meet & Greet Booth! 2015 Lineup Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – thatDROP.com Photo Credit – thatDROP.com Incendia fire dome Photo Credit – IMF Brillz – Photo Credit – thatDROP.com thatDROP Squad with The Glitch Mob – Photo Credit – thatDROP.com 2016 – Lets Do This Again! 2016 Lineup The Glitch Mob – Photo Credit – thatDROP.com Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – thatDROP.com BTSM Meet & Greet – Photo Credit – thatDROP.com 2017 – “This Ain’t Our First Rodeo” 2017 Lineup Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Photo Credit – IMF Chris & Becky Lyda, Iris Presents -Photo Credit – IMF 2018 – 5 Year Anniversary Join us, you won’t wanna miss this. 2018 Lineup See more on the 5th Anniversary Celebration HERE! We can’t wait to wiggle with you! Get your tickets HERE. Follow Imagine Music Festival 2018:
Along with full details about An American Treasure, a new Tom Petty box set that puts a spotlight on lesser known and previously unreleased songs, came the collection’s first single, “Keep a Little Soul,” an outtake from the sessions for 1982’s Long After Dark. Prior to the official announcement, a segment ran on CBS This Morning that offered a preview of the track and video, which features never-before-seen footage of Petty and the Heartbreakers. Petty’s widow Dana and daughter Adria reportedly found “a trove” of unreleased material while going through his storage and worked from there. “The criteria was songs that we all felt really said something about dad,” Adria told Anthony Mason on the show. “It’s such a strange thing to lose someone like him. He was much cooler than people could imagine. And I think a lot of people thought he was pretty cool.” You can watch the video below. In addition to Dana and Adria, who served as the box’s executive producers, longtime Heartbreakers Mike Campbell and Benmont Tench and Petty’s engineer Ryan Ulyate compiled the track listing. “Everyone involved in this project chose each track with tremendous care and deep respect for the body of work Tom Petty created over the course of 40 years,” the Pettys said. “He also accumulated a wealth of unreleased music in his vaults, and we have collectively uncovered one gem after another that will keep us all listening and discovering new facets of Tom’s talent for many years to come. We can’t wait to share with Tom’s fans this musical portrait of an artist who deeply affected our culture and indelibly touched the lives of fans the world over.” The Deluxe Edition of An American Treasure — which arrives on Sept. 28 — includes 60 tracks spread out over four CDs, with each devoted to a different decade. It includes a 52-page booklet with rare photos and track-by-track liner notes by Bud Scoppa, who drew upon previous interviews with Petty and new ones from his colleagues and family. A vinyl edition with six LPs will also be available on Nov. 23. A Super Deluxe Limited Edition adds 32 pages of photos and essays, a lithograph of Shepard Fairey’s artwork and replicas of Petty’s handwritten lyrics to four of the collection’s songs and a numbered certificate of authenticity. A two-disc Standard Edition contains 26 of the 60 songs, as well as Scoppa’s notes.
Iconic Italian DJ and producer Benny Benassi recently released his brand new single “Everybody Needs A Kiss”. The uptempo collaborative effort features commanding vocals from SOFI TUKKER, the popular New York-based musical duo. While Benny Benassi has been a prominent act within the dance music industry for more than twenty years, his massively successful hits like “Satisfaction” and “Cinema” brought him more mainstream success. With this latest effort, we see the talented act making use of a powerful melody and a horn-led hook to give fans another anthem. ‘Everybody Needs A Kiss’ Benassi shared that the collaboration came about not only because he and the members of SOFI TUKKER (Sophie Hawley-Weld & Tucker Halpern) have friends in common, but also because they happen to share the same record label. He also relayed that an earlier collaboration served as a segue for this latest work. “Earlier this year, I did a remix of “F*** They” [a SOFI TUKKER song], so we started talking, and then the music came together.” Benny was sure to credit some of the creative aspects of the song to the New York-based duo. “The main musical ideas came from Sofi Tukker. They sent the track to me and I produced it with my team. We worked on the sounds and the structure, as well as adding a melodic part.” Benny Benassi Benassi explained that while a collaboration will always be distinct because it fuses two artistic sounds, this track is simply unique. “There isn’t another song out there that sounds just like it.” For those of us waiting to hear more of his epic music, Benny was able to confirm that he hopes to have a few other new singles out later this year. Check out Benny Benassi and SOFI TUKKER on their socials, and be sure to stream “Everybody Needs A Kiss” on Soundcloud and Spotify. Follow Benny Benassi: Facebook | Instagram | Soundcloud | Twitter Follow SOFI TUKKER: Facebook | Instagram | Soundcloud | Twitter
Tool drummer Danny Carey joined old friends Primus onstage recently to cover Peter Gabriel’s track “Intruder.” The jam took place at the Greek Theater in Los Angeles and also included Mastodon drummer Brann Dailor. You can watch the performance below. It was something of a reunion for Carey, who stood in for Primus’ drummer Tim “Herb” Alexander in 2014 while he recovered from heart surgery. During that stint, Primus even covered Tool, delivering their version of “Ænema” on the road. “Intruder,” from Gabriel’s third album, 1983’s Peter Gabriel (Melt), is notable for popularizing the gated drum sound that Phil Collins, who played on the track, later used to great effect on “In the Air Tonight.” Tool fans continue to wait on a release date for the band’s fifth album, after the band began tracking material in the studio earlier this year. Despite Carey having predicted a May release, frontman Maynard James Keenan last month suggested it wouldn’t arrive until 2019. “A lot of work’s being done,” Keenan said. “I’ll go on record now saying you’re gonna see some new music next year.” Keenan’s comment followed an onstage explanation in which he referred to his bandmates. “I’m afraid of bananas and other forms of fruit, because eventually you wonderful people are going to run out of fucking patience,” he told the audience. “So I beg you Danny, Adam and Justin, please finish your parts so I can finish mine.” Primus recently completed a U.S. tour with Mastodon, in support of their latest album The Desaturating Seven, which was inspired by Ul Del Rico’s The Rainbow Goblins — a children’s book Primus frontman Les Claypool used to read to his kids. “The dark imagery and beauty of the art struck me immediately, and I thought, ‘This would make good fodder for a piece of music,'” he noted. “The use of color and darkness both in the paintings and the writing was compelling and now, near two decades later, the metaphor of greed, gluttony and deceit vs. unity of the masses is eerily relevant.”
Singer-songwriter Kat Cunning (Katrina Cunningham) creates charming music that is distinct and inspired. With a clear baroque-pop sound, Kat crafts innovative songs that are both lyrically smart and catchy. The multi-talented songstress had time to sit down with us at Firefly Music Festival 2018. Kat shared all, talking about her beginnings, her love for dance, musical influences and inspiration, and her hopes to break into the dance music scene. Kat Cunning Can you talk a bit about your hometown? A: I’m from Portland, Oregon and, growing up was awesome because Portland is a gorgeous place, though lots of people say they can’t handle it there because of the rain. There was a city near enough where I got really great dance training, and the ocean was also an hour away. It was a really great place to grow up and I reference it a lot in my writing, most often when I’m writing about anything that’s not about something from my life now or the last couple of years. Would you say your hometown is a muse for you? Yes, absolutely! I definitely romanticize it a bit. Were there any activities that you particularly enjoyed growing up? I was incredibly consumed by dance, I went to a conservatory school for college and continued to dance after college. Singing is a relatively new thing for me in my life, but it has all of the elements I loved about dance. Writing was also another hobby of mine. It was a huge surprise for my family (singing), because they put hundreds of dollars into recital training for me. Kat Cunning When did you realize that you wanted to pursue music? It was when I got my first dance job outside of college, at Company 14, which is called that because it’s based on the 14th century. The aesthetic was just really gorgeous, especially the couture costuming. There was both dancing and singing in the show and, because I wasn’t the best dancer in the company, I told the director that I could sing. He gave me a part, the New York Times reviewed me, and said that they were waiting for my album. So, the discovery of your singing abilities was almost accidental? Totally, it wasn’t something that I thought I could do. I spent my whole childhood focusing myself on dance. Still, dance is definitely one reason why I now try to represent queer artists. I’m a feminist, and I’m a sex positive, and body positive artist. Although we see a lot of plus sized, “curvy” women as well as thinner women, I’m a fit person that doesn’t fit perfectly into either mold, and I want to represent the full spectrum. There’s no wrong way to be a woman. You don’t have to be super thin to be a ballerina, or very curvy to represent womanhood. Listening to your songs, it’s easy to hear that you have a distinct sound. Are there any artists that have particularly inspired you? Music snuck up on me, so I’m not one of those artists that has many people I followed and was inspired by, in terms of singing and writing songs. Still, I can say James Blake, who mixes soul and R&B elements with electronic music. It’s really artful. Someone else that does a really good job with that is Lorde. My fans sometimes tell me that I sound like certain other artists, which is how I might see my own sound in others. When I discover those acts, it’s amazing. One of those would definitely be London Grammar, she uses a sort of operatic tone, but in contemporary music. For me, the most important thing in the music I’m making is that it has emotional integrity and that the story is there. The singers that I like represent that, and aren’t necessarily in my genre. As a writer, I try to say something smart, but also that people can connect with. I’m really excited to see Kendrick Lamar because he does so well with that. Are there any artists that you’ve always dreamt of working with? Kendrick Lamar, Lil Wayne, Mikky Ekko, James Blake, and Janelle Monae. When [Monae] came out with [her track] ‘Tight Rope’, my mind was blown. The headpiece I have on right now was designed by the person that made what she had on in her video for ‘I Like That’. Any particular styles of music you’d like to create in the future? What about EDM? I definitely want to find a really good dance music collaborator, whether they are remixing one of my songs or we’re making something original. I’m working on one right now called ‘Stay On The Line’, it has a contemporary, broken disco feel to it. I want to create something innovative and break the mold. Check out more of Kat’s awesome music on Soundcloud and Spotify, and look out for tour dates and upcoming shows on her socials. Follow Kat Cunning: SoundCloud | Facebook | Instagram | Official Website | Twitter
An informal jam at a party in July 1968 wound up resulting in some of the greatest harmonies of the rock era. That was when the trio of David Crosby, Stephen Stills and Graham Nash first sang together. All three had become famous in bands noted for their harmonies: Crosby with the Byrds, Stills with Buffalo Springfield and Nash with the Hollies. When the Hollies reached Los Angeles in 1966, Nash met Cass Elliott of the Mamas and the Papas, who took her to Crosby’s house in Laurel Canyon, where he was lying on a couch and instantly impressed Nash. But not with his music. “As he’s talking to me, on his chest he has a shoebox lid,” he recalled. “And without losing eye contact with me, he’s shaking this lid, and he’s separating the grass from the stems and the seeds. Perfectly. I’d never seen anything like this.” Later that night, Crosby took him to a party at the house of Peter Tork of the Monkees to meet Stills. Nash returned to England with a bunch of new friends. Watch Graham Nash Talk About Meeting David Crosby In October 1967, Crosby was fired during the sessions for The Notorious Byrd Brothers (the 1997 CD reissue features a hidden track of Crosby berating drummer Michael Clarke in the studio). Buffalo Springfield broke up six months later, so Crosby and Stills began working together, writing and recording demos. Meanwhile, Nash was feeling frustrated with the Hollies, wanting to record more ambitious material than the lightweight, albeit wonderful, pop with which they had made their name. (“On a Carousel” was released a few days before the Beatles put out “Strawberry Fields Forever” and “Penny Lane,” and “Carrie Anne” arrived the same week as Sgt. Pepper’s Lonely Hearts Club Band.) Their next single, Nash’s “King Midas in Reverse,” barely dented the U.K. Top 20. He’d also fallen deeply in love with Joni Mitchell, whom Crosby had brought to Los Angeles to produce her debut album. In Crosby Stills and Nash: The Biography, author Dave Zimmer writes that the location of that destined night differs depending on who you ask. Crosby claimed it was at Mitchell’s; Nash has alternated between Mitchell’s and Elliott’s houses, and both Stills and John Sebastian have said it was at Sebastian’s. But wherever it took place, everybody who was there agree on the details: At some point, Crosby and Stills began playing one of Stills’ songs, “You Don’t Have to Cry.” When they were done, Nash, blown away by the tune, asked them to play it again. And again. “On that third time, I’d learned the words, the melody — I knew what I was gonna do,” Nash recalled. “Whatever sound Crosby, Stills & Nash has was born in 30 seconds. That’s how long it took us to harmonize that way, so much so that we burst out laughing in the middle of the song. Because the Springfield and the Byrds and the Hollies were good harmony bands. We knew what we were doing. We’d been making records in harmony for years. But this was different.” “It was scary,” Crosby said in Zimmer’s book. “But once we new what we had, you could not pry us apart with a crowbar. We knew we’d lucked onto something special, man. We could hear it plain as day.” Listen to Crosby, Stills & Nash’s ‘You Don’t Have to Cry’ Between the magic of that evening, his dissatisfaction in the Hollies and his desire to be with Mitchell, Nash’s next move was simple: He left the band to work with the other two, calling themselves Crosby, Stills & Nash. They attempted to get a deal with Apple Records but were rejected. So Ahmet Ertegun signed them to Atlantic, the home of Buffalo Springfield, and the trio’s self-titled debut came out in May 1969. Success came immediately. Crosby, Stills & Nash spawned Top 40 singles in Nash’s “Marrakesh Express” and Stills’ “Suite: Judy Blue Eyes.” Then, in order to help out with live performances, they added a fourth member: Stills’ brilliant, but mercurial ex-Buffalo Springfield bandmate, Neil Young, and CSN became CSNY. Their first gig as a foursome was in Chicago on Aug. 16, 1969. Their second was the next day in front of 500,000 people at Woodstock. “It was like lobbing a live grenade into a vacuum,” Nash remembered. “Neil was a guy with immense talent who was utterly self-centered. Bands for him were merely stepping-stones, way stations to a personal goal. That’s the way it had gone down with Buffalo Springfield. They could never count on him at crunch time, never be sure he would turn up at gigs.” Crosby said that it was the circumstances, not necessarily the individuals, that created the problems. “If you give a bunch of very young guys millions of dollars and get them high as kites and let them loose, it’s just sort of inevitable.” Over the decades, they continued to record and tour — as a trio, a quartet, in splinter groups like the Stills-Young band and Crosby & Nash and as solo acts. They withstood numerous obstacles — personality clashes, Crosby’s incarceration on drugs and gun possession charges, the 1990 album Live It Up — but the three of them kept returning to each other because of that blend of voices. As Nash said, “Nobody has any claims on the notes that we sing, but nobody in the world can sound like me and David and Stephen when we join our voices together.” But by 2014, Crosby was unhappy with Young’s decision to leave his wife of nearly 40 years for actress Daryl Hannah. “I happen to know that he’s hanging out with somebody that’s a purely poisonous predator now,” Crosby said. “And that’s karma. He’s gonna get hurt. But I understand why it happened. I’m just sad about it. I’m always sad when I see love get tossed in the gutter.” Within a month, Young told an audience that “CSNY will never tour again, ever.” Two years later, the affable Nash, who had often served as the peacemaker, revealed that he too could no longer work with Crosby. “I’ve been there and saved his fucking ass for 45 years,” he said, “and he treated me like shit. You can’t do that to me. You can do it for a day or so, until I think you’re going to come round. But when it goes on longer, and I keep getting nasty emails from him, I’m done. Fuck you.” Masterpieces: The Very Best Albums From More Than 100 Classic Rock Acts