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Storyville Band History Featuring Stevie Ray Vaughan’s Double Trouble

Photo: By Ron Baker http://www.flickr.com/photos/kingsnake (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

Milligan looks back on this track as an amateur vocal, which is hard to believe…

As Stick People’s sound began to evolve into something distinctly soulful and Southern, it was Ross that suggested starting a new band called Storyville, named for New Orleans’ renowned red-light district, the birthplace of jazz. After a couple of years, Craig Ross left Storyville to pursue an ambitious solo project (1996’s mesmerizing Dead Spy Report ).

Storyville had just played South by Southwest with Ross and gained notice. Despite Ross’ departure, Milligan signed as a solo act with November Records, an independent label out of New York. Armed with half an album’s worth of material written with Ross that they had only just begun to record, Malford Milligan scrambled to assemble the right band to record his debut.

By that point, Storyville had made a name for themselves, and Milligan was becoming a sought-after session singer. So when he started putting out feelers for new players to record with, he wasn’t exactly scraping the bottom of the barrel. David Grissom recalled in 1999, “…that band broke up just as he was beginning to make a record. So Chris Layton and Tommy Shannon played on a few songs, then I came in and played on a few songs. That’s the first I ever met Malford.” Grissom, of course, was already a star, having cut his teeth playing with Lucinda Williams shortly after arriving in Austin in 1983. By ’85, Grissom was a mainstay in Texas icon Joe Ely’s band, leaving after six years to play with John Mellencamp . His time with Ely had given him the room to stretch, but the feel of playing with Mellencamp was a bit too structured and confining for Grissom. Storyville came along at the perfect time for him.

“I liked the idea of being in a band and playing the way I wanted to,” he said. “I also liked to write songs and have them played. When I work for someone else, my first priority is to make them sound good and to compliment whatever they’re doing.”

David Holt felt similarly. Having replaced Ben Peeler in The Mavericks during their formative period, Holt almost fell into country music by accident. Holt was a good friend of UK artist Nick Lowe (of Cruel to be Kind fame), who was married to Carlene Carter at the time. Lowe offered Holt a spot in Carter’s band. Eighteen months of “all coliseums and Johnny Carson and all these monstrous places,” led directly to Tony Brown, then president of MCA, recruiting Holt to play with The Mavericks on their first major label release, 1992’s From Hell to Paradise .

While the legacy of that album certainly endures, it was a very brief experience for Holt. “I did the Mavericks record in two days without ever hearing it,” he said. The band had dropped Peeler and struggled to find the right sound. “They had wiped out all the guitar tracks and I had to go back and do all of that. I don’t think that’s something just anyone could do.” He then moved over to Joe Ely’s band (“I had to play David Grissom’s parts.”) where he remained until Storyville came calling.

Layton, Holt, Grissom, Shannon — Four now-iconic sidemen who all suddenly found themselves in search of stability, creative freedom, and identities more of their own making, teamed up with Malford Milligan to create a renowned combo still revered as one of the greatest bands Austin ever produced.

Milligan says it was a gradual process. “Chris and Tommy and I talked about putting a band together,” he said. “Here I’ve got these incredible people — people who are legends — playing on my record, and the next thing you know, we’re talking about a band.” Storyville was reborn.

The album had real staying power, got Storyville a deal with a major label, and won them three more trophies at the Austin Music Awards the following year. The band toured heavily to promote it, but it was clear that the music was speaking for itself.

As achingly good as the band was, Malford Milligan, who was still a neophyte in the music business at 35, wasn’t just holding his own. He was making serious waves. His untrained, joyous voice emblazoned with unmistakable passion drew comparisons to Sam Cooke and Otis Redding, and it was evident from the beginning.

Storyville’s second album, A Piece of Your Soul , debuted in 1996 and rose to #5 on the American Blues charts. The rock definitely jumps forward on this album, written almost exclusively by their lineup (Craig Ross penned one track), revealing a more cohesive and mature sound. The first track, Bitter Rain , reaches out and grabs you, setting the tone for an album that never stops impressing.

1998’s Dog Years marked Storyville’s final studio album and certainly delivered the goods for established fans, but failed to generate the buzz of their earlier efforts. There’s still a simple joy in listening to such an accomplished and well-meshed band play, and the vocals are as spot-on as always. A solid effort overall with a couple of gems, but not quite enough to clear the very high bar Storyville set with its first two records. The band called it quits after their New Year’s Eve show in 1998.

Bands like this don’t die that easily, however. The thing that stands out about their lineup as a whole — Malford Milligan, David Grissom, David Holt, Tommy Shannon, Chris Layton — is their shared reputations as good guys. Legendary players and singers without the overwhelming egos and behind-the-scenes competitiveness and drama that has soured the relationships of countless bands in every genre of music. As a result, Storyville has reunited with an occasional frequency you can almost set your watch to.

They’ve continued to grace venues throughout the South, but none more often than Antone’s, the renowned nightclub dubbed Austin’s Home of the Blues. In January of 2006, Storyville recorded a two-hour double album and DVD that is now heralded as their very best. Live at  Antone’s  is a raucous, brilliant live set that never lets up, and clearly demonstrates how well-oiled this particular machine is, churning like no time has passed since their breakup seven years earlier.

Bands come and go, but Storyville’s is a story for the ages. Five men at the top of their game, uniting at a pivotal point in each of their lives to form a band loved by legions, that still gets together to play. Look no further than Storyville if you ever need proof that every day is a Good Day for the Blues …

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This is a fantastic article about Storyville. Thank you for bringing this to the forefront

Tommy says thanks…

http://www.facebook.com/tommy.shannon/

Best Regards, Bev. Howell

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A Jazz Centennial of a Seamier Sort: The End of Storyville, As Remembered Through the Ages

In this year of big jazz centennials — 100 candles for Ella, Monk and Dizzy, and for the Original Dixieland Jazz Band’s first recordings — it’s easy to overlook an event that once loomed large over jazz history: the closing of New Orleans’ open-prostitution district Storyville, under pressure from the wartime U.S. Navy, which couldn’t keep its sailors away from the place.  

Storyville was shut down at midnight on Nov. 12, 1917. Twenty-five years after that date, even casual jazz fans knew what that closing led to: an exodus of musicians from New Orleans to Chicago, the setting for the next phase of jazz evolution.

As history or legend had it, jazz had been nurtured, if not born, in the parlors of Storyville sporting houses, where Jelly Roll Morton himself might tickle the ivories. This birthed-in-a-whorehouse narrative made for lurid copy, underscored the music’s humble roots, and needled musicians who were tempted to dress jazz in too much finery. By 1946, when the critic Rudi Blesh published Shining Trumpets (A History of Jazz) , “the district” (as its denizens called it) sounded like a cross between 52nd Street in its heyday and 1935 Kansas City. Music poured from every window, and paraded down the block.

The night of Nov. 12 had been extravagantly described in 1939 by Charles Edward Smith, in Jazzmen , the pioneering history that had really given the story legs. “As the evening wore on the musicians came out of the houses, one band after another, and formed into line,” he wrote. 

Slowly it marched down the streets, Iberville, Conti, Customhouse. As it made its solemn stand it played ‘Nearer My God to Thee’ — plaintively, like the brass band on the way to the graveyard. On Franklin Street, prostitutes moved out of the long-shuttered cribs, mattresses on their shoulders. The brasses moaned, while the clarinets sung shrilly above them.

Hollywood also staged the end of Storyville, in a couple of movies that glanced at jazz origins. The district is never named in 1942’s Syncopation , where Basin Street is to be shut down at midnight, for unspecified reasons (as if jazz-friendly viewers could fill in the blanks).

At a crowded African American cafe, as midnight ticks near, the Louis Armstrong stand-in Rex Tearbone (Todd Duncan) says a farewell to the old times, declares he’s off to Chicago, and goes into a triumphant and vaguely military cornet blues. A sympathetic white beat cop pushes back the minute hand on the bar clock, giving the revelers extra time.

Lush, seedy Storyville is an explicit presence in the riotously uneven New Orleans , from 1947 —the one where Billie Holiday plays an opera singer’s maid. This film gives the events of Nov. 12 treatment worthy of a Biblical epic: it’s a capital-E Exodus. In this telling, Storyville’s residents are evicted, and all businesses closed. As midnight nears, musicians gather in their hideaway, and Armstrong (as his ageless self) says a few words, calling for one last, slow tune.

Someone asks Billie’s character to put words to what they’re all feeling. She gets a faraway look in her eyes, and starts riffing on Satchmo’s elegy: “The law stepped in / And called it sin / To have a little fun.” Then her listeners join in on the refrain. The “Farewell to Storyville” sequence — the song’s credited to Spencer Williams — is the only time New Orleans approaches a conventional musical: a spontaneous outpouring of heartfelt song. 

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Outside, police line the streets, and the crowd (still singing and playing) joins the area’s stunned residents, toting bedrolls and baggage: it’s the Jazzmen version writ large. The musicians duly disperse to Chicago, and wider fame. 

Pops would again help stage the end on the mock-documentary TV series You Are There , in 1954. This time he played King Oliver, blowing till midnight at Pete Lala’s Cafe. Armstrong serves up some of his mentor’s licks, duels (out the window) with a brash cornetist across the street, and performs an anachronistic “When the Saints Go Marching In.” (His All-Stars played Oliver’s band, with white drummer Barrett Deems in blackface.) But by Louis’s own account, Oliver had left Lala’s before the final night. The end of Storyville had entered the realm of fantasy: a tabula rasa to impose any meaning on. 

https://www.youtube.com/watch?v=ynes8e9kznw

In time, historians chipped away at the notion of Storyville’s closure as a watershed event. In the revisionist view, the district had been fading for years, as Armstrong admitted in his 1954 memoir, Satchmo: My Life in New Orleans : “Even as a boy I could see that the end was near.”

Soprano saxophonist Sidney Bechet was among those who discounted the district’s influence: the brothels employed only a few pianists, after all. Besides which, musicians had been leaving town for years; Morton was long gone, the Creole Band had crisscrossed the continent, and the (white) ODJB had conquered New York.

The exodus came to be seen as part of the Great Migration of African Americans from the South to points north and west. In The Making of Jazz , from 1978, James Lincoln Collier decreed: “The role of Storyville in the birth of jazz has been overplayed by the early writers,” and the closing itself got half a sentence. Even the movies calmed down. In Louis Malle’s 1977 Pretty Baby , about Storyville prostitutes, the closeout is humdrum: the women pack early, ship their stuff ahead, and leave in daylight. But their Jelly Roll-esque pianist is bound for Chicago.

Thomas Brothers, in his 2006 book Louis Armstrong’s New Orleans , suggests we’ve come to underestimate Storyville’s importance — and that’s no less true now. The brothels did after all support a satellite entertainment district, however weakened by 1917, and business took a hit when the mansions closed — even if New Orleans musicians already understood they’d have to move north to connect with a wider audience, and better money. 

Up north, by the ’50s, Storyville had become a brand of sorts, its name a shorthand for the outlaw roots of jazz. Early in that decade, Boston saw a series of clubs called George Wein’s Storyville — so named, Wein wrote later, “to prove that I wasn’t ashamed of jazz’s seamy origins.” Wein then founded the Newport Jazz Festival, which now operates an indoor Storyville Stage, where solo pianists and parlor-ready combos play in an atmospheric setting, acknowledging colorful olden times without getting too specific. 

But you can’t talk about the closing of the district without bringing up the seamy side all over again — which may explain why we didn’t hear much about the end of Storyville in advance of its centennial. Seaminess sets the wrong tone, in an age when jazz chases corporate and institutional sponsorship. As catchphrases meant to lure honey go, “born in a whorehouse” serves less well than, say, “America’s classical music.” 

Veterans from dozens of jam sessions and all-star backing bands, the members of Storyville gelled at just such a jam, in 1994 at the Austin club known as Antone's. Bassist Tommy Shannon and drummer Chris…

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Malford Milligan

& The Southern Aces

Malford Milligan is an American, Austin, Texas-based soul, blues and gospel singer who has been compared to Otis Redding, Al Green and James Carr. He is an eight-time award-winner as “Best Vocalist” at the annual Austin Music Awards (last awarded in 2015).

In 1994, he helped form and fronted the Texas supergroup, Storyville, with guitarists David Holt, David Grissom, and the rhythm section from Stevie Ray Vaughan’s Double Trouble, which included bassist Tommy Shannon, and drummer Chris Layton. The band released three albums: Bluest Eyes (1994), A Piece Of Your Soul (1996) and Dog Years (1998). As a session singer, Milligan was in great demand. He toured and worked on albums together with other outstanding musicians, including Doyle Bramhall II, Marcia Ball, Alejandro Escovedo, Sue Foley, Eric Johnson, Stephen Bruton, Chris Smither and Hal Ketchum. During this period he also expanded his horizons from strictly secular music, releasing the two Gospel albums The Gospel According to Austin (2000) and The Gospel According to Austin, Vol. 2 (2001). For several decades, Malford has been the lead-singer at the weekly Blue Monday nights at the legendary Antone’s Nightclub, in the house-band that was (and still is) lead by Derek O’Brien, one of the most respected blues-guitarists all through Austin’s musical history.

Malford appeared on Live And Beyond, by Alien Love Child featuring fellow Austin guitarist Eric Johnson, in 2000. He can be heard on “Once a Part of Me” and “Don’t Cha Know”. That same year he also contributed vocals to Throw Me A Bone, by local band Neighbor’s Dog, on “Sister Sister”, “Bridge To The Other Side” and “Today”. In 2001 a remake of the Joe Tex classic “I Want To Do Everything For You” was recorded as a duet with Toni Price, and was released on her Midnight Pumpkin album. That same year Malford was also featured on two songs on the Double Trouble album Been A Long Time (“Cry Sky” and “Skyscraper”) plus the nationwide tour that followed the release of that album. Milligan also fronted ex-Was Not Was guitarist Randy Jacobs’ band The Boneshakers in 2001-2003, releasing the albums Pouring Gasoline in 2001 and Put Some Booty On It in 2002. He left The Boneshakers to form his own group in Austin, confusingly called The Malford Milligan Band (like its Dutch predecessor), which self-released Rides Again in 2004 [3] and No Good Deed Goes Unpunished in 2006.

In 2002 Milligan recorded and released the critically acclaimed Sweet Cherry Soul album, backed by a band from The Netherlands that was put together by Milligan’s friend and Dutch musician/producer Jack Hustinx. The album contains original material written by Milligan & Hustinx as well as a blend of known and obscure Soul, Rhythm & Blues and Gospel classics. Also two songs written by Milligan’s close friend Stephen Bruton were included. This band, The Malford Milligan Band, played three very successful tours in The Netherlands in 2002-2003, as well as a tour in and around Milligan’s hometown Austin, Texas in 2003. In 2007 Milligan performed, alongside a stellar cast of musical friends of Stephen Bruton such as Delbert McClinton, Bonnie Raitt, Kris Kristofferson, Joe Ely and Ruthie Foster at the big “Road To Austin” concert in Austin, which was later released as a concert-movie and DVD in 2015. Also in 2007, Malford embarked on the M-P-TU project, together with guitarist Phil Brown, bass-player Mark Andres and drummer Pat Mastelotto. The band released an album entitled M-P-TU in 2008. During that time (2007/2009) Milligan was touring with Greg Koch, a multifaceted electric guitarist capable of fluently playing a gamut of musical styles, as well. Together they formed a band called Nation Sack — drawing their name from the lyrics of a Robert Johnson song entitled “Come On in My Kitchen” — who released an album under the same name in 2009 which includes a blending of electric blues and rock styles. When performing live, Nation Sack is known to cover songs from Jeff Beck and Led Zeppelin, such as “Hi-Ho Silver Lining,” “Rock and Roll,” and excerpts from such classic tracks as “Dazed and Confused” and “Heartbreaker.” With Greg Koch, Malford released two albums: Live On The Radio (2007) and Nation Sack (2009).

In 2009 Malford moved back to Austin and started getting back into the music scene there. After his longtime friend Stephen Bruton passed away on May 9th, Malford fronted the band at a special memorial show at the Saxon Pub. Recordings of this show were released on CD as An Avening With The Music Of Stephen Bruton in 2010. Another highlight of his return to Austin was his appearance (along with ex-Storyville’s David Grissom) at Antone’s for Blue Tuesday on 20 October 2009. The last two songs performed at this were “Change is Gonna Come” which appeared on Storyville’s first album and “What Passes for Love” from Storyville’s second album.

In 2011 Milligan joined forces with former Dutch band member Jack Hustinx on his ‘Shiner Twins’ album ‘Four Souls – One Heart’ (2011). On this album Milligan was featured as guest-vocalist on two tracks “Never Take No For An Answer” and “Hold On”. In 2013 Malford joined the weekly residency of The Apostles Of Manchaca at Austin’s Strange Brew listening-room, until the venue was forced to close in January 2017. This band also featured well known and highly respected Austin-musicians Jeff Plankenhorn (guitar-vocals), Michael O’Connor (guitar-vocals), Dave Scher (guitar-vocals), Yoggie Musgrove (bass), Brannen Temple (drums) and Phil Redmond (keyboards). Unfortunately the band never released any albums.

In 2014 Malford contributed vocals to Open Mic At The Knick by The Knickerbocker All Stars from Rhode Island. He can be heard on Bobby Blue Bland’s “Turn On Your Love Light” and on “Love Disease”. At the 33rd annual Austin Music Awards in March 2015, Malford Milligan received his 8th award for being Austin’s best vocalist, as voted by the general public. Also in 2015 Malford started playing with a new band in Austin, Big Cat, along with guitarist Dave Sebree, bass-player Roscoe Beck and drummer Tom Brechtlein. An album entitled Big Cat was released at the end of 2015.

At the same time, Malford and his Dutch friend Jack Hustinx were working together again, co-writing four songs for Hustinx’ solo-album Over Yonder, with Malford also performing on those tracks as guest vocalist. On two of those tracks (“Life Will Humble You” and “I Won’t Surrender”) Malford and Jack got assistance from John Magnie and Steve Amedée of The Subdudes from New Orleans. Right after the release in November 2015, both Milligan and Hustinx fronted their band The Southern Aces on a tour in the Netherlands to promote the album, that was critically hailed as one of the very best Dutch Americana albums ever made. In 2015-2016 Malford and Jack also played together regularly in the Austin music-clubs, whenever Jack was in town, with an Austin line-up of The Southern Aces.

In 2016 Malford recorded a stunning duet with Jeff Plankenhorn, reviving the Sam & Dave classic “You Got Me Hummin'”, which was featured on Plankenhorn’s Soulslide album later that same year. After Big Cat folded in 2016, Malford started a new band with guitarist Tyrone Vaughan called MVP, the Milligan Vaughan Project. With this band an album with the same name was recorded and released in 2017. That same year Malford recorded a remake of the O.V. Wright classic “Nickel And A Nail”, featured on Brad Stivers’ album Took You Long Enough.

In 2017, Malford and longtime friend Jack Hustinx teamed up again. In May 2018, the two officially announced a new album they had been collaborating on for the last year, co-writing songs and exchanging ideas for an all new Malford Milligan album that was released later that year. After a succesfull tour in the Netherlands the two friends released their latest album in 2021: I Was A Witness.

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Robbie Robertson on ‘Dark Period’ of His Life and Rooming With Martin Scorsese

By Robert Palmer

Robert Palmer

Robbie Roberston is the only guy I know who can discuss the mechanics of the electric guitar and the surrealist films of Luis Buñuel with equal passion and author­ity, pass any blues trivia test, and spin tales in­volving Arkansas redneck bars, Hollywood minus the glitz, the birth of rock and roll or Native American culture and myth, all from personal experience. He’s enjoyed long-last­ing creative partnerships and longer-lasting friendships with Bob Dylan and Martin Scorsese .

As the songwriter, guitarist and visionary of the Band, and more re­cently on his own, Robertson has created a body of work as impressive as any in rock. It began with classic songs like “The Weight” and “The Night They Drove Old Dixie Down”; now, he seems to be entering a fresh creative phase with his new album, the gripping, complex, multilev­eled song cycle he calls Storyville. All this from a man who dropped out of school at 16 to pursue the rock and roll dream.

When I first heard you play in Arkansas with the Hawks, you must’ve been 16 or so. I was 15 and playing in some of the same dives, and I thought you were this road warrior, way older than me. How did growing up in Toronto lead you into that? Well, I grew up a city kid, but in the summer my mom and I would go to the Six Nations Indian Reservation, where she was born and grew up. These people had a spirituality, a relationship to nature, that you just don’t see in the city at all. My mother’s people were Mohawks, but there were different tribes there, and all these people were tremendously into music. Everybody seemed to play guitar or fiddle or mandolin; everybody sang. This was the first time I could sit right in the room and see people pick up a guitar, watch what they were doing, hear fingers scrape along the strings.

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Yeah, that radio station touched so many people. They were playing hardcore blues records — Muddy Waters and Howlin’ Wolf — and they broadcast at 50,000 watts. And at that frequency, their signal would bounce off the ozone layer and back down to Earth. WLAC was a fluke of nature. You could pick it up way up in Canada, not just in Toronto, but you couldn’t get shit from Cleveland or Detroit. I remember the night I first heard a Jimmy Reed record. It came on, and I couldn’t comprehend the instrumentation, couldn’t tell if this was a harmonica, if that was a guitar, if the drums were regular drums or what. That made a very effective point to me. And from that moment, I made it my point that someday I was going to go to the fountainhead of this music, which was Memphis, Tennessee, and the surrounding area.

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So songwriting was your original entree into the scene? Yeah, but I was on a mission. I had already started the guitar. After the trip to New York, Ronnie heard me play and said I was a little too young for him to hire. You had to be twenty-one to play a lot of the places he played. So, I went on this mission of playing and working real hard, and then Ronnie called me from Arkansas, because there were guys leaving, and said I might be in line to be hired. That made me work harder.

At this time, there were very few people doing that kind of guitar playing. James Burton, Roy Buchanan… They were mixing country music with this string-bending from blues, a mishmash of white and black music that was basically happening in the South. It was the birth of rock and roll, mixing those two worlds. I learned from Ronnie’s earlier guitar players, Luke Paulman and Fred Carter Jr., and I listened to Howlin’ Wolf’s guitar player on the Chess records — that stinger thing.

So I got the call from Ronnie, got on a train and came down here. And on this train ride my whole life changed, between Toronto and West Helena, Arkansas. That’s where Ronnie “broke me in,” as he put it. He always says I was this punk kid, this little street kid on his way to jail; he’s convinced that if he hadn’t hired me, I would have ended up in prison.

Fred Carter took me over to Memphis from West Helena, and I spent my whole first paycheck on records from that store Home of the Blues. I wanted every record in that store. And that was really my schooling. On the same first trip into Memphis, we went over to Sun Records, and Jerry Lee Lewis was recording. And I just thought, “I’m here, I made it.” I was a little kid realizing this dream. And everything — the smell of the air, the movement of the river, the way people talked — it all worked perfectly for me. It affected me to such a degree that you can still hear it on this record I just made. That was a long time ago that this happened to me, and I’m still working it out, like in therapy.

They started me on bass, and I never played bass in my life, but Levan [Helm] taught me a lot about music real quick; Levon had music coming out his ears. He played drums, guitar, bass, sang harmony — just name it, and it was his. Then Fred left and I moved to guitar, and I practiced harder, as hard as any man on this planet ever tried. And within months I went from being just a kid with a lot of spirit to someone who could really handle an instrument in a very exciting fashion that worked for this explosive type of music

We played around as the Hawks, or sometimes as Levon and the Hawks, for maybe a year; maybe it wasn’t that long. In that period, we went to Chicago and spent time with [Michael] Bloomfield and [Paul] Butterfield. It was very educational to make these connections, because they would take us around to all these clubs and introduce us to people like Otis Rush and Buddy Guy.

I’d met Bloomfield through John Hammond Jr. in New York. Being in New York, John tended to lean more to the acoustic-blues side, and we were more into the kind of Southern electric blues they played in Chicago. But all of a sudden, this New York thing was happening, and the Village was alive with the sound of music. It was exciting. But everywhere we went, everything we did always seemed to have this edge to it, whether it was playing in these dangerous places down South or in New York, hanging out with Jackie Wilson and living at the Chelsea Hotel. Everything just kept getting more curious, more interesting… better.

Meanwhile, we had met and played with Sonny Boy Williamson, in Helena, Arkansas, and we were trying to figure out what we could do with Sonny Boy. Because when we played with him, something happened. He knew it, too. He was used to showing off all the time, but when I was playing, he would be looking at me like, what the hell? And then Levon would be playing, and he would throw the ball to Garth [Hudson] or to someone else. It was quite magical, because it wasn’t just the tradition; there was a spin on the ball. We were ready to break some rules. We were making these big plans. Then Sonny Boy died, and the next thing we knew, we were playing with this folk-singer guy in front of thousands and thousands of people, every one of them booing.

I’ve never been entirely clear about how this Dylan-Hawks combination came about. I don’t think Bob really knows. I think he just decided to make a move from being Bobby, the folkie, to the electric Bobby and was trying to figure out who to do this with. And we were in a position at the time where we were kind of like this underground word, an interesting band to know about.

Had you heard Dylan’s records or seen him play? I went to New York and met Bob, and he was trying these various electric guitars. I told him some things, because I knew a lot about them — “get this one, get that one, this one’s a joke, send it back.” He liked finding somebody who could cut to the chase real quick on this stuff. Then we went somewhere with a couple of guitars, and we just played music, and to be perfectly honest, that was the first time I ever really heard Bob Dylan: Sitting on a couch playing with him singing in this room. That was the first time I said to myself “There’s something to this. It kind of rambles on a bit, but there is something about it.” I was playing a little loud, and I could see from his attitude that he wanted it to be rough. The whole idea of his playing electric music was to get this kind of passion into the music, this anger, and explosiveness.

How did the rest of the band react to the Dylan thing? I went back and told the guys that there was something about this thing, and everybody was kinda like “I don’t know about this stuff.” There was a lot of strumming going on in this music, and we didn’t play with strummers. Anybody who strummed, it just seemed to take the funkiness out of it. Unless, of course, it was rockabilly, and this wasn’t rockabilly. So in the beginning, there was a lot of skepticism about whether this was meant to be.

Levon and I played with him at Forest Hills Stadium and the Hollywood Bowl, and then we all went up to Toronto and started working up the songs to do on this tour.

The audience didn’t boo when you played Memphis; I was there. That’s right. In the South we played somewhere else, and they didn’t boo us there, either… Dallas? Leven was proud of those exceptions, but he had trouble buying into the whole booing routine.

Do you think all that towing with Dylan put a big impact on the kind of songwriting you developed, the things that started to emerge on Music From Big Pink ? Well, Bob was in the process of opening up a door, and music needed this door opened. But I was constantly saying, “How about a little less in the word department?” When I first met him, I played him this ballad from the Impressions’ Keep On Pushing album, “I’ve Been Trying,” written by Curtis Mayfield. I said: “They’re not saying anything much and this is killing me, and you’re rambling on for an hour and you’re losing me; I mean, I think you’re losing the spirit.” We would talk about this very freely. I would say, “Are you trying to teach me something, are you preaching to me, what is your job here?”

Whose house was Big Pink ? It was Rick [Danko], Richard [Manuel] and Garth in the beginning. I think Levon eventually moved in there, too. I didn’t live there, but the whole idea was that we had been living in New York City, and we ended up moving upstate really to get a clubhouse, a place where we could woodshed. It was a real clubhouse, and we were just like a street gang — only we played music instead of going out fighting. We would get together every day at the clubhouse, just like the Bowery Boys. And as soon as Bob got well from his motorcycle accident, he started coming up every day.

Before that, we had been living in New York City. I was living in the Chelsea Hotel, where there were more poets, Edie Sedgwick, a lot of friends. It was wonderful, in a way. Everybody talks like this was the kind of period where everybody was all fucked up. Everybody wasn’t so fucked up. It wasn’t that we weren’t trying to be, but we just weren’t. This period was so vivid, the streets were so vivid, and the parties were so much fun, and so much was being developed day by day. The Band always played as a unit. At the time, the only band that seemed really close to that concept was Booker T. and the MG’s. Yeah. We had a roomful of singers, too, but we felt, instead of doing a bunch of shit here between verses of the song, let’s just do nothing and come back in. It seemed like there was no other band in the world that could fathom that except Booker T. and the MG’s. We felt a connection with those guys, for sure.

But that roomful of singers — Levon, Rick, Richard — any of them could have fronted and carried a band of their own. How did you decide whose voice the particular song you were writing was best suited to? I couldn’t start a song with that in mind, but I could finish a song with that in mind. Because the casting would get exciting to me: “He comes in here, he takes over the low part there. Oh, this will make a great sound.”

Also, every person in that group had such a specific, idiosyncratic kind of instrumental versatility. It was so commendable for Levon Helm, one of the most interesting and soulful drummers ever, to say, “I think Richard can play drums on this one better than me.” Outstanding on his part. A whole lot of times he was right; Richard would do something so bizarre that it was priceless. Levon would get a kick out of it and get to try something different himself. Rick would experiment with stand-up bass, and he was working with fretless electric bass way, way pre-Jaco Pastorius.

On the first two Band albums, Richard and Rick seemed to be developing into major songwriters. Their collaborations with Dylan — “Tears of Rage” from Richard, and “This Wheel’s on Fire” from Rick — are classics. But you very rapidly became the Band’s sole songwriter. I sure didn’t want to have to write all the songs. Richard started out really developing himself into a songwriter. I thought this was something we all were going to do together. I was just trying to pick up the slack where there was nothing happening. But after the earliest stuff, Richard was not getting results. He was working on it, and we would do some stuff together, but he was struggling with it a little bit.

For you personally, what were the significant changes through the Band’s decade of recording? I was just trying to do what I did, write songs whenever I could. At the same time, I tried to keep up with learning, educating myself. Doing producing work outside of the Band — Jesse Winchester, Hirth From Earth , the Neil Diamond album, which for me was a kind of tribute to that rock and roll version of Tin Pan Alley I first encountered with Ronnie when I was 15 — working on those different flavors of music was a good education for me. The 1974 tour with Bob Dylan was kind of a nice cycle. We found some ways to change the way we played certain songs, but they kept pulling back toward the original center of gravity. We ended up doing basically what we did in 1966, only this time the audience acted like, “Yeah, this is fine, what could be the problem?” It was like the world did a complete revolution, and we were still standing in the same place, but this time it was okay,

This was before the days of tour buses with VCRs. When you wrote something like “The Weight” or “The Night They Drove Old Dixie Down” or “Acadian Driftwood,” did you work over the lyrics a lot, condensing, sharpening the imagery? Well, hopefully I would write more than I needed. It was mostly a matter of “Are these pictures getting this thing across?” and knowing I only had so much time to tell this story in. Sometimes it was condensing, sometimes it was searching, sometimes it was beating my head against the wall. And I never developed a method or a particular technique. It was all just wrenching it out of your gut.

After The Last Waltz , you and Scorsese were roommates. You worked on soundtracks for King of Comedy and Raging Bull ; and you tried acting in Carny . I recently read an interview with Scorsese in which he described that time as a “dark period.” Didn’t you both have relationships that broke up around the same time? Right, both of our wives kind of dismissed us at that point. And probably with good reason. We were probably doing too many things at once, but we both insisted on looking at it from our side of the thing: We were the misunderstood artists. Maybe that helped heal the pain. Anyway, I didn’t know where to live, where to go, and Scorsese said: “Move in here. Please.” That way we could kind of heal one another, we thought.

I know you had a lot to teach each other. From the few times I’ve talked to Scorsese, I felt he had a really exceptional immersion in music, and you were fascinated by movies. That’s what it was. I had always been a film buff; and he was a music buff. When I moved into the house, I brought these huge studio speakers into the living room, and we got all new sound equipment. On the other side of the house, he turned a bedroom into a screening room, had another room built onto the back of it where the projector could go. The screen was a whole bedroom wall. Then I was bringing home records, and he was bringing home films. We had this list of films that were available to us, tons of films. I was picking out all these classics that I had always wanted to see or wanted to see again. He was picking out all these trashy B movies that he knew something about. I was saying, “Listen to what happens on this record”; he was saying, “Watch this scene, how they do this.” It was very educational, although I’m sure we never thought about it like that.

But this wasn’t a holiday; we had work to do. He would work on a film, and I would work on the music for it. I would get home around midnight, and he would have the popcorn ready and the movie cranked up. If I had to do something extra at the studio and got home a little late, he would be, like, pacing the floor, and I’d feel like I had to have an explanation. Like with your wife: “Sorry. I got tied up at the office.”

The only problem was when the sun came up and caught us crying, that was hell. As soon as the sun was coming up, we would scurry off to our rooms and get under the covers. Finally, he had blackout covers made for the windows. If we weren’t finished watching a movie and the sun came up, we’d just black out the house, shut ourselves in. He had an interior air system put in. We never knew what day it was or what night. So it was definitely a period of darkness — there were no windows. But we definitely went through the Divine Comedy together, to paradise, purgatory, hell, and back.

They’re awfully close sometimes. Yeah, just open the wrong door and there you are. But to this day, we have this bonding; he’s still one of the best friends I ever had in my life. And as dark as it got, work developed through this. I don’t think he could have made Raging Bull without this particular kind of therapy.

What about all the press you got about your “acting career” when you did Carny ? [ Wincing slightly ] After The Last Waltz came out, there was this fluke that came with it. All of a sudden, all of these people were thinking it would be interesting to do something with me in their movies. Nobody was expecting this, especially me. But when Carny came along, I felt closer to that than any of these other ideas that were being tossed around. I went through some experiences when I was young that helped me feel able to address this particular theme honestly. It was a project that had been kicking around for a while; I got with the writer, and we rewrote the story, and suddenly several studios that hadn’t been interested said they wanted to do the movie. That was kind of exciting, like suddenly having a new life. I thought of it as another kind of storytelling, performance storytelling on the screen is how it struck me. After we shot it, I wanted Alex North to do the music. I always admired North and Nino Rota; they were the maestros of film music. I got to work with him and kind of study under him for this period of time.

I had some other film projects that were coming along, but nothing that made me feel this could be a calling. They were just parts that actors get. Nothing wrong with that, it just wasn’t the train I came in on. And I had started with Martin Scorsese. I would meet with other directors, and to be really frank about this, I wasn’t used to being told what to do. I had always initiated what I had done. So, if it was going to be “Come in, do your part, we’ll take care of the rest, see you around,” that’s not how I ever played the game.

How did you feel about the rest of the Band getting back together and doing gigs? First of all, after The Last Waltz, the idea was that everybody would get to breathe a little bit, recharge the batteries, and at a certain point everybody was sup­posed to meet back at the corral. But ev­erybody just kept drifting, and it didn’t happen. Then some of the guys started saying, “We never thought about it at the time, but playing in front of people on the road was such a big part of our lives all along — it’s something that’s just in our blood.” I really understood this. You can’t judge those things until you feel them, and these are feelings we’re talking about.

Did they ask you to do size with them? We discussed things, but I really couldn’t honestly do it. After The Last Waltz, people were saying, “A year from now they’ll show up for this big comeback thing.” And I thought, “No, not at all.” I had dreamed up the idea when the Band started suffering some real wear and tear, and I talked about it so enthusiastically I think it just carried everyone along. May­be they didn’t want to hurt my feelings, I don’t know. But everybody just had to follow the path and the light, and it led them back to playing on the road. But at the same time, I didn’t really think it would be good for me to recycle. You must remember that this obsession pulled me out of school when I was 16. I was left with this craving for education.

How do you feel about your first solo al­bum at this point? In retrospect, song by song it worked, but there was a lot of Peter Gabriel here, a lot of U2 there. I’m not sure it added up the way Storyville does. Actually, I feel the same way. I was taking pieces of my musical tastes, my musical past, my musical movie environ­ment. I got Peter Gabriel to sing on “Fallen Angel,” because the song was my little hymn and respect to my old partner in the Band, Richard Manuel, and I need­ed a singer who had this heart-wrenching sound. Because Richard used to tear me apart when he sang.

Through Daniel Lanois, I set up this thing with U2. For me, the experience was not tremendously different from this thing the Band did years ago with Van Morrison, “4% Pantomime.” A little deja vu there. But U2 are very exciting rock and roll players to work with. Larry [Mullen] and Adam [Clayton] are a rhythm section that doesn’t receive enough credit.

I agree that the album was a bit of a variety pack; it didn’t have an emotional thread to it, necessarily. But this is what I got out of making movie music. This is how I hear music: The sounds that are in­side my soul today.

After I digested the first album, I thought, “Okay, now I know what I mean to do.” And I went all the way back to my first musical obsessions. When I was 14 years old, before I left Toronto to play with the Hawks, I was in a New Orleans wanna-be band. With the Band, New Orleans rock and roll was a part of our lives and our musicality. And I dab­bled with it in the past, working with Al­len Toussaint, Dr. John, Bobby Charles. So coming here to do Storyville was part of a lifelong dream. I think there’s more music per square block here than any­where in the world. And they are incredi­bly independent about it. Then, for the thread of the thing, I de­cided I was going to write a story and base all the songs on this story. That also gave me the luxury of not having to sit down every day and say, “What am I go­ing to write about today?”

To me, Storyville is a state of mind. It was also the beginning of hot music , sen­sual music, in America. Whorehouse music, barrelhouse music, it all came out of this source. Storyville only lived for 20 years as a district, like you find in some European cities, where this music from the devil, ladies of the night, gambling, rambling, saloons, and cabarets are offi­cially allocated a certain neighborhood. You can see that area from the window here. And even the weather is different in New Orleans — right now, it isn’t raining here, but it’s raining on Storyville.

In my story, the characters meet up here. She’s from New Orleans, and he’s from one of those towns out there in the woods that’s only there because the rail­road came through. They meet when they’re about 16, and this is their first love, their first rites of passion.

They leave, they lose each other, years pass, they find each other. Right. The story is kind of about es­cape and discovery. It’s like another “Frankie and Johnny,” or “Betty and Du­pree,” if you will. But more than anything, it is kind of like Dante and Beatrice hit­ting the streets and the blue highways.

But the songs don’t tell this story chrono­logically. No, it’s not A, B, C, D. The begin­ning of the story is actually “Day of Reckoning,” and he goes back and re­members these things, as opposed to it all happening like in a calendar. One thread is that they share this fascination with mysticism and spiritualism, and they discover this mutual fascination here while they’re taking a walk through the remnants of Storyville, saying to one another, “Can you imagine, if these walls could talk…”

When I started listening, I had no idea if there was a chronological narrative. I was listening mostly to the music, and there’s a story and a vividness of character and scene-stealing in the music alone. That is very much what I set out to do. I wanted it to unveil itself and unveil itself, so that the more you listen to it, the more it continues to reveal.

I wanted to do one of these records that kind of comes on and takes you to a place, and when its over, you can go back to wherever you were. But while you’re there, it presents the mood and the background music to whatever you are doing in your life. I always really enjoyed that kind of stuff. And I don’t know if I matured a little bit in making the album, or if it was because New Orleans is such a hotbed of music — especially Storyville, a place once dedicated to fast living, hot music and moon-burned nights — but I feel comfortable now in my life with this “Frankie and Johnny” kind of story. I always felt a little embarrassed in my songwriting by a certain romanticism, a certain sensuality. And now I feel like I can abandon this embarrassment; I am not fearful of this romanticism anymore.

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There are two Big Chiefs from the Mardi Gras Indians on the album — Bo Dollis and Monk Boudreaux. You try to explain the Indians to people and you get reactions like “These are black people? They dress up like Indians, they have these mock wars, and who wins, wins musically, or in appearance, or in dance? I don’t get it.” Well, you never get it all. I’d ask the Chiefs questions, parallels between what they do and things I know from the Native American side of my background, and they’d go, “Hmmm, yeah.” I know these guys, and still I left them yesterday, after talking to them again for hours, and I didn’t know that much more than when I came in. And now that Storyville is finished, although I have a real grip on it, it’s still unveiling itself. I love these different layers — and not quite understanding it myself.

And while we’re on the subject of mysteries, there’s one thing you have to put in your interview: That bottle of Marie Laveaux’s Jinx Remover Oil that I gave you seems to have cleared up your cold.

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Boston speakeasy, supper club a spiritual successor to storyville jazz club.

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A Boston speakeasy and supper club that is located beneath the Copley Square Hotel at the corner of Huntington Avenue and Exeter Street is trying to recreate the magic that was in the space in the 1950s when it was home to a storied jazz club.

Jazz clubs were in no short supply in Boston in the 50s, and Storyville was among the favorites.

"There must have been 25, 30 different types of clubs in the Boston area," said Tessil Collins, who produces and curates WGBH's Jazz 24/7 online music station. "Storyville was the main attraction in that as it was the high-end, classy type of club as opposed to what you might call a juke joint."

When jazz greats like Sidney De Paris and Bob Wilber were in Boston, they knew they had to stop by Storyville.

"When people were coming to town, like, Louis Armstrong would be playing at Symphony Hall, he would stop in at Storyville to do a set after his show," Collins said.

Storyville closed its doors for good in 1960 because of financial troubles. There have been businesses who have moved in and out of that space on the corner of Huntington and Exeter since then, but Hue is looking to draw inspiration from the jazz club's success.

Much of Storyville's success was attributed to the jazz community, and Hue pays homage to jazz with a mural featuring the likes of Billie Holiday, Miles Davis and Ella Fitzgerald, which was painted by Rob "ProBlak" Gibbs.

Rob Eugene, one of the managing partners of Hue, said he hopes to facilitate a dedicated and inclusive community that is similar to what Storyville had in its heyday.

"I'm in a space where I do have live music at times. I have a DJ. It's an entertainment space," Eugene said. "The only difference now is that in the 50s, even though there were Black musicians here, Black residents in Boston didn't actually feel comfortable coming to the Back Bay — and now it's completely different."

Hue celebrated its one-year anniversary over the weekend, and the venue has received multiple certificates of recognition for its success, including from the city of Boston.

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CANNIBAL CORPSE's Russian Tour Attempted To Be Shut Down By Religious Protesters

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Dirty Three announce new album and Australian tour

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Acclaimed Australian instrumental trio Dirty Three will soon release their first album in over a decade, with their ninth LP Love Changes Everything due for release on Friday 14 June.

They'll then take their unique, dynamic and always powerful live show on the road for a 10-date tour of the country taking in some big rooms and beautiful theatres.

The news comes after the band were locked in as a major drawcard on this year's RISING festival announcement, where they'll play Melbourne's majestic Hamer Hall across two nights.

These shows, which kick off their tour, will be Dirty Three's first shows in five years, and first Melbourne shows in 12 years.

The band's new album features six new tracks, titled 'Love Changes Everything I' through 'Love Changes Everything VI', and is said to capture the band at their regular, spellbinding best.

While you can grab a physical copy of the album on Friday 14 June, fans will have to wait an extra fortnight if they just want to listen online as its digital release is not until Friday 28 June, when the Australian tour will just about be over.

Bandleader and violinist/violist Warren Ellis commented on the new record in typically straightforward fashion.

"Recorded in five days. Mixed in a year. Nothing has changed. Older and meaner, sadder, and totally dangerous. Dirty Three are 32 years old. Come blow out the candles and help us stick a knife in the cake."

Ellis, guitarist Mick Turner and drummer Jim White might not have been a constant presence in our lives over the past three decades, but every time they emerge from their moments of quiet, they remind us what a singular, deeply emotional musical force they are combined.

Catch Dirty Three playing the following shows. Tickets are on sale Thursday 4 April.

Friday 14 June – RISING @ Hamer Hall, Melbourne

Saturday 15 June – RISING @ Hamer Hall, Melbourne

Tuesday 18 June – Canberra Theatre

Wednesday 19 June – Anita's Theatre, Thirroul

Thursday 20 June – Enmore Theatre, Sydney

Saturday 22 June – Fremantle Passenger Terminal

Monday 24 June – Hindley St Music Hall, Adelaide

Wednesday 26 June – Odeon Theatre, Hobart

Friday 28 June – The Tivoli, Brisbane

Saturday 29 June – The Green Room, Byron Bay

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Liam Gallagher Announces Son Gene's Band Will Support Him During 2024 'Definitely Maybe' Tour

The 'Definitely Maybe' 30th anniversary tour is set to kick off in June

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Liam Gallagher 's forthcoming tour is becoming a family affair.

On Sunday, the British singer-songwriter, 51, announced that his son Gene's band Villanelle will be supporting him on the  Definitely Maybe  30 Years Tour this summer.

After a fan asked what he thinks of "Genes band" on X (formerly known as Twitter), Liam replied that they were "good" and shared some new information.

"[They're] good I’m gonna put them on 1st for DM tour," he wrote on the social media platform.

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According to Gene's modeling bio , Villanelle is a new project launching this year. While there is no official music out, the band, "will be playing throughout this years’ British festival season, releasing music as they go along," per the website.

In fan-posted footage of Villanelle, Gene, 22, appears to be on lead vocals and guitar.

In October, Liam announced the Definitely Maybe 30 Years Tour tour in  an Instagram post — a small 2024 string of shows where he will perform former band Oasis' debut LP,  Definitely Maybe .

"I'm bouncing around the house to announce the  Definitely Maybe  Tour. The most important album of the ‘90s bar none. I wouldn't be anywhere without it and neither would you, so let’s celebrate together LG x," he wrote alongside a tour poster.

The tour is set to kick off on June 2 in Sheffield and will run through June 27, where it concludes in Manchester.

Liam will also be performing in cities including London, Dublin and Glasgow, Scotland, along the way.

The Definitely Maybe tour will be the first time the "Wall of Glass" musician performed  Definitely Maybe  since the band split in 2009.

Definitely Maybe , which was released in 1994, turned Oasis into one of Britpop's biggest stars, producing classics like "Supersonic," "Live Forever" and "Slide Away."

At the time, it was  the fastest-selling debut album  in the U.K. ever, and it sold 8.5 million copies worldwide.

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While it appears unlikely Liam's brother and  Oasis bandmate Noel  will be joining him onstage for any of the dates, he  spoke with  SPIN  in May about the prospect of performing the band's debut album.

“If Liam wants to do the show, great. He’s got to make a living and all of that,” he told the outlet. “Keep the flame alive. It’s not something I particularly would be able to put my heart and soul into.”

After announcing the Definitely Maybe tour, Liam  told fans who inquired about Noel's presence : "He’s been asked and he’s refused."

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Heart's fall stop on Royal Flush Tour is the band's first Green Bay concert in 22 years

A SHWAUBENON - There’s not many classic rock bands from the ’70s who haven’t played the Resch Center in the past 20-plus years — Styx, REO Speedwagon, The Doobie Brothers, Lynyrd Skynyrd, Cheap Trick, ZZ Top, Bad Company, Journey — but never Heart.

Sisters Ann and Nancy Wilson, back on the road for the first time since 2019, will make their first Resch Center visit at 8 p.m. Nov. 22 for the Royal Flush Tour . Jason Bonham’s Led Zeppelin Evening, featuring the son of late Led Zeppelin drummer John Bonham, will open.

Tickets go on sale at 10 a.m. Friday at  ticketstaronline.com , 800-895-0071 and the Resch Center box office. Prices are $49.50, $65, $85, $125 and $149.50. Several VIP packages are also available.

It has been 22 years since Heart last brought “Barracuda,” “Magic Man,” “Crazy on You” and “What About Love” to Green Bay when the band played Oneida Bingo & Casino’s Pavilion Nights series on its 2002 Summer of Love Tour. It won’t be the first time in the Resch for Ann Wilson, however. She opened solo for Styx at the arena in 2018 .

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Since it was formed in the early ’70s, Heart has sold 35 million albums, including seven that made the Top 10, and notched 20 Top 40 singles. The band was inducted into the Rock and Roll Hall of Fame in 2013.

The tour, which was first announced in January, kicks off April 20 in Greenville, South Carolina, and also includes an Aug. 15 date with Cheap Trick at Fiserv Forum in Milwaukee. An additional run of North American fall dates was announced Tuesday.

In addition to the Wilsons, the current lineup of Heart features Ryan Wariner, Ryan Waters, Paul Moak, Tony Lucido and Sean Lane.

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Kendra Meinert is an entertainment and feature writer at the Green Bay Press-Gazette. Contact her at 920-431-8347 or [email protected] . Follow her on X @KendraMeinert . 

This article originally appeared on Green Bay Press-Gazette: Heart's fall stop on Royal Flush Tour is the band's first Green Bay concert in 22 years

CWU Symphonic Band Concert "Bridges"

In its simplest form, a bridge can be a structure carrying a road or path across an obstacle. The Central Washington University Symphonic Band under the direction of Dr. T. André Feagin (director of bands) seeks to explore this concept in its final concert of the year titled, “Bridges.” The concert is scheduled for May 28, 2024 at 7:00pm in Hertz Concert Hall (McIntyre Music Building). The program will feature works from the standard wind band repertoire as well as contemporary works for winds and percussion. The Symphonic Band is excited to collaborate with Benjamin Smethurst who will serve as narrator for Steve Danyew’s emotional work Into the Silent Land. The concert will also feature composers Brian Balmages, David Maslanka, John Philip Sousa, Jack Wilds, and Clifton Williams. We hope you can join us for this evening of music designed to bridge people together through the power of music. The concert is free, open to the public and will include a pre-concert talk with the conductor.

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Rock band Heart adds Nashville stop to 'Royal Flush Tour,' headed to Bridgestone Arena

The band Heart has announced more dates on their "Royal Flush Tour 2024" which will now bring them to Nashville. Heart will perform at Bridgestone Arena on Monday, October 14.

Heart, which was inducted into the Rock and Roll Hall of Fame in 2013, is known for hits, “Magic Man”, “Barracuda”, “Crazy on You” and “These Dreams." The band's current lineup includes Nancy Wilson, Ann Wilson, Ryan Wariner, Ryan Waters, Paul Moak, Tony Lucido and Sean T Lane.

And now after a five-year hiatus, the band will hit the road again, adding 30 new performance dates across North America this fall.

The North American tour, which will also take the band to Europe, will kick off April 20 in Greenville, SC. Heart has added stops in San Francisco, Kansas City, Houston, Calgary, Vancouver and more, and will conclude in Las Vegas on Dec. 15.

"We’re so excited to announce more tour dates," Heart’s Ann Wilson said. “The exceptional talent of the band – Ryan, Ryan, Paul, Tony and Sean – brings a whole new level of energy to Heart’s live performance”. 

On the tour, they will be joined by Cheap Trick, Jason Bonham’s Led Zeppelin Evening and Bachman-Turner Overdrive (BTO) with Randy Bachmanon for select dates.

This summer, Heart will also hit the stage with band Def Leppard and Journey for stadium shows in Cleveland, Toronto and Boston.

Tickets for Heart's new tour dates will go on sale to the general public on Friday, April 5 at 10 a.m. CST at  www.heart-music.com .