Daily Archives: March 13, 2022

Ottawas RBC Bluesfest is back with the announcement of its 2022 lineup!

After getting cancelled due to COVID-19 over the last few years, the beloved Canadian festival is finally making a return. RBC Bluesfest will take place for 10 days from July 7th to 17th at LeBreton Flats Park, as July 11th wont have any programming.

There are tons of big-name acts playing RBC Bluesfest including Rage Against the Machine, Alexisonfire, the National, Alanis Morissette, Sarah McLachlan, Jack Johnson, TLC, Lucy Dacus, Run the Jewels, Sum 41, Garbage, the Beaches, Nathaniel Rateliff, Jeremy Dutcher, and more.

Check out the lineup for RBC Bluesfest below.

Sarah McLachlinAlessia CaraDean LewisBombinoOcean AlleyJessiaVanessa CollierAlannah SterlingAngelique Frances BandJojo Worthington

Jack JohnsonTash SultanaJeremy DutcherThe New PornographersTami NeilsonThe Texas HornsAmanda LoweLiaMack & Ben

Luke CommbsThe RevivalistsColin JamesFemi Kuti & The Positive ForceAnthony Geraci BandAnders Drerup BandEmilie Steele & The DealGavin McLeod

Alanis MorissetteNathaniel Rateliff & The Night SweatsGarbageMackenzie PorterSue Foleytoile NoireJosephine LeoneMurray Kinsley & Wicked GrinRene LandrySophia Radisch

MarshmelloSaint JhnThree Days GraceMichael Franti & SpearheadCrown LandsJontavious WillisEmma ArmstrongFraseLyle Odjick & The Northern Steam

ALEXISONFIRESum41JP SaxeMillencolinChicano BatmanCharlie CunninghamNikki HillRaul MidnMia KellyMischaVicki Brittle

Luke BryanThe Tea PartyLucy DacusCrash Test DummiesWide Mouth MasonSAchaBraden FoulkesGentlemen Of The WoodsJanette KingMatthew Chaffey

Rage Against The MachineRun The JewelsMilky ChanceTal WilkenfeldLudic (First Up w/ RBCXMUSIC)Jessica Pearson & The East WingOkiesThe CommotionsThe Day Dreamers

TLCGrandsonCleopatrickCooper Brothers Southern Rock All-Ster RevueCrystal ShawandaBig ZeeLia KloudSlack BridgesSly High

The NationalThe BeachesAysanabeeBonnie DoonOK NalediJon Rivera

[Read More] Toronto confirms return of summer festivals like Pride, Caribbean Carnival, moreFoo Fighters, Dua Lipa, Yeah Yeah Yeahs, more to play Osheaga

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Rage Against The Machine, Alanis Morissette, The National, more to play Ottawa's RBC Bluesfest - indie88.com

In a way, Stewart Copeland's ongoing Police Deranged for Orchestra tourlooks a lot likehis time with Sting and Andy Summers.

Back then, his bandmates would create a landing place for Copeland's flights of drumming fancy. Today, local orchestras play this foundational role, as Copeland uses exciting improvisations to give old songs new life.

Dates for Copeland's tour resume this month. He's in Portland on March 16 with the Oregon Symphony and then settles in for a trio of shows on March 24-26 in Nashville with the Nashville Symphony.

In the meantime, Copeland joined UCR to discuss hisdistinctive playing style, how the Police brought two favorite deep cuts to life and the solo Sting songs he wishes he'd appeared on.

I think one of the things people love about your playing is that its not strictly regimented. When it comes to the Police, I can see the nature of your drumming working well in that creative environment. But did it ever cause frustration?Oh, absolutely. Not to me; to the band! And I have absolute sympathy, for a singer trying to sing his songs. For him to shine, he requires a really solid platform. That platform sounds more like Vinnie Colaiuta than me, so I absolutely understand his need for [structure]. Its the same with me and the orchestra. I can shine, I can blaze and take a left or a right and do whatever the hell I want to do because the orchestra is rock solid. They are playing the page absolutely faithfully. I know exactly where they are going to be, which means that I can leap from mountaintop to mountaintop, like a goat, or fly down into the valleys with them or go anywhere because I know exactly where they are. In bands, not counting Oysterhead [Copeland says with a wry tone], it is not ideal for the drummer to come up with something different every time. In Oysterhead, thats what its all about.

Watch Stewart Copeland Perform With the Atlanta Symphony

How quickly did you see that connection with Sting and Andy develop?With Sting, it was immediate. I saw him playing and thought, Thats a heck of a bass player and guess what, he can sing too! Cool! Thats useful. That takes care of my singing needs. But none of us had any idea that he could sing like that. When Andy joined, it was a bit uncomfortable for me as kind of manager of the band, because Sting didnt have an opinion. Id do a photo session, Id choose the shots and hed be [like], Sure, fine, whatever. Hes busy doing music. Thats what he does. But when Andy joined, there were a couple of things: First of all, I had to deal with a second opinion. What do you mean? Let me see that contact sheet! What do you mean, you decided such and such? One, it was annoying. Two, it was really great to have somebody to talk to about, like, Fucking Squeeze got the truck. Do you know anybody else with a truck to get us to Barbarellas in Birmingham tonight? It was actually great to have Andy, with another bread-head in the band. The other part, which is the really important part, was all of those fancy chords he had. They just lit Sting up. The day Andy joined the band is when Sting started writing those big songs. You know, I suspect that not even he knew what a great songwriter he was, under the hood, because hed been playing jazz and stuff. But forced to play three-minute songs with the opportunities presented by Andys skills and talents, it all kind of came together and he started writing fantastic songs.

Youre going to be doing the Police hits, which brings people out. Has this exercise also give you the chance to look at any deeper cuts from the catalog as well?Yes, I did look at some. Murder by Numbers is quite obscure. One of my favorite Police tracks. It almost didnt make it in fact, it didnt make it onto an album. It came out originally as a B-side. Its one of the most interesting Police songs. In spite of its jazz chords, I like it anyway. Partly because of the circumstances of its recording. In Montserrat, on this island a million miles from the nearest record executive, over dinner, Andys plunking away at his jazz chords and Im trying not to listen. But Stings ears perk up and he says, Hey, wait a minute, I might have a lyric for that! He went into his book and the two of them at the dinner table, heads together, kind of concoct his lyrics and Andys chords. While theyre doing that, Im kind of figuring out the rhythm in my head. I said, Hey, lets do a take. They go downstairs over to the studio. My drums were 20 feet away because we recorded the drums in the dining room of the facility because it had a good resonant sound. By the time they get down there, Hugh Padgham hits record, because Im already playing [imitates rhythm pattern]. The tape rolls and they start playing and that recording is the record. Not even a run-through, not even a lets try this. Thats it. The first time we ever played it, thats the recording.

Listen to the Police's 'Murder by Numbers'

Did that happen alot, that kind of spontaneity?No. Well, it was very close to that spontaneity. The last three albums, I recorded the drum parts about half an hour after hearing the song for the first time. Sting had a great technique, which was Andy and I would get to the studio and wed been writing songs. Wed play all seven of them in a row [and he would react to the material]. By the third or fourth one, everyones staring at the floor or the ceiling. I think Ive got to make a phone call, you know. But Sting would reveal his songs, one by one. Okay, thats great. Whats next? What have we got here? Weve already heard all of Andys songs; weve already heard all of my songs. What have you got there, Sting-o? Hed pull out one of those songs [like] Tea in the Sahara and wed get right on it, figure it out and do two or three takes. Usually, the second take was the one. By the way, theyre in a real hurry. Oh, thats great, Stewart. You know, It couldnt be any better than that! Because theyre in a hurry, they want to do their overdubs. Its fine, its fine! Nobody will ever notice that little fuck-up there! So, theyre in a hurry to get on with the fun. And by the way, once Ive done that, they redo all of the bass, redo the vocals, redo everything. But Im stuck with that original drum pass with all of its imperfections.

Its good because you dont have preconceived notions, so you dont get boxed into a certain thing. But it sounds like Sting and Andy Summers had a chance to go back and redo those things after they had some time to marinate on it.Absolutely and get the right guitar sound and very much improve on it, you know. Im not that religious, but I do believe in the X factor. I think theres something magical in the uncertainty of that explorative feel. You cant put your finger on what it is, but theres a vibe to it.

Is there a song you never got tired of, just because of the joy you had playing it? On the flip side, whats the song you would have wanted to play more?Theres a lot that I really enjoy. Message in a Bottle was always fun to play. Cant Stand Losing You. Love that song. Roxanne, I love the jam we used to do in the middle of it. Tea in the Sahara, I even loved his fucking oboe solo. I swear to God, the guy gets an oboe which is a very, very challenging instrument, mostly sounds horrible but he kind of got the hang of it, as he does. He pulls it out in that song there and starts honking on that thing. I gotta say, you know, thats not how youre supposed to do it but man, that sure sounds cool. Hes kind of like that. He can pick up any instrument and make it sound cool.

You and Sting still have a friendship, but as creative collaborators, you hit that point where you realize you no longer fit together.But what album or song from his solo career would you have enjoyed working on?If I Ever Lose My Faith in You. The Soul Cages was a great album. Im crap at remembering the names of songs, but theres so many. Englishman in New York, If You Love Somebody, Set Them Free. I took that personally [Copeland says with a bit of sarcasm].

UCR takes a chronological look at the 100 best rock albums of the '80s.

Continue reading here:

Stewart Copeland Picks the Sting Songs He Wishes He Played On - Ultimate Classic Rock

Former Boston drummer William "Curly" Smith isback in the spotlight thanks to a TikTok his son, Zach Montana, posted online.

Inthe video, Montana, who is also a musician, explains that his dad had left some music in his car. When it came through the speakers, he recognized the singer's voice as his dad's. The song turned out to beunreleased material of Smith's from the '70s.

Im listening and Im thinking, Whoa, this is really good, Montana toldToday. Then the vocals come on and I hear a very familiar voice, and Im like, Oh, my God, thats my dad.

"There's a horn section! Just wait! It's so good!" Montana says in the clip. "And he never released it! I'm so mad at him!"

You can watch the TikTok clip and listen to the song below.

Even though Montana noted that his dad has been"out of the game for a little while," Smith toured and recorded with Boston for seven years (1994-2001) and has produced and participated in session work for artists includingJeff Beck, Joe Walsh, Ron Wood, Brian Wilson, Dickey BettsandBonnie Raitt. His name has nowreached the mainstream again as Montana's TikTok circulates.

Within two months, thevideo amassed millions of views, and the song,Surrender to Me, has accumulatedmore than amillion streams on Spotify. The father and son duo even performed the song on Jimmy Kimmel Livelast month.

"It was very tough in those days to get a record deal, especially with people like the Bee Gees dominating the charts," Smith said onKimmel, explaining why he never released the song. "I couldn't get it signed. So I put it on a shelf for 43 years, and every now and then I would listen to it and go 'Hey, that was pretty good.' You know, maybe it'll come out sometime."

From AC/DC to ZZ Top, from 'Bridge Over Troubled Water' to 'London Calling,' they're all here.

Excerpt from:

Former Boston Drummer William 'Curly' Smith Goes Viral on TikTok - Ultimate Classic Rock

Take a look at Dollywood's construction projects, including HeartSong Lodge & Resort

Dollywood unveiled its offseason construction projects, including the upcoming HeartSong Lodge & Resort, the Emporium and the park's parking toll booths

Brianna Paciorka, Knoxville News Sentinel

This story has been updated to clarify Soaky Mountain Water Park's new slide will open sometime in 2022.

Last year, the Great Smoky Mountain National Park saw over 14 million visitors, shattering the previous record in 2019 by 1.5 million.The national park is one of the busiest in the country, bring millions of tourists into Sevier County throughout the year.

If you're planning to visit the Smokies this spring, there are plenty of attractions in Sevier County outside of the national park.

From new, giant waterslides to a 10,000-square-foot arcade,here's a look at what's new for your spring trip to the Smokies.

Soaky Mountain is combining two of its slides to create onethrilling new slide.

"The Edge"is the fusion of the "WhiteWaters Master Blaster"water coaster with the beloved "Boomerango."The new slide will be over 200 yards long and will be located at the edge of the park, and it will feature two slides for a "dueling thrill."

The 70-foot tall slide sends riders down a three story drop with two uphill "blasts" that propel them through colorful, kaleidoscope tubes.

In a press release, Soaky Mountain general manager Dave Andrews saidThe Boomerango is loved the world over, but our guests will be treated to a very special version of it that has never done before. Our Boomerango walls are being designed to make the riders feel like they are going off The Edge of the coaster. It is going to be spectacular.

The new slide will make its debut in 2022.

Guests will also have more food options to choose from. Tacolicious, a taco truck formerly housed in a double decker bus, is expanding to a larger, 34-foot-long "Silverside" bus. The park said the new larger size will give chefs more room and allow for food to get from the kitchen to the table faster.

The double decker bus will be repurposedas a new vendor,Philly Up!, will call it home. The new restaurant will feature a menu of Philly Cheesesteak sandwiches with some chicken options. Seating can be found on the upper deck of the bus, providing a view of Black Bear Rapidsand Coyote Springs.

For tickets and more information, visitsoakymountainwaterpark.com.

Looking to get a view of the Smokies, grab dinner and enjoy a show?

This entertainment package is provided byOle Red Gatlinburg and Gatlinburg SkyLift Park. For $117,The package includes two SkyLift passes and a $50 meal voucher for Ole Red.

Starting at SkyLift Park, guests will be transportedfrom the heart of Gatlinburg toCrockett Mountain. The park said guests will, "witness breathtaking views of the Smoky Mountain National Park" during the ski-lift-like ride.

The tour will conclude at Ole Red restaurant, created by country star Blake Shelton. The restaurant features a Southern-inspired menu with dishes such as tater-tot poutine and bacon-wrapped meatloaf. There's also a stage for guests to enjoy live country music with their dinner.

The promotion is live now and goes through July. More info can be found at axs.com and searching "Ole Red".

As it prepares to start its Blooms and Tunes eventon April 15, Gatlinburg theme park Anakeesta is adding a new bar: The Watering Can.

The bar will open mid-April, according to an Anakeesta spokesperson, and willbe located at the base of AnaVista Tower, which is the highest point in Gatlinburg.

Guests will be able to find local craft beers and seasonal cocktails at the full-service bar while getting a view of MountLe Conte.

For park hours and to see events, visitanakeesta.com.

Dollywood's Splash Country, set to open May 14, will have some new features.

Little Creek Falls will look a little different, as the attraction is getting a makeover. Anew splash pad with more than 100 new play elements is replacing the slides at Little Creek.

The goal of the renovation was to make the area more accessible for those of all ages and abilities.

Between small fountains and tall tree structures, all young kids will find something to enjoy.

Visit Dollywood.com for tickets and more info.

More: Dollywood preps for 2022 season with reimagined Splash Country attraction, parking fixes

Want to camp in the Smokies without sleeping on the ground that one rock all night? Smoky Hollow is a "glamp site" that opened in November. It offers guests a chance to stay in luxury cabins, tipis, treehouses and covered wagons. All units are equipped with electricity, heating and air conditioning. Rates start at $185 per night.

To book your stay and for more information, visitsmokyhollowoutdoorresort.com.

More: From Big Ears to Mardi Growl, here's what's happening this March in downtown Knoxville

More: Check out the biggest concerts and comedians coming to Knoxville this spring

Celebrity chef Guy Fieri is rolling into Pigeon Forge with the new Downtown Flavortown.

The 43,000-square-foot entertainment center invites you to "play with your food" and featuresa menu by Fieri, as well as bowling, a 10,000-square-foot arcade center and a tiki bar. Want a picture with Fieri's iconic 1968 Chevy Camaro? Downtown Flavortown has a replica of the car just for photo-ops.

The restaurantopened March 8in the Mountain Mile Mall.

For more info, visitdowntownflavortown.com

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Waterslides to Flavortown: Here are new attractions coming to Gatlinburg and Pigeon Forge - Knoxville News Sentinel

John Oateswants to teach you the origins of American pop music.

The singer-songwriter is hitting the road on March 16 for An Evening of Songs and Stories," a seven-date run of shows that kicks off inPhoenixville, Penn., and wraps on March 26.in Newport, R.I. Oates will be joined by Guthrie Trapp, a Nashville musician who's worked withGarth Brooks, Vince Gill and Dolly Parton. The pairfirst met at the Telluride Blues & Brews Festival and have collaborated several times since then.

The premise of the shows is simple: Oateswants to educate. Fans can expect to hear some Daryl Hall and John Oates hits like"Maneater," You Make My Dreams and Private Eyes" plus the stories behind their creations but Oates isout to prove he's morethan just half of the best-selling musical duo of all time.Concertgoers will alsohear songs that have influenced Oates' musical journeyand a narrativeon American pop music.

A complete list of tour dates can be found on the artist's website; on March 13, Oates andTrappwill stage a livestreamthat will feature a setup"as comfortable as a living room."

Oates spoke with UCRto discuss the upcoming tour, his recent viral TikTok and what's next for his career.

How did it feel to get back on the road with Daryl Hall last summer after all those months off?The summer of '21 was really trying to do some of the shows that we couldn't do in '20. So luckily, we were able to just kind of keep incrementally pushing those 2020 shows back, back, back. And we finally got most of them in. We didn't get them all in. I think the original tour in '20 was going to be 38 cities, ended up being about 22, which was still pretty darn good considering.

Watch Daryl Hall andJohn Oates Perform 'Rich Girl' in 2021

Why did you decide to do a smaller tournow?It's a chance for me to go back and to re-explore the music that made me who I am, that's really what it is. It's the music of my childhood, my youth, the songs and styles that really defined my musical upbringing before I met Daryl and before he and I started working together. ... We tell the stories about the songs. I talk about the people who influenced me, people like Mississippi John Hurt and people like Doc Watson, and we play their songs, but then those songs kind of meld into my solo music, and then people can make the connection. They say, "Oh, I get it. He liked this. And he played this kind of song. But here's an original song, and it still kind of follows the same musical roadmap so to speak." And then, of course, we do some Hall and Oates hits, but in an acoustic kind of reimagined way. It's a very personal show. It's done in small venues, listening venues, where people can really listen, and it's all about the engagement with the audience and taking requests it's very loose. The good thing about playing with Guthrie Trapp is that he's so versatile. He's willing to do almost anything, and he can play anything. He makes me a better player.

What songs do you have in mind? Do you plan to switch up theset list each night?Let's put it this way: We have a plan. [Laughs] We got a plan and the plan is that it can change at any moment. ... We played a show in Colorado recently, and there was a guy in the front row and I could tell he was in it the whole time. And at one point in the show, he just said, "Can you play 'Possession Obsession'? Because that's my favorite song. I've never heard you play it." And I said, "You know what? I haven't played that song in about 30 years. But you know what? I'll give it a try." And so I fumbled my way through it. I totally was not planning on doing that. But I mean, the show is so intimate and in the small venues, you can actually do things like that. I think it's part of the charm of the show that it's so personal and so real.

Watch DarylHall and John Oates' 'PossessionObsession' Video

Are these kinds of shows more enjoyable for you?You really can't compare the experience, they're totally different experiences. They both have their good qualities and their bad qualities. Playing a sold-out show at Madison Square Garden, you can't replicate the energy and the vibe that happens in front of 15,000 people, and the band is rockin' and you've got this energy. That's one thing. But then again, you can't compare that authenticity and that organic nature of bringing music back to its original, most elemental form, which is a guy with his instrument, or a girl for that matter, with his instrument and a guitar and a song. I like to break it down like that. It keeps me balanced. ... And to be honest with you, and I'll just say this, I'm better in that environment, what I do personally, not with Daryl. When I'm with Daryl, sky's the limit. But when I'm on my own, I am a better communicator in this small, intimate way. I think my personality comes across better, and people understand me a little bit more, rather than seeing this little figure up on the stage from a distance, on a video screen.

Is that something you've learned over the years? I would imagine your relationship with touring and playing live is different now than it was when you first started.Yeah, but I started out as a kind of a solo folk, blues performer. So, in a sense, what I'm doing right now is really going back it's like going back to go forward. It's going back to touch on these very significant and elemental styles that made me who I am. But of course, I've evolved as a person, as a man, as a father, as a professional musician, as a songwriter. It's not like I want to go back in time and try to replicate the past, but I want to show what the past did to me and what the past gave to me and how I am now. ... I mean, I have seven solo albums. So I have a lot of material to draw from. ... Obviously, none of that material is going to be as well known as the Hall and Oates material, and it never will be, but I think it's substantial, musically, and I think I'm very proud of it, musically. So it's an opportunity here again, for me to show that hey, I'm also doing this. I'm not just the guy in the MTV videos, you know?

Watch John Oates Perform Acoustic Version of 'Maneater' With Guthrie Trapp

Did you do much songwriting during the pandemic?I actually did. I had an amazingly creative period of time. Once I realized that the Hall and Oates tour wasn't going to happen, after Madison Square Garden on Feb. 28, [2020], it was a real adjustment, to think, "Wow, I'm not going to be traveling for the next who knows?" I didn't know if it was going to be a week, a month, a year, two years. As it turned out, it was a year and a half. So at first, I was like, Whoa, what do I do with myself? I had a lot of free time, which is very rare for me. And I was at home, which is also rare for me. So I began to listen to a lot of music, new music, old music. I tried to do things that I'd never done before. And then things started happening. I'd be contacted by someone on Instagram: "Hey, you want to collaborate, do a collab?" And I didn't even know what a collab was. In fact, I didn't know how to use Zoom or anything. So I learned all this stuff. And then I thought, "I can't really write a song on Zoom with someone." But then I did. And I said, "Wait a minute, we can do this." And so it was a learning experience.

My favorite TikTokis one of you eating a bowl of oats, pondering why no oat-manufacturing companies have ever reached out to you for the perfect marketing collaboration. Did any oat companies contact you after you posted that?You have no idea. We have a basement full of boxes. We have so much oats that I cannot tell you. It's completely crazy. We have oats from every oat manufacturer you can think of. We got the greatest stuff, and we're trying all this stuff and some of it is really amazing. So now they're reaching out, they want me to do collabs with them. And so it's become a thing.

There's another TikTok you posted where you mention that although there's been a handful of Hall and Oates documentaries, there hasn't been an in-depth, all-in film. Is that something you'd like to pursue?I'd have to get Daryl on board first, because if he's not involved, then we wouldn't have much of a documentary. At some point, I think the Hall and Oates story should be told in the right way. I don't think the time is right now, and perhaps it never will be, but you never know. And I'd want it told in an artistic and accurate way. So who knows when that time, if that time, will ever come? I mean, we did aBehind the Music with MTV, and I think that was pretty good. It really brought out a lot of the main points. But in terms of digging in deep, I don't think we've ever dug that deep.

Do you think that your social media platforms and presence have been a benefit in terms of engaging with fans? Some artists aren'tcomfortable with it, but you seem to embrace it.Well, I've definitely embraced it over time. I wasn't comfortable in the beginning. But I have a great team of really creative people that kind of lead me in the right direction, and I've learned to trust them because everything they do seems to connect. I think it's really good, because I think, here again, just like the solo show I'm doing with Guthrie, it's a way that people can really find out who I am.

What are you most looking forward to about these upcoming shows?I'm looking forward to getting people to have a really entertaining evening, where they discover something not only about me but about the history of American popular music, because in a sense, what I'm doing is trying to kind of connect the dots between the earliest days of American pop a lot of people, especially the younger generations think that pop music started with rock'n' roll but pop music started when radio was invented and a record player was invented. And that's the late teens and early 1920s. And in doing the show like this, I've done a lot of research, and become a bit of a musicologist and realized there were million-selling records going on in the early 1920s. And a lot of people aren't aware of that. ... And it's constantly evolving. And it's a living and breathing thing. I want to shine a light on something that I think a lot of people aren't maybe so aware of.

There's a tendency to brushit off as nostalgia, but what you're emphasizing is that this is the foundation of the music industry as we know it.Yeah ... I'm a history buff, and so I became fascinated with this. And once I started to do some research on it like for instance, I do a song by Jimmie Rodgers, who's the yodeling brakeman, one of the godfathers of country music. Now, interestingly enough, one of my childhood heroes, Mississippi John Hurt, when I started reading his bio and getting into his early life, Jimmie Rodgers was one of his favorite artists. And I actually looked at the jukebox playlist that was being played in the little town in Mississippi where Mississippi John Hurt lived, and there were songs by cowboy artists, there were not any of the songs that you would think would be on a Mississippi jukebox. So because everything was new, everyone was open-minded. And then, later on, you have a guy like Robert Johnson, who was, undoubtedly, the king of the Delta blues. His favorite artist was Jimmie Rodgers. So I didn't know that. And when I realized that, I began to connect those dots. So I do a Jimmie Rodgers song, and then I do a Mississippi John Hurt song. And I tell that story in the course of the show. I try not to make it too academic.

Would you consider doing more of these shows?Oh, absolutely. I plan on doing a lot more of it. I want it to be fun, I want it to be enjoyable. I'm not gonna kill myself over this thing. But I want to keep music in perspective. I want to do it enough so that it's vibrant and real, but I don't want to have it rule my life. I have a family and I have a life. Things are much more in perspective now in my life.

UCR takes a chronological look at the 100 best rock albums of the '80s.

Read more from the original source:

John Oates on Solo Tour: 'I'm Not Just the Guy in the MTV Videos' - Ultimate Classic Rock