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33 Tours Et Puis S'en Vont (3LP version)

By laurent garnier.

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COD3 QR Paris, France

The people behind the label are Laurent Garnier and Oliver Way, curating for the curious, the seekers, the adventurers and the brave. Cod3 QR is about going back to basics. About that feeling of discovering hidden gems and long sought after oddities. If it’s good, it’s good. The music is the message. ...   more

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​Laurent Garnier unveils details for first solo album in eight years, ‘33 Tours Et Puis S'en Vont’

The producer also penned a letter to fans explaining that he’ll step back from touring next year

• Words: Gemma Ross | Photo: Bazil Lamy
• 29 March 2023

Legendary French producer Laurent Garnier has announced his first solo record in eight years, ‘33 Tours Et Puis S'en Vont ’, and told fans that he’ll step back from touring in 2024.

The album is set for release on May 25 via COD3 QR , a label Garnier founded in 2018. The record marks the producer’s first solo release since 2015’s ‘La Home Box’.

‘33 Tours Et Puis S'en Vont’ is said to be Garnier’s most dancefloor-focused record yet, leaning into club, techno, hip hop, house, and drum ‘n’ bass with features from Alan Watts, 22Carbone, and more.

Read this next: Laurent Garnier: "If I only played classics I'd feel like a jukebox"

Alongside the announcement of his next album, Garnier penned a letter to fans explaining that he’ll step away from touring next year in an “important turning point” for his 33-year-long career.

“Becoming a dusty, old jukebox has never been an option, and so as my “swinging” sixties draw nearer, the time has come for me to consider my life as a touring DJ differently,” he explained.

View this post on Instagram A post shared by Laurent Garnier (@laurent_garnier)

“But that doesn’t mean abandoning the decks for good. And so, after the next few months, which I’m hoping will be full of excitement around the release of this album, you won't see me playing the same weekend in three different cities anymore,” Garnier told fans.

Read this next: Feature-length Laurent Garnier film gets full UK and Ireland release

The 57-year-old artist added that he will “remain a DJ” for the rest of his life, but will end relentless touring in a bid to relieve the stress of non-stop travelling.

“Being a DJ is, above all, a visceral need for me to share the music I love, no matter what, in one way or another,” he added.

Pre-order ‘33 Tours Et Puis S'en Vont’ here , and check out the tracklist below.

1. Tales from the real world feat. Alan Watts (Vocal Version) 2. Liebe grüße aus Cucuron 3. In your phase feat. 22Carbone 4. Reviens la nuit (Original Mix) 5. Saturn Drive Triplex feat. Alan Vega 6. Sado miso 7. Au clair de ta lune 8. Sake stars fever 9. Multiple tributes (to multiple people, for multiple reasons) 10. ...et puis s'en va!

Gemma Ross is Mixmag's Editorial Assistant, follow her on Twitter

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The Rock and Roll Hall of Fame group played more than two dozen songs in a hits-packed performance at the JMA Wireless Dome in Syracuse. The show was originally scheduled for September and postponed when Springsteen was diagnosed with peptic ulcer disease .

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Dickey Betts, Allman Brothers Band guitarist, dies at 80: 'Dickey was larger than life'

S ARASOTA COUNTY, Fla. – Dickey Betts , a driving force behind the Allman Brothers Band  that launched Southern rock and influenced the jam band scene, died Thursday at his Florida home, according to his longtime manager David Spero.

"It is with profound sadness and heavy hearts that the Betts family announce the peaceful passing of Forrest Richard 'Dickey' Betts (December 12, 1943 - April 18, 2024) at the age of 80 years old," reads the statement from the Betts family.

"The legendary performer, songwriter, bandleader and family patriarch was at his home in Osprey surrounded by his family. Dickey was larger than life, and his loss will be felt world-wide. At this difficult time, the family asks for prayers and respect for their privacy in the coming days. More information will be forthcoming at the appropriate time."

The Allman Brothers performed a singular amalgam of rock, blues, jazz and country marked by the pioneering, twin lead guitar playing of Dickey Betts and Duane Allman, best heard on the band's landmark 1971 live album ”At Fillmore East." After the tragic deaths of Duane Allman and then bassist Berry Oakley, Betts became the de facto leader of the band, writing and singing the chart-topping single "Ramblin' Man" from their platinum-selling 1973 album "Brothers and Sisters," which also features key Betts compositions such as "Southbound" and the hit instrumental "Jessica." 

Betts released several acclaimed solo albums in the 1970s and 1980s before playing an integral role in reforming the Allman Brothers Band in '89 following a seven-year hiatus. Joined by founding singer/keyboardist Gregg Allman and drummers Butch Trucks and Jai Johanny Johanson (known as Jaimoe), Betts brought his Dickey Betts Band guitarist Warren Haynes into the fold and wrote the vast majority of the material for their 1990 comeback album "Seven Turns," which features Betts singing the hit title track. 

The Allman Brothers spent the first half of the '90s regularly issuing well-received new studio and live albums while filling amphitheaters nationwide, often headlining lineups with popular jam bands who were influenced by albums like "At Fillmore East," its follow-up "Eat A Peach" and "Brothers and Sisters." The Allman Brothers were inducted into the Rock and Roll Hall of Fame in 1995 by Willie Nelson. During the ceremony, Betts' explosive guitar work was the highlight of the band's performance of the blues standard "One Way Out," which they first popularized when Duane Allman was in the band.

“We had some real tragedies losing Duane (Allman) and losing Berry Oakley and we had to keep the band together, had to keep it effective, and viable through all that period,” Betts  told the Herald-Tribune  in 2019. “We took off the (1980s) and Gregg and I put our little bands together and played clubs. After we got back together a lot of writers from Rolling Stone and stuff were calling us dinosaurs and making fun of bands like us and wondering if we could still play and we were determined. It gave us more drive and we showed we weren’t done yet. We made some of our best records and I think that helped put us in the Hall of Fame.”

While many celebrities have lived in Sarasota and Manatee counties including Betts' longtime bandmate Gregg Allman, none have roots as deep as Betts’, whose songwriting and guitar playing would go on to influence acts including Lynyrd Skynyrd, Marshall Tucker Band, Gov't Mule and Tedeschi Trucks Band. The Betts family started living here, in the southeastern Manatee County community of Myakka City, about the time of the Civil War. Drive around the area east of Bradenton today and you are bound to find Betts Road.

Interview: Dickey Betts on ‘Ramblin Man’ and more of his greatest Allman Brothers Band songs

Forrest Richard 'Dickey' Betts born in Florida

Forrest Richard Betts was born on Dec. 12, 1943. The boy everyone called Dickey traded his ukulele for a mandolin and then a banjo and then an electric guitar because he noticed the electric guitar impressed the girls.

At 16, he left home to join the circus and got a gig playing the Teen Beat stage of World of Mirth, which traveled the country from 1933 to 1963.

“Our band would do like splits and we had basketball knee pads and we’d go sliding on our knees playing and then I’d pick the other guitar player up on my shoulders and we had all this s--- going on,” Betts told me during a 2014 interview at his home. “So we did like 10, 12 shows a day. It was like Vaudeville or something except it was rock ’n’ roll. That was my first road trip.”

Betts’ next road trip was playing with the band The Jokers, immortalized in the Rick Derringer song “Rock and Roll, Hoochie Koo.”

The Jokers were a regionally popular act that could fill 1,500-capacity dance halls. After playing with them in Indiana, Betts returned home and teamed up with fellow guitar player Larry “Rhino” Reinhardt, a Bradenton native who would go on to play with Iron Butterfly and Captain Beyond, bass guitarist Berry Oakley and keyboardist Reese Wynans. They emerged in the late 1960s in Jacksonville as the band Second Coming.

Duane Allman, already a famed session guitarist, and his good friend Jai Johanny “Jaimoe” Johanson, who had played drums in Otis Redding’s band and then with Sam & Dave, moved to Jacksonville in March of 1969, and soon that’s where the Allman Brothers Band formed with Duane Allman and Betts sharing lead guitar duties, Oakley on bass, and Jaimoe playing drums alongside Butch Trucks, with whom Duane and his younger sibling Gregg Allman had worked with before. Gregg Allman, who was living in Los Angeles in early ’69, joined a few weeks later – at the urging of Duane, Betts and the rest of the musicians – to handle lead vocals and play the Hammond B-3 organ.

Dickey Betts co-founds Allman Brothers Band in 1969

The Allman Brothers Band relocated to Macon, Georgia, and their self-titled debut album came out in November of 1969. The band toured the country virtually nonstop for an entire year and then released “Idlewild South,” which includes the Allman Brothers’ first charting single, “Revival,” written by Betts, as well as the debut of his instrumental “In Memory of Elizabeth Reed.”

The definitive, 13-minute rendition of “Elizabeth Reed” appears on the Allman Brothers’ masterpiece, the 1971 double live album “At Fillmore East.” “Elizabeth Reed” is one of only three originals on the album that also includes the instrumental “Hot ’Lanta” (credited to the entire band) and the Gregg Allman original “Whipping Post,” which clocks in at 23 minutes and features some of Duane Allman and Betts’ most inspired guitar playing.

A few months after the “Fillmore” release unofficial bandleader Duane Allman died in a motorcycle accident. Almost exactly a year later, Oakley died in a motorcycle accident. Both men were 24 years old and riding near their respective homes in Macon.

Betts’ composition “Blue Sky,” the first Allman Brothers song with him on lead vocals and one of the last to feature the gorgeous guitar harmonizing of Betts and Duane Allman, appears on the hit 1972 double album “Eat a Peach.”

“That’s a cool song," Betts said during the same 2014 interview. "I was married to an Indian girl whose last name was Wabegijig, which means 'clear blue sky,' so I was writing it for her and I was writing it as ‘She’s my blue sky, she’s my sunny day’ (Betts sings). And I thought, nah, this would be a better song if I just sang it to the sky instead of to a woman. That was a very good move that could make or break that song. It made it more universal. If you’re a songwriter, that’s not a big jump. In fact, in ‘Ramblin’ Man,’ the original line to that was ‘Playing my music and doing the best I can.’ Everybody doesn’t play music, but everybody works for a living. I asked Gregg to sing ‘Blue Sky’ and actually the producer, Tom Dowd, he said, ‘No, why don’t you sing it.’”

Allman Brothers release 'Brothers and Sisters' in 1973 featuring Betts' hit song 'Ramblin' Man,' which he would later sing with Bob Dylan

The Allman Brothers' next album, 1973's “Brothers and Sisters,” includes “Ramblin’ Man.” Betts wrote and sang lead on the song as well as playing lead guitar. “Ramblin’ Man” is the Allman Brothers Band’s first and only Top 10 pop hit, reaching No. 2 on the Billboard Hot 100 chart and No. 1 on the U.S. Cashbox Top 100.

“I was going to send ‘Ramblin’ Man’ to Johnny Cash," Betts told me. "I thought it was a great song for him. But everybody in our band liked that song. Even my dad liked the song before we recorded it or anything.”

During Bob Dylan's Sept. 30, 1995, concert at the USF Sun Dome in Tampa. Florida, Betts joined Dylan on stage for several numbers including "Ramblin' Man." Betts told the story of how it came to be while seated at his Sarasota County home in 2014.

Dylan says, “Let’s do ‘Ramblin’ Man.'”

“All right, let me write the words down,” Betts tells him.

“I know the words,” Dylan says. “I should have wrote that song.”

Betts unleashed one of his warm, charming laughs.

"I said, 'Bob, just sing whatever you want to.' I didn’t think he knew the words. I figured he’d just make up some stuff," Betts recalled. "He knew the song word for word. Man, it was such an honor. He sang it and I told him later that those words have never had so much feeling. The way he sings, he makes every word punchy. It really was beautiful. It really was."

The success of “Brothers and Sisters,” in large part, because of "Ramblin' Man" made the Allman Brothers rock stars.

An estimated crowd of 600,000 fans attended when the Allman Brothers Band, The Grateful Dead and The Band co-headlined the Summer Jam at Watkins Glen, New York, on July 28, 1973. Considered the largest crowd to date for a rock festival, the event drew more people than Woodstock did a few years earlier.

While filling stadiums nationwide during the mid-1970s, the Allman Brothers Band was joined by teenage journalist Cameron Crowe. His experience with the group as a writer for Rolling Stone magazine would influence his critically acclaimed 2000 film “Almost Famous” starring Billy Crudup looking just like Betts.

“I talked to Billy Crudup about it and he said he was playing me,” Betts told me. “I knew Cameron Crowe and I did invite him on the road because he worked for Creem and he did a real good article about me when I did my (1974) solo album ‘Highway Call.’”

Starting in 1975, The Allman Brothers Band played benefit shows for Jimmy Carter, helping the former governor of Georgia get elected president. At the time of his death, Betts had a letter of gratitude from the former president framed in his house.

In 2023, New York Times bestselling author Alan Paul published the book,  "Brothers and Sisters: The Allman Brothers Band and the Inside Story of the Album that Defined the 70s."  It focuses on the Allman Brothers from 1972 to '76 and largely celebrates Betts and his new leadership role in the band.

"In this new lineup, any combination of players could lock into grooves with one another at various times," Paul writes, before further elaborating: "Betts, an absolutely monster guitarist playing with confidence and creativity, stood atop this musical juggernaut."

Dickey Betts inducted into Rock and Roll Hall of Fame with Allman Brothers Band

Through several incarnations and countless controversies, Betts led the Allman Brothers after the death of Duane Allman. During the 1990s he wrote or co-wrote such hits as “Seven Turns,” “Nobody Knows” and “No One to Run With.” The Allman Brothers Band was inducted into the Rock and Roll Hall of Fame in 1995. The following year a live version of “Jessica” won the Grammy Award for Best Rock Instrumental Performance.

In 2000, Betts and the three surviving original Allman Brothers Band members split acrimoniously.

The Allman Brothers Band continued, though, for 14 more years. The group performed Betts’ songs, from his 1970s hits to the popular ones he wrote for the band during its 1990s comeback years. Betts and his Great Southern group toured successfully, too, playing only Betts’ songs and blues chestnuts, during the same time period. Betts performed in Sarasota at Robarts Arena in 2014. It took place about a week after the Allman Brothers Band’s final show. Betts would not return to performing until nearly four years later.

Betts and Derek Trucks shared guitar duties in the Allman Brothers Band in 1999 and 2000 with Derek Trucks remaining with the Allman Brothers through the group’s final show. Betts joined the Tedeschi Trucks Band in September of 2013 at the Beacon Theatre in New York for several numbers including “In Memory of Elizabeth Reed” and “Blue Sky.”

“I’ve seen some amazing crowd responses at the Beacon, like Clapton guesting, but never have I felt it as much as with Dickey,” Trucks told me in January 2014. “There is a lot of love for him and a lot of people really excited to see him back on stage. It was a moment for sure and Dickey was great and such a sweetheart. I grew up listening to him and his music and I have such respect for what he has done, him and his son Duane in Great Southern.”

Butch Trucks died in January of 2017 of a self-inflicted gunshot wound to the head and then Gregg Allman died in May of the same year after a long battle with liver cancer the singer kept private.

“I’m so glad I was able to have a couple good talks with (Gregg) before he passed,” Betts said in a statement issued the day of Gregg’s death. “In fact, I was about to call him to check and see how he was when I got the call. It’s a very sad thing. I, along with the entire Great Southern family, pass along my deepest sympathies to Gregg’s family, friends, and fans.”

Betts, along with his son, Duane Betts, attended Allman's funeral at Snow's Memorial Chapel on June 3, 2017, in Macon. Allman was laid to rest Saturday near his older brother Duane and bandmate Berry Oakley, both killed in separate motorcycle crashes in Macon in the early 1970s, in the same Rose Hill Cemetery where they used to write songs among the tombstones, not far from the U.S. Highway 41 that Betts sings about in "Ramblin' Man."

Betts is survived by many local family members including his wife of more than three decades, Donna Betts, and his daughter, country music singer Kimberly Betts, who performed around Sarasota-Manatee with her band Gamble Creek, which featured her son (Dickey’s grandson), Grant Tyler, on guitar.

Betts’ daughter Christy married Frank Hannon, guitarist and co-founder of the multi-platinum-selling hard rock band Tesla. Hannon’s 2012 solo album “Six String Soldiers” features one of Dickey Betts’ last studio recordings. Dickey’s daughter Jessica Betts, as a toddler, inspired the hit instrumental that bears her name.

Duane Betts, whom Dickey named in honor of Duane Allman, is a nationally renowned guitarist, singer and songwriter born in Sarasota. As a teenager, Duane joined his father and the rest of the Allman Brothers Band in concert for select songs in the 1990s and then became a full-time member of his dad’s Great Southern group in the 2000s.

Following Dickey Betts' successful 2018 brain surgery, Duane Betts posted a photo to social media of him and his dad on stage raising their cowboy hats to the crowd following a performance.

"So grateful today," Duane Betts said. "My father has always been my hero, my mentor and my favorite guitar player in the world. I want to say thank you to all of you who have sent messages, prayed and sent good energy to my family and my dad."

Dickey Betts' 80th birthday happened to coincide with an Allman Betts Family Revival performance featuring Duane Betts and Devon Allman (son of Gregg Allman) at Sarasota's Van Wezel Performing Arts Hall. Dickey came on stage during the show to be serenaded with "Happy Birthday" by the crowd. After the show, he was presented with a birthday cake shaped like a Gibson Les Paul model guitar. Dickey Betts' official Instagram account posted that "It was a night that no one in the building will soon forget" and "a fitting way to celebrate the life of a true living legend."

This article originally appeared on Sarasota Herald-Tribune: Dickey Betts, Allman Brothers Band guitarist, dies at 80: 'Dickey was larger than life'

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Culminating a centennial celebration of BGSU Bands: A harmonious legacy

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Gala concert marks the end of a year of commemorative events, the retirement of Dr. Bruce Moss and highlights the Banding Together Centennial Campaign

On Sunday, April 7, Bowling Green State University Bands culminated their centennial year celebration with a gala concert that invited both a look back at the ensembles' musical legacy and a glimpse of excellence to come as the ensembles enter their second century.  

During Sunday's gala event, more than 300 musicians — both current students and alumni — took the stage, performing in the Wind Symphony and Alumni Band, under the direction of Dr. Bruce Moss, professor and director of band activities. The concert was preceded by performances by the Symphonic and University Bands directed by Dr. Kenneth Thompson and assistant teaching professor Jon Waters on Saturday. Both concerts celebrated a century of melodies that have shaped generations of musicians. 

A final bow

The gala concert featured favorites from the canon as well as a newly commissioned work for worldwide distribution. The event marked the world premiere of "All the Earth and Air" by Tyler Grant. The piece was commissioned for Moss by the BGSU Band Alumni Society in recognition of his 30 years of dedicated leadership as BGSU Director of Bands.

“All the Earth and Air” was performed by a band of 80 alumni members. The piece, Moss said, was intentionally written so it could be played by a good high school ensemble. Many of the alumni band members are also band directors and they sought a piece they can perform with their own ensembles.  

Grant, who was on hand for the world premiere of "All the Earth and Air," said though he personally has no ties to BGSU, the music world itself is inextricably tied to the University because of Moss' career at BGSU and the weight his reputation carries in the field.  

It was also revealed that Sunday's gala was the final concert for Moss, who is retiring after leading the band division through decades of success, including leading the Wind Symphony and Symphonic Band to performances at the College Band Directors National Association Conference, and — on multiple occasions — at the Ohio Music Education Association Professional Development Conference. In 2017, Moss received the  Outstanding Educator Award  from the Ohio Music Education Association and was presented a  Citation of Excellence  from the National Band Association numerous times.  

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Moss addressed the large audience, thanking his own teachers and sharing memories of his decades in music at BGSU.  

"Bands at BGSU have a rich and storied tradition of excellence," he said. "I am honored to have held the title of Director of Bands for the past 30 years and to have been a part of guiding countless students through the band program. It is the power of music itself and my desire to share my love for it with students that has been most important to me over the years. When students can experience that joy in musical performance, it’s magical." 

Moss assisted the Band Alumni Society in coordinating the alumni participation as well as the entire alumni portion of the program. Over 130 alumni members returned, the largest alumni concert band during Moss’s tenure. The group consisted of members from both his era and that of his predecessor, Mark Kelly, who started his tenure at BGSU in 1966. 

Another world premiere written expressly for BGSU bands debuted on Saturday, as the Symphonic Band performed "Forever Falcons: A Centennial Fanfare," written by alumnus Benjamin Taylor '11. 

Also during Sunday's performance, alumnus David Babich ’07, Chief Musician in the U.S. Navy Band in Washington, performed the saxophone solo in Premier Solo de Concours by Gabriel Pares. Babich, who obtained his bachelor of music in education and performance from BGSU, is also the assistant coordinator of the International Saxophone Symposium, hosted by the U.S. Navy Band.  

Sunday's concert culminated with a massed band that packed the rafters of Kobacker Hall as a contingent from the Falcon Marching Band and other student musicians joined in for the alma mater and other BGSU pep repertoire.  

BGSU Bands have woven a melodious tapestry across a century. The journey began in 1923, when student Leo Lake and faculty member Earl Claire Powell established the very first marching band at what was then known as Bowling Green State Normal College. With approximately 20 members, this ensemble, simply called “the College Band,” embarked on a musical odyssey that would resonate through time. Fast forward 100 years and the Falcon Marching Band alone boasts more than 300 members, making it the largest student organization at BGSU.  

Banding Together Centennial Campaign 

As the final notes of the centenary concert fade, BGSU Bands also invites fans and supporters to keep the music going through Banding Together , the BGSU Bands Centennial Campaign.   

This campaign aims to support BGSU Bands in their immediate needs and elevate their musical excellence across all venues. The project areas include: 

• Falcon Marching Band Field Project Fund to provide an enhanced turf field and new teaching tower west of Perry Field House. This will provide a quality practice environment for the Falcon Marching Band and a venue for other BGSU activities. 
• Falcon Marching Band Fund to support the purchase and maintenance of instruments, especially sousaphones, trombones, mellophones and a new sound system. 
• BGSU Bands Endowment Fund to provide support in perpetuity for a range of BGSU Band program initiatives, including special projects, music commissions, guest artists, recruitment and band travel. 

“To all the students, alumni, faculty, staff and supporters, past and present, who have been a part of this journey, thank you for your passion, talent and commitment,” said Dr. William Mathis, dean of the College of Musical Arts. “Your contributions have shaped BGSU Bands into what it is today, and your legacy will continue to inspire future generations. Here’s to the next 100 years of excellence, innovation and harmony!” 

Impact on students and community

The BGSU Bands are more than musical ensembles; they are a force of inspiration and transformation. Within these ranks, students hone their craft, learn discipline, and forge lifelong friendships. At any given time, rehearsal rooms in the Moore Musical Arts Center echo with dedication, as these student musicians evolve into seasoned artists and impactful music education professionals.  

The BGSU Bands also extend their embrace beyond campus. Their performances at local events, parades and community gatherings weave a sonic thread that binds the BGSU learning community, as the bands contribute to the cultural life of the University and the broader community.  

The University has never been without music on campus, from the first existence of a department (1914-1961), to a School of Music (1961-1975) and, finally, the College of Musical Arts in 1975. 

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Media Contact | Michael Bratton | [email protected] | 419-372-6349

Updated: 04/15/2024 10:55AM

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Rock trailblazer Heart reunites for a world tour and a new song

FILE - Nancy Wilson, left, and Ann Wilson, right, of the band Heart perform as Heart is inducted into the Rock and Roll Hall of Fame during the Rock and Roll Hall of Fame Induction Ceremony at the Nokia Theatre on Thursday, April 18, 2013 in Los Angeles. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Danny Moloshok/Invision/AP, File)

FILE - Nancy Wilson, left, and Ann Wilson of Heart perform on opening night of the Heartbreaker Tour at the Cruzan Amphitheater in West Palm Beach, Fla., June 17, 2013. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Jeff Daly/Invision/AP, File)

FILE - Nancy and Ann Wilson of the classic rock band Heart perform in concert at the American Music Theater on Monday, March 24, 2014, in Lancaster, Pa. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Owen Sweeney/Invision/AP, File)

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NEW YORK (AP) — Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring and fall for a world tour that Nancy Wilson describes as “the full-on rocker size.”

“I’ve been strengthening. I’ve got my trainer,” she says. “You go one day at a time and you strengthen one workout session at a time. It’s a lot of work, but it’s the only job I know how to do.”

The Rock & Roll Hall of Famers who gave us classic tracks like “Magic Man,” “Crazy on You” and “Alone” will be playing all the hits, some tracks from of their solo albums — like Ann Wilson’s “Miss One and Only” and Nancy Wilson’s “Love Mistake” — and a new song called “Roll the Dice.”

Nancy Wilson, left, and Ann Wilson perform on opening night of the Heartbreaker Tour in West Palm Beach, Fla., June 17, 2013. (Photo by Jeff Daly/Invision/AP, File)

“I like to say we have really good problems because the problem we have is to choose between a bunch of different, really cool songs that people love already,” says Nancy Wilson.

Like “Barracuda,” a sonic burst which first appeared on the band’s second album, “Little Queen” and is one of the band’s most memorable songs.

“You can’t mess with ‘Barracuda.’ It’s just the way it is. It is great. You get on the horse and you ride. It’s a galloping steed of a ride to go on. And for everybody, including the band.”

The tour kicks off Saturday at the Bon Secours Wellness Arena in Greenville, South Carolina, and will hit cities including Atlanta, Boston, Baltimore, Pittsburgh, Milwaukee, Cleveland, Detroit, as well as the New Orleans Jazz and Heritage Festival and Red Rocks Amphitheater in Morrison, Colorado. International dates include stops in London, Oslo, Berlin, Stockholm, Montreal and Glasgow.

The band’s Royal Flush Tour will have Cheap Trick as the opening act for many stops, but Def Leppard and Journey will join for three stadium dates in Cleveland, Toronto and Boston this summer.

Ann and Nancy Wilson will be filled out by Ryan Wariner (lead and rhythm guitar), Ryan Waters (guitars), Paul Moak (guitars, keyboards and backing vocals), Tony Lucido (bass and backing vocals) and Sean T. Lane (drums).

The tour is the first in several years for Heart, which was rocked by a body blow in 2016 when Ann Wilson’s husband was arrested for assaulting Nancy’s 16-year-old twin sons. Nancy Wilson says that’s all in the past.

“We can take any kind of turbulence, me and Ann, and we’ve always been OK together,” she says. “We’re still steering the ship and happy to do it together. So we’re tight.”

The new tour will take them to Canada, which was warm to the band when they were starting out as what Nancy Wilson calls “a couple of chicks from Seattle.” She recalls Vancouver embracing Heart, and touring in one van across Canada in the dead of winter on two lane highways.

The Wilsons at the American Music Theater on Monday, March 24, 2014, in Lancaster, Pa. (Photo by Owen Sweeney/Invision/AP, File)

The Wilson sisters broke rock’s glass ceiling in the ‘70s and Nancy Wilson says they only had male influences to look to, like Led Zeppelin, Pink Floyd, the Beatles, the Rolling Stones and the Moody Blues.

Now she says she looks out and loves seeing generations of female rockers. “You have boygenius and you have Billie Eilish and you have Olivia Rodrigo and so many amazing women — Maggie Rogers and Sheryl Crow, who calls us her big influence. And then Billie Eilish might have Sheryl Crow as her influence. So it’s a really nice legacy to pass along. I like to say we’re the OG — the original gangsters — of women and rock.”

Heart has made it into the Rock Hall, won Grammys, sold millions of albums and rocked hundreds of thousands of fans but Nancy Wilson has one place she’d still like to shine.

Next year will mark the 50th anniversary of their debut album, “Dreamboat Annie,” which was the same year that “Saturday Night Live” started. “So we’re actually kind of putting it out there — Heart never played on ‘Saturday Night Live.’ But what about the 50th birthday party with Heart?”

Mark Kennedy is at http://twitter.com/KennedyTwits

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The Battle Over Classic Rock Band the Guess Who Just Went Nuclear

By Ethan Millman

Ethan Millman

For the past six months, Burton Cummings, founding singer and songwriter of classic rock group the Guess Who , has been in a bitter legal dispute to wrest control of his old band’s legacy. Now he’s adopting an aggressive and relatively unheard of approach to make that happen: giving up on certain royalties so the band can’t play his songs.

As Rolling Stone previously reported , Cummings and original Guess Who guitarist Randy Bachman sued the current iteration of the Guess Who (as well as the band’s original drummer and bass player Garry Peterson and Jim Kale) last October, alleging that the group that currently holds the Guess Who trademark is “a cover band” using the original group’s recording in ads “in an effort to boost the Cover Band’s ticket sales for live performances and to give the false impression that Plaintiffs are performing.”

“I’m willing to do anything to stop the fake band; they’re taking [Bachman and my] life story and pretending it’s theirs,” Cummings tells Rolling Stone. “They’re not the people who made these records, and they shouldn’t act like they did. This doesn’t stop this cover band from playing their shows, it just stops them from playing the songs I wrote. If the songs are performed by the fake Guess Who, they will be sued for every occurrence.”

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“Not a lot of artists are both the writer and the publisher on their songs, and Burton Cummings fortunately is, so this is a very rare case where the artist can take this action,” Yu says. “And I think this situation shows the direct nexus between their false advertising and who they say they are.”

The move is focused on agreements set through groups called performing rights organizations (PROs). The termination targets all the venues the band would play. Almost every concert venue in the country has blanket agreements with various PROs such as BMI and ASCAP, who collect royalties on behalf of songwriters for the public performances of their works. If a venue has licensing agreements in place, the venues’ artists are free to cover any song from the PROs’ repertory. 

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By Thursday morning, the Florida Theatre in Jacksonville, the Saenger Theatre in Mobile, Alabama, and the Peabody Auditorium in Daytona Beach, Florida — who would’ve hosted the Guess Who’s next three shows — announced cancellations as well. Tickets for shows beyond those dates remain on sale as of this article’s publication.

An attorney for the Guess Who didn’t respond to Rolling Stone’s request for comment regarding the shows. In December, the band took to social media calling Cummings’ and Bachman’s suit “meritless.” In a memorandum, the band argued that “there is no dispute that Defendants lawfully own ‘The Guess Who’ trademark,” and that Consumers who see an ad for a concert by the Guess Who would not reasonably assume that Bachman and Cummings are performing merely because they were in the band many years ago.”

Assuming the group does play the classic-era songs at their upcoming shows, both the band and the venue they played at could be on the hook for legal recourse, Cummings and his team tell Rolling Stone . 

But like most nuclear options, Cummings’ strategy doesn’t come without the risk of some mutually assured destruction. While terminating the rights complicates the current Guess Who’s performances, it may also significantly hit Cummings’ own earnings. Aside from working with concert venues, PROs also collect royalties from when songs are played on the radio, on TV shows, or even when they’re played in the background at restaurants or shopping malls. With the license terminated, Cummings will likely lose out on seeing those royalty payments. And that’s not just on the versions he recorded, but on covers such as Lenny Kravitz’s Grammy-winning “American Woman” cover.

The termination is the latest development in a decadeslong dispute that bubbled over with last year’s lawsuit . The fight began when the band’s original bassist, Jim Kale, obtained the trademark to the Guess Who name in 1986, as the band hadn’t secured the trademark before then . From then on, Kale had organized several tours using the Guess Who name featuring a heavily rotating lineup. 

By the late 1980s, the Guess Who’s original drummer, Garry Peterson, joined the band as well. Kale retired in 2016, leaving Peterson as the only original member left. But he doesn’t play every show, Bachman and Cummings alleged, meaning some shows feature no original members of their band. 

Since Cummings filed the suit, he says that the band had removed his access to the Guess Who’s Spotify for Artists page. (When the suit filed last fall, the band’s Spotify page showed a picture of the current Guess Who lineup, but as of publication, it’s now a picture of the old band.)

Cummings also tells Rolling Stone that within the past month, the band’s lawyers said they’d “sue me if I ever even say I was ever in the Guess Who.” “You know how ridiculous this is? What next, can I not say I was born and raised in Winnipeg? That I’m Canadian?”

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“How much is my life’s work worth? You can’t put it in dollars and cents,” he says. “It’s wrong what they’ve done and for years, nobody did anything about it. But we’re doing something now, and this may set some precedents because there are other acts out there that aren’t real either.

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