THE DICK VAN DYKE SHOW (Mary Tyler Moore, Dick Van Dyke) (publicity photo)
In a huge coincidence, I had rented a DVD box set of the old DICK VAN DYKE SHOW just a couple of days before Mary Tyler Moore passed away at age 80. The show was an Emmy Award winning, wonderful comedy that ran on the CBS television network for five seasons, from 1961-1966. A great star, a great ensemble cast, wonderful writing: It had it all and it made one young lady a huge star; just shy of her twenty-fifth birthday when the series debuted, Mary Tyler Moore had a flair for dancing, comedy and… yes, she was quite pretty and had a great smile. The chemistry between Moore and Van Dyke was exceptional.
THE DICK VAN DYKE SHOW (Rose Marie, DIck Van Dyke, Mary Tyler Moore, Morey Amsterdam) (publicity still)
THE DICK VAN DYKE SHOW was written by Carl Reiner, a comedy genius who also played the egotistical TV star, Alan Brady, for whom Van Dyke’s character, Rob Petrie was the head writer. Rob was (not always so ably) assisted by Rose Marie (as writer Sally Rogers) and the wonderful Morey Amsterdam as Buddy Sorrell who could throw jokes and one-liners out as fast as anyone. One of the all time great character actors of the ‘sixties, Richard Deacon played the show’s set-upon producer, Mel Cooley. Deacon is also remembered for his role as perpetual irritant Fred Rutherford on another classic sit-com, LEAVE IT TO BEAVER. Buddy didn’t care much for Mel and continually lambasted him with funny insults. And, of course, no one can deny that cheery, booming theme song is one of the greatest and most recognized in the history of television. The show, because of its writing and brilliant casting, still stands as a true classic, one of the funniest of any era. Yeah, it’s in “boring old” black and white and laced with mid-sixties nuclear-family-cum-hipster-chic fashion and interior design; still, it doesn’t come off as dated, because it dealt with everyday things in a humorous way that resonates as much today as it did 55 years ago.
MARY TYLER MOORE (Mary Richards’ coming-of-age hat toss) (screen still)
Of course, Mary Tyler Moore became America’s sweetheart as Laura Petrie. She went on to major TV stardom later with the groundbreaking MARY TYLER MOORE series, still considered a defining moment of female empowerment. As with THE DICK VAN DYKE SHOW, the series featured brilliant scripts and a memorable ensemble cast, with Moore’s Mary Richards, a frantic (a trait she shared with Laura) young woman striking a (sometimes unknowing) blow for equality in the male-dominated world of television news. The dancer-turned-actress married future NBC-TV executive Grant Tinker in 1962; the couple formed MTM Enterprises in 1969, producing Moore’s show (and a multitude of spin-offs: RHODA, PHYLLIS and LOU GRANT), as well as innovative television like HILL STREET BLUES, SAINT ELSEWHERE, THE BOB NEWHART SHOW and, one of my personal favorites, WKRP IN CINCINNATI, among others. Watching these old VAN DYKE episodes was a lot of fun and a great walk down memory lane. Mary told an interviewer in later years that being on the show, surrounded by all those talented performers, was like being in a college for comedy. I couldn’t have said it better.
(REPERTOIRE RECORDS/COLUMBIA RECORDS; reissue 2016, original release 1966)
Throughout the early 1960s, popular music was a “singles” medium. Sure, full-length albums were part of the mix but, by and large, these collections consisted of up to one half recent single releases and massive doses of filler and cover tunes. However, by the spring and summer of 1966, album rock music was going full force, with classic records being released by the Rolling Stones, the Beach Boys, Bob Dylan, Frank Zappa’s Mothers of Invention, the Beatles, the Kinks and the Jefferson Airplane, among others. One of the “others” was the first official studio album by a band called the Yardbirds, who had generated a string of hit singles on both sides of the Atlantic beginning in 1964. The album, released as YARDBIRDS in the United Kingdom and most of the world, was renamed OVER UNDER SIDEWAYS DOWN for North American release (as well as in France, Germany and Italy); the Australian mono release was dubbed ROGER THE ENGINEER.
The Yardbirds, 1966 (Chris Dreja, Paul Samwell-Smith, Jim McCarty, Keith Relf, Jeff Beck) (publicity photo)
The record featured the vocal prowess of Keith Relf, Chris Dreja’s rhythm guitar, Paul Samwell-Smith on bass, Jim McCarty on drums and… oh, yeah… some guy by the name of Jeff Beck playing lead guitar. Jim McCarty’s original liner notes opines, “It has often been said that Jeff Beck is one of the leading guitarists in the country, and I am inclined to agree with him.” This is a terrific, classic 1960s rock album, with plenty of something for everyone: Fuzz guitar, Middle Eastern influences and straight-on boogie rock in the form of “Beck’s Boogie,” performed by a true master. It’s also one of the first albums to highlight a new sound, a sound that would become known as psychedelic rock.
The Yardbirds, 1966 (Paul Samwell-Smith, Chris Dreja, Keith Relf, Jeff Beck, Jim McCarty) (uncredited photo)
This 2016 two disc remaster features both monaural and stereo mixes of the album and is chock full of bonus tracks. The mono disc (which was still the most common configuration for mass consumption fifty years ago) contains the more interesting bonus material, including the two singles (and accompanying B-sides) from Relf’s short-lived solo career. Also on board – and of more interest – are a pair of songs recorded after the departure of bassist Samwell-Smith: “Happenings Ten Years Time Ago” and “Psycho Daisies,” released in the UK as a single. The B-side, “Psycho Daisies,” features the final line-up before the implosion that ultimately led to the formation of a legendary monster of rock; the track has a rare lead vocal from Beck, as well as a lad named Jimmy Page playing bass. “Happenings Ten Years Time Ago” is a guitar-lover’s wet dream, with Jeff and Jimmy sharing lead duties. Also playing on the session was a young bassist by the name of John Paul Jones. When Page inherited the Yardbirds name, he enlisted Jones as a member of what would become the New Yardbirds before morphing into another band you might have heard of… Led Zeppelin.
The Yardbirds, 1966 (Chris Dreja, Jeff Beck, Jim McCarty, Jimmy Page, Keith Relf) (publicity photo)
The Yardbirds may, of course, be best known for having Jeff Beck, Jimmy Page and Eric Clapton playing with them at one time or another during their brief run; they didn’t achieve the same elevated status as some of their counterparts, but they did have their share of great music and have proven to be quite influential over the last half-century. The band’s first proper album, affectionately called ROGER THE ENGINEER (after Chris Dreja’s cover art, depicting the man who engineered the sessions), is a great place to start delving into the genesis of not only psychedelic rock, but two of the most iconic guitar players ever, as well as the group the Who’s John Entwistle said would “go over like a lead balloon”; it is, truly, one of the great rock albums of any generation.
Back in September, I was just back from the theater, having seen EIGHT DAYS A WEEK: THE TOURING YEARS. My immediate thoughts were that the film was truly an amazing ride and that director Ron Howard did a fabulous job with all of the archival film footage; cleaned and restored for the big screen, I was definitely taken back to the height of Beatlemania. After the end credits rolled, the audience was treated to a near-thirty minute segment of the Beatles’ 1965 Shea Stadium concert (almost the entire show), which was awesome… with a crisp new “remaster,” it was like being in the front row with that screaming, rabid New York crowd. Unfortunately, that piece of history didn’t make it to the DVD/Blu-Ray releases, as it was used as an “incentive” to get butts in theater seats. Oh, well… maybe someday! The film (and the bonus feature) made me realize, again, how much I miss both John and George; it really was a wonderful night of Rock ‘n’ Roll with, as Ringo said, “The biggest band in the land.”
EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, RIngo Starr, Paul McCartney, John Lennon, circa 1964) (uncredited photo)
So, by this time, who doesn’t know the story of the Beatles’ humble beginnings? Just in case you’ve been living under a rock for the last six decades, here’s the Cliff Notes version: Paul McCartney meets John Lennon, joins his band, bringing George Harrison along for the ride; then, here comes Ringo Starr, John and Paul start writing songs together, Brian Epstein becomes their manager, the lads meet George Martin, who works with them, molding their sound in the studio… yeah, yeah, yeah! As a lifelong fan of the Fab Four, I still came away amazed by this fabulous new documentary. Seeing and feeling just how wonderful the Beatles and their music were and continue to be today makes me realize just how much they still mean to me, forty years after they went their separate ways. The narrative of EIGHT DAYS A WEEK is presented through, not only vintage interviews of the Liverpudlians, but recent remembrances from Paul and Ringo, plus various other musicians, composers and celebrities. However, the real “star” is the concert footage and the mania surrounding the mop tops. It’s great reliving how the Beatles literally took control of popular culture in the 1960s; one of the things that I enjoyed seeing was how hard Ringo was playing back in the very early live days, displaying an almost punkish verve at times.
EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, Paul McCartney, John Lennon, RIngo Starr, Washington DC 1964) (photo courtesy: APPLE CORPS)
Personal fan-boy histrionics aside, what sets THIS Beatles documentary above others – first and foremost – is the unbelievable quality of the film itself: Not only the concert footage, but the manic press conferences and even the boys simply caught relaxing, is so clear and crisp that it really just staggers you. It was worth it to hear new concert footage with clean, crisp sound, highlighting how truly hard they rocked… especially Lennon tearing up now-classics like “Twist and Shout” and “Dizzy, Miss Lizzy.” Celebrated fans as disparate as Whoopi Goldberg, Elvis Costello and Sigourney Weaver relate just how hard they fell for the Beatles… Yes, everything from THE ED SULLIVAN SHOW to the Hollywood Bowl performance to their huge world tours and all of the madness that followed, but also because they were funny and talented, met the right people at the right time (manager Brian Epstein and producer George Martin would become the two most important people in their professional lives) and had a ton of belief in themselves and in their art. The Fab Four were always ready and more than willing to push the envelope. After seeing this movie, it’s very easy to see how and why these celebrities and, indeed, the world fell in love with them and why that love is still going strong over fifty years later.
EIGHT DAYS A WEEK: THE TOURING YEARS (a 14 year old Sigourney Weaver at the Hollywood Bowl in 1964) (uncredited photo)
To be sure, the Beatles released an astonishing number of great, hit songs and huge, groundbreaking albums between 1962-1970… a mere eight years. It’s still hard to believe! EIGHT DAYS A WEEK tells their story quite well and, seeing it initially in the theater, on the big screen, was a huge benefit (in particular, the restored Shea Stadium footage, with all the madness and screaming, was stunning). The film is nothing short of phenomenal; Howard and his crew did a superb job of presenting another – often overlooked – part of the Beatles’ huge world wide success, aside from the string of hits and the intense madness that surrounded them everywhere they went. Quite frankly, watching them deal with the insanity going on around them all the time, it amazes me how they remained so grounded. That Shea Stadium show in August, 1965 before 56,000 people was a game changer, setting up a future for arena and stadium rock shows; that performance took Rock and Roll music to heights never before (and seldom after) imagined.
EIGHT DAYS A WEEK: THE TOURING YEARS (Paul McCartney, John Lennon, George Harrison, Ringo Starr at Shea Stadium, 1965) (uncredited photo)
Historically, one of the real turning points for the band was when they rejected George Martin’s idea of wanting them to only do other people’s songs; they wanted to write their own music and, so… away they went. The Lennon/McCartney hit-making machine was rolling and wouldn’t stop until outside business affairs jammed the gears. Still, by the time they decided to quit touring in 1966 to focus their creative output into studio work, they were just starting to hit their peak, releasing a string of masterpieces starting with RUBBER SOUL and REVOLVER. Recent interviews with Ringo Starr and Paul McCartney and archival clips of George Harrison and John Lennon, commenting on and explaining things along the way, really adds to the story and to the enjoyment of this documentary. The film flows very well.
EIGHT DAYS A WEEK: THE TOURING YEARS (Ringo Starr, Ron Howard, Paul McCartney) (photo courtesy: STUDIOCANAL)
I have been a Beatles fan since their first appearance on THE ED SULLIVAN SHOW, solidified by seeing A HARD DAY’S NIGHT in the theater and they are still as wonderful, their music still honest and positive and still touching new generations of listeners and fans… over fifty years later. As Sigourney Weaver said in the movie, “It was this sense of world music. We were all loving them, all over the world.” The joy of the Beatles’ music is, we can all have our favorite song and our favorite album; from 1962 to 1970, they made music for the ages and, indeed, this film is a must see for fans of all ages. A big “Thank you!” to Ron Howard for bringing us a new look at a very well-known story. He did a fantastic job with this movie, with a little help from some friends… John, Paul, George and Ringo.
ZZ Top are like an old friend… you just want to hang out with them and have a good time. After four-and-a-half decades (and counting), they have the distinction of being the longest running rock band with ALL its original members still going strong. That in itself is great, much less that they are still rocking as hard as ever. Their new live album, with songs recorded at tour stops all over the world (thus, the name) sounds great and is as fresh and as fun as the Tops have ever been… even after all this time. “Got Me Under Pressure,” “Cheap Sunglasses,” “Legs,” “Sharp Dressed Man, “La Grange,” and “Tube Snake Boogie” are all here and, so is guitar legend Jeff Beck, who joins the trio for “Rough Boy” and “Sixteen Tons” (yes… the Tennessee Ernie Ford song). Billy Gibbons and Beck have known each other for quite a long time and the former Yardbird has been a touring companion with the “Little Band From Texas” on more than one occasion.
ZZ Top (Dusty Hill, Frank Beard, Billy Gibbons) (uncredited photo)
Bassist Dusty Hill, the great stickman Frank Beard and Gibbons still rock with an unbridled wit and vigor and some of the coolest licks you’ll ever hear. Personally, I find Billy to be one of the finest axemen around, taking a backseat to no one. Frank Beard (the only member of ZZ Top without a beard!) is just fine, a powerful meat-and-potatoes type of drummer… steady as a rock. They, like any band that has been around as long, will have their ups and downs, but they still manage to record some new stuff on occasion (their last album, LA FUTURA, came out in 2012). I‘m so glad they are still around – just the three of them – still blasting out their own style ofrockin’ Blues and still having a blast doing it. This new LIVE GREATEST HITS FROM AROUND THE WORLD record should serve as ample proof of that. Long live the ultimate party band, that little ol’ band from Texas, ZZTop!
This newly remastered Beatles 1 set, featuring the Beatles’ 27 UK and US chart-topping songs, now comes with a second disc (the “+,” available as either Blu-Ray or DVD), with videos of all 27 number ones. The set is also available with a special third disc, which offers still more videos, including many alternate versions, not to mention a wonderful 124-page booklet with plenty of pictures and descriptions of all the tunes and info for all of the videos. It’s quite a package for fans and also serves as a great introduction to the magic of the Beatles.
The Beatles (Ringo Starr, John Lennon, Paul McCartney, George Harrison) (uncredited photo)
The songs – from 1962’s “Love Me Do to 1970’s “The Long and Winding Road” – take you through the time when the Fab Four dominated the world’s musical landscape, making great music and pushing the envelope as they evolved. Though just about everyone on the face of the planet knows these tunes, the real bonus here is the second, rarities-filled disc of videos with great alternate versions of “Day Tripper,” “Rain” and “Hello, Goodbye.” Seeing the revolutionary film for “Strawberry Fields Forever” had unknowingly prepared us for the upcoming age of the music video; “Penny Lane” is also wonderful.
The earliest videos are from TV appearances or live shows: THE ED SULLIVAN SHOW, the 1965 Shea Stadium concert and so forth. One of my personal favorites is from 1968, when the lads did “Hey Jude” on THE DAVID FROST SHOW and the audience came on stage to join in on the “na na na’s.” “Get Back” and “Don’t Let Me Down” from the group’s last live public appearance, commonly referred to as “the rooftop concert,” is great, as is “Free As a Bird” and “Real Love,” with Paul, George and Ringo gathering together one final time to create new Beatles music from two John Lennon demos. As a lifelong fan, reliving (or, in some instances, experiencing for the first time) all of these amazing memories certainly gives me much pleasure, as the music of the Beatles continues – after all these years – to bring such joy and happiness to the world.
Well, this is something like my umpteenth time seeing Sir Paul in concert and he never disappoints. I wasn’t planning on making this trip but, after speaking with my cousin, who lives in the area and has never seen McCartney, I decided, “Why not?” Not only do I get to see a favorite perform again, I also get to hang out with someone I don’t get to see very often. The experience of a McCartney show just never gets old: Sir Paul, aged 73, still has the fire and enthusiasm of someone half his age (or, maybe, a third his age) plus, his great band – Paul “Wix” Wickens on keyboards, Brian Ray on guitar and bass, Rusty Anderson on guitar and the brilliant Abe Laboriel, Junior on drums – provide all the back up he needs. Paulie, himself, plays bass, electric and acoustic guitar, piano and ukelele.
Paul McCartney (photo credit MJ KIM/copyright MPL COMMUNICATIONS LIMITED)
Oh… and, did I mention he also plays a ton of Beatles, some Wings, some classic solo stuff, as well as some more recent material. In fact, this time around, the set list actually included several songs I’ve never heard him play live before: “FourFiveSeconds” (the song he and Kanye West wrote, produced and appeared on for Rihanna’s ANTI album); “Hope For the Future,” which he wrote and recorded for use in a video game called DESTINY; a raw version of the Beatles’ “One After 909”; one of the first songs he wrote with John (Lennon, just in case you needed reminding), “Another Girl,” from the HELP soundtrack. He also dusted off the solo rarity, “Temporary Secretary,” an odd electronic track from MCCARTNEY II. The use of a nice, big video screen behind him and his band was great to accompany a lot of songs… “Back In the USSR” and Lady Madonna” were definitely enhanced by the visual accompaniment.
Paul McCartney (uncredited photo)
It’s not just the greatest catalog of popular songs that make a Paul McCartney concert special; it’s also his interaction with the audience, his abundant energy and, at times, it actually seems that he is having a better time than the crowd. Of course, he has been doing this for over fifty years now and he is a magical stage performer. Singing along with an arena full of people to “Let It Be,” “Hey Jude,” “I Saw Her Standing There,” “Band On the Run” and… well, the list just goes on and on… is still great fun. The poignant moments of “Blackbird” and “Here Today,” his tribute to John, are still heartfelt. Actually, I loved his version of Harrison’s beautiful “Something,” which started slowly with Paul on ukelele before rocking away; it is a truly great tribute to George. The big crowd was great – rowdy when it needed to rock and quiet for the more solemn songs. At his age, its hard to tell how long he can keep up this pace but, until that time comes, an evening spent with Sir Paul McCartney is always memorable.
(July 22, 2015; HOLLYWOOD CASINO AMPHITHATRE, Saint Louis MO)
Two long standing musical icons have joined forces for a blockbuster summer tour, with Elvis Costello and the Imposters opening for Steely Dan. The music from both acts was a lot of fun and, considering we were in the midst of a hot, humid Midwest summer, the weather was great.
Elvis Costello (photo credit: MARY MCCARTNEY)
Elvis supplied an hour’s worth of hits from his long, impressive catalog with “Pump It Up,” “Watching the Detectives,” “Alison,” “Veronica” and “Every Day I Write the Book,” ending the set with one my favorite Costello tunes, the Nick Lowe penned “(What’s So Funny ‘Bout) Peace, Love and Understanding.” His long time band, the Imposters, featuring two former Attractions – drummer Pete Thomas and keyboardist Steve Nieve – alongside bassist Davey Faragher, kept things in motion. Actually I wish we could have heard a little more from Elvis and his Imposters but, sometimes, that’s just the way it goes.
Steely Dan (Walter Becker, Donald Fagen) (photo credit: DANNY CLINCH)
Watching Steely Dan is like visiting an old friend. The duo of Walter Becker and Donald Fagen have a deep history with infectious, wonderful grooves and, on this tour, feature a great eleven-piece band backing them. Fagen reminded me of Ray Charles, sitting at the piano, with his shades and moving his head around. His partner-in-crime, the usually microphone-shy Becker, actually did a lot of the talking and, of course, played some great guitar. The hero of the show was the other guitar man, Jon Herington, who ripped off great solo after great solo all night. The set opened with “Black Cow,” from my favorite Steely Dan album, AJA, with the group delivering hits like “Peg,” “My Old School,” “Reeling In the Years,” as well as fan favorites like the slinky, funky “Daddy Don’t Live In That New York City No More.” The ladies providing vocal accompaniment and the brass section were terrific and drummer Keith Carlock had the versatility to keep the grooves loose and fluid throughout.
Well, you may have thought you had heard everything but, now, on his new album, SHADOWS IN THE NIGHT, we have Bob Dylan singing from the Frank Sinatra songbook. The record is not only a tribute to the Chairman of the Board, but also to that great American songbook of standards, tunes popular before rock ‘n’ roll took over the airwaves. The real surprise here is that the Zimm pulls it off pretty well; what he does is called “interpreting the song” and he sings them better than you would expect. Backed minimally by his band, Tony Garnier on bass, guitarists Charlie Sexton and Stu Kimball, Donny Herron playing a wonderful pedal steel guitar throughout and George C Receli on percussion, with an additional horn section.
Frank Sinatra and Bob Dylan at Sinatra’s 80th birthday, 1995 (uncredited photo)
Dylan and the sparse band do not try to make the old songs swing; they play them straight, which gives Bob room to sing them as only he can. Frank Sinatra himself wrote the first track (with Jack Wolf and Joel Herron), “I’m a Fool To Want You,” but performed all the others throughout his legendary career, “Autumn Leaves,” “Some Enchanted Evening,” “Full Moon and Empty Arms” and, my personal favorite, “That Lucky Old Sun” which closes the album. I won’t take the time here to go over Bob Dylan’s resume as one of the most influential artists in pop, rock and folk music. Let’s just say that after five decades in the business, that he is still capable of surprising us by attempting this kind of album – much less pulling it off – is not really that surprising at all.
What an astounding return for this wonderful grrrl-punk band from the Pacific Northwest. It’s been ten years since their last album, THE WOODS, came out; then the trio went their own ways. Still good friends, they stayed in touch and decided last year to do something together again. The fact that they have returned in a blaze of glory with ten hard rocking songs about everything – beliefs, relationships, fame, caring about others – is proof positive that they made the right decision. Carrie Brownstein, Corin Tucker and Janet Weiss said, “Let’s let it all out,” and they certainly did. My favorite songs are actually towards the end of the album: “Bury Our Friends” (which is getting airplay), “Hey Darling” and the last song, “Fade,” are among the best, but the band rocks the whole way through, taking no prisoners. To sound this good after a long absence is just fine.
These gals aren’t afraid to “let it all go.” There’s a great spirit surrounding these tunes. NO CITIES TO LOVE opens with “Price Tag” and you can tell immediately that they mean business. The amazing Janet Weiss joined Sleater-Kinney way back in 1996, saying she came from the “heavy hitters” drum school, listing the great Zeppelin basher, John Bonham as one of her influences. She absolutely hits hard, but also plays with soul and verve. With people like Sonic Youth no longer in the game, it’s nice to have this great white noise from Sleater-Kinney again, sounding better than ever. The album has received raves from every corner and I wish them nothing but the best, adding my praise to the ever-growing list of ravers.
Jerry Lee Lewis’ new record, ROCK AND ROLL TIME is… well, killer. That’s my opinion but, was I really surprised? Yes and no… he still has the goods, he is still full of fire and vigor but, he did just turn 79 this past September. Lewis is Rock and Roll’s first wild man and bad boy; that spirit still lives.
Jerry Lee Lewis (publicity photo)
First things first: Co-producer (with Steve Bing) and great session drummer, Jim Keltner, has done a terrific job of letting the songs flow and putting the instruments – including the Killer’s piano playing – up front. Jerry Lee’s vocals are wonderfully aged and oozing with wicked fun. He does get some help on the record: Keith Richard and Ronnie Wood on “Little Queenie,” Neil Young and Ivan Neville on “Bright Lights, Big City,” Nils Lofgren and Robbie Robertson on “Folsom Prison Blues.” There’s a great Bob Dylan tune called “Stepchild,” with Doyle Bramhall II and Daniel Lanois; Derek Trucks plays on “Mississippi Kid” and Lewis, Bramhall and the band wail on Chuck Berry’s “The Promised Land,” which ends the album. The Killer also does a couple of Kris Kristofferson tunes.
ROCK AND ROLL TIME has great production, playing and a real sense of fun. However, make no mistake, this is the Killer’s album and, again, he sounds fresh and vital. In my opinion, this record is better than the last couple of duet albums (LAST MAN STANDING and MEAN OLD MAN). They were fine, but this is a real band effort, with a few of his friends and associates coming by to say “Hi” and jam with Jerry Lee. No one 79 years old should be making a rock ‘n’ roll album this vital and this much fun. The front cover shot shows the living legend standing in front of Memphis’ Sun Studios, where he made history with Elvis Presley, Johnny Cash and Carl Perkins lo, those many years ago. The Killer is throwing a rock ‘n’ toll party and we are all invited!