guns n' roses tour t shirt 2022 nz

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Guns N Roses T-Shirts

Guns N' Roses is an American rock band formed in 1985 . They are known for their hard rock music and the distinctive vocals of lead singer Axl Rose, as well as the guitar work of Slash.

Official Guns N' Roses T-shirts feature iconic images and designs associated with the band, such as their "GnR" logo, images of the band members, and references to their most popular songs. Fans of Guns N' Roses wear their merchandise to concerts and other events to show their support for the band and to connect with other fans.

Official Guns N' Roses merchandise is licensed by the band and ensures that fans receive high-quality products while also supporting the legacy of the band. Guns N' Roses' influence on rock music has been significant, and they are widely regarded as one of the most successful and iconic bands of all time.

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Guns N' Roses

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Guns N’ Roses massive popularity in New Zealand is highlighted by their unparalleled chart success. Since 1987 every one of their album releases has gone platinum. Use Your Illusion I (4x Platinum) and Use Your Illusion II (5x Platinum) simultaneously debuted at #1 and #2 on the RIANZ chart, and Appetite For Destruction achieved 3x Platinum. The band's 2004 9x Platinum Greatest Hits compilation topped the RIANZ chart, spent 5 weeks at #1 and remained on the chart for 50 weeks – making it one of New Zealand’s biggest selling albums of all time. As the name of GNR’s 2017 tour suggests, many GNR fans once believed that they would only be able to experience founding members Axl, Slash and Duff sharing a stage again in their dreams. But then the band’s classic line-up regrouped for Coachella 2016 and the Not In This Lifetime tour was announced shortly afterwards, thrilling fans all over the world until November 2019. The Australasian leg of Guns N' Roses' Not In This Lifetime stadium tour marked the first time that New Zealand fans witnessed Axl, Slash and Duff reunited since 1993's Use Your Illusion tour and the band's onstage chemistry was undeniable.   Guns N’ Roses are one of the most important and influential acts in music history and continue to set the benchmark for live performances connecting with millions of fans across the globe. In New Zealand in 2017, close to 90,000 fans rocked-out in Wellington Stadium, and Auckland’s Western Springs to GNR's blistering Not In This Lifetime sets. “When it was time to bring it, Axl brought the house down…Slash of course, killed it.” (NZ Herald) and Stuff summed it up simply by the crowds’ verdict “It was f…awesome.” GNR's 2022 Australasian tour is the light at the end of the bleak tunnel we’ve all negotiated this year. All aboard the Nightrain to Paradise City for what promises to be a heaving celebration of the unbreakable human spirit! STADIUM ROCK IS BACK, you don’t wanna miss this one!

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Guns N' Roses concert rescheduled to 8 December 2022

The biggest stadium rock tour of 2021 is moving to Summer 2022!

Due to Covid-19, the Guns N’ Roses New Zealand tour dates have now been rescheduled to two massive stadium shows in December 2022. The Wellington Sky Stadium date now moves to Thursday 8 December 2022, and for the first time in history, the band will play at Eden Park in Auckland on Saturday 10 December 2022.

Axl, Slash and Duff have told fans… ’New Zealand, we can’t wait to see you bigger and better next Summer!’

Paul Dainty AM, President & CEO of TEG DAINTY said today “Despite our best efforts and working with the relevant authorities in New Zealand and Australia it recently became clear that we could not proceed in 2021 due to Covid’s resurgence. Re-scheduling what is likely to be the biggest stadium rock tour of next year does take some time and I’m delighted that the stars have now aligned. Guns N’ Roses are one of the greatest bands of all time and we’re going to make a little bit of history and be back bigger and better in Summer 2022.”

Shane Harmon, Chief Executive, Wellington’s Sky Stadium has this to say, “While we know fans will be disappointed, we’re thrilled that this is just a postponement and delighted that Guns N’ Roses have confirmed their return next Summer. Their show in 2017 was one of the best we have ever held at Sky Stadium.”

Eden Park CEO Nick Sautner adds, “We are thrilled that Guns N’ Roses will be the first international band scheduled to play at Eden Park in 2022. A true celebration of a new post-COVID era, this show will provide much needed escapism and economic benefit to Auckland. Eden Park could not be more excited to play host to these legendary rockers. We anticipate a massive response to the addition of an Auckland show and know that the fans both locally and across New Zealand will not want to miss out.”

Forsyth Barr Stadium CEO Terry Davies said, ‘’Planning International events during this pandemic is incredibly difficult. Of course, we are disappointed that Dunedin will miss out on the rescheduled program. However, we understand and know that both parties are committed to working together on future opportunities for Dunedin’’.

GUNS N’ ROSES are currently touring North America and getting huge responses in the highest grossing tour of 2021. This will likely be the biggest music tour of next year as fans unite for an EPIC 3 HOURS of Guns N’ Roses - bigger and better in Summer 2022!

WELLINGTON TICKETING INFO: All tickets already purchased for Wellington’s Sky Stadium show remain valid for the new show in 2022, and tickets remain on-sale NOW at Ticketek. Wellington ticket holders that are unable to attend the rescheduled date can receive a full refund via Ticketek.

DUNEDIN TICKETING INFO: The previously announced show in Dunedin has not been able to be rescheduled; ticket holders will automatically receive a full refund from Ticketmaster. To guarantee Dunedin ticket holders have the opportunity to purchase the very first tickets to the Eden Park concert, an exclusive presale for Dunedin fans will run from: 10.00am Friday 1 October 2021 until 10.00pm Sunday 3 October.

GUNS N' ROSES NEW ZEALAND TOUR DATES

➢ RESCHEDULED SHOW - Thursday 8 December 2022 – Sky Stadium, Wellington ➢ NEW SHOW - Saturday 10 December 2022 – Eden Park, Auckland

Tickets for the Wellington show are on sale now through Ticketek . Tickets for the Eden Park show go on sale at 10am, Thursday 7 October through Ticketek . 

Head to www.tegdainty.com for all ticketing and tour information.

Playing Now

The Rock presents Guns N' Roses New Zealand 2022 Tour

Guns N’ Roses announce their first ever international show at Eden Park, in Auckland! PLUS, special guests The Chats and Alien Weaponry.

The Rock and TEG Dainty are stoked to bring you one of the greatest rock bands on the planet, for the biggest stadium rock tour of summer 2022.

Tickets are on sale now, scroll down below for ticket links. And head to www.tegdainty.com for all ticketing and tour information.

Your official Guns N' Roses station for live rock! In Guns N' Roses we trust.

 NEW SHOW Saturday 10 December Eden Park, Auckland

 RESCHEDULED SHOW Thursday 8 December Sky Stadium, Wellington

Tickets to both Auckland and Wellington shows are on now!

Auckland - Eden Park Get your tickets via Ticketek

Wellington - Sky Stadium Get your tickets via Ticketek

All tickets already purchased for Wellington’s Sky Stadium show remain valid for the new show in 2022, and tickets remain on-sale NOW at Ticketek . Wellington ticket holders that are  unable to attend the rescheduled date can receive a full refund via Ticketek.

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• Guns N’ Roses
• December 8, 2022 Setlist

Guns N’ Roses Setlist at Sky Stadium, Wellington, New Zealand

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• Song played from tape Intro
• It's So Easy Play Video
• Mr. Brownstone Play Video
• Chinese Democracy Play Video
• Slither ( Velvet Revolver  cover) Play Video
• Welcome to the Jungle ( Link Wray's "Rumble" intro ) Play Video
• Reckless Life Play Video
• Double Talkin' Jive Play Video
• Better Play Video
• Live and Let Die ( Wings  cover) Play Video
• Estranged Play Video
• Shadow of Your Love Play Video
• Rocket Queen Play Video
• You Could Be Mine Play Video
• I Wanna Be Your Dog ( The Stooges  cover) ( Duff on lead vocals ) Play Video
• Absurd Play Video
• Hard Skool Play Video
• Civil War ( Jimi Hendrix's "Machine Gun" outro ) Play Video
• Sorry ( followed by band introductions ) Play Video
• Slash Guitar Solo ( Albert King's "Born Under a Bad Sign" jam ) Play Video
• Sweet Child o' Mine Play Video
• November Rain Play Video
• Wichita Lineman ( Jimmy Webb  cover) Play Video
• Whole Lotta Rosie ( AC/DC  cover) Play Video
• Knockin' on Heaven's Door ( Bob Dylan  cover) Play Video
• Nightrain Play Video
• Coma Play Video
• Patience ( The Beatles' "Blackbird" intro ) Play Video
• Don't Cry Play Video
• Paradise City Play Video

Edits and Comments

10 activities (last edit by Fabio , 17 Jan 2023, 01:12 Etc/UTC )

Songs on Albums

• It's So Easy
• Mr. Brownstone
• Paradise City
• Rocket Queen
• Sweet Child o' Mine
• Welcome to the Jungle
• I Wanna Be Your Dog by The Stooges
• Knockin' on Heaven's Door by Bob Dylan
• Live and Let Die by Wings
• Slither by Velvet Revolver
• Whole Lotta Rosie by AC/DC
• Wichita Lineman by Jimmy Webb
• Don't Cry
• Double Talkin' Jive
• November Rain
• Chinese Democracy
• You Could Be Mine
• Shadow of Your Love
• Reckless Life
• Slash Guitar Solo

Complete Album stats

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Sky stadium.

• The Chats Add time Add time
• Alien Weaponry Add time Add time
• Guns N’ Roses This Setlist Start time: 7:50 PM 7:50 PM

Guns N’ Roses Gig Timeline

• Nov 29 2022 Adelaide Oval Adelaide, Australia Start time: 7:00 PM 7:00 PM
• Dec 03 2022 Melbourne Cricket Ground Melbourne, Australia Start time: 7:40 PM 7:40 PM
• Dec 08 2022 Sky Stadium This Setlist Wellington, New Zealand Start time: 7:50 PM 7:50 PM
• Dec 10 2022 Eden Park Auckland, New Zealand Start time: 7:00 PM 7:00 PM
• Jun 01 2023 Etihad Arena Abu Dhabi, United Arab Emirates Start time: 8:10 PM 8:10 PM

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<div style="text-align: center;" class="setlistImage"><a href="https://www.setlist.fm/setlist/guns-n-roses/2022/sky-stadium-wellington-new-zealand-3bbf5c80.html" title="Guns N’ Roses Setlist Sky Stadium, Wellington, New Zealand, We&#039;re F&#039;N Back! Tour 2022" target="_blank"><img src="https://www.setlist.fm/widgets/setlist-image-v1?id=3bbf5c80" alt="Guns N’ Roses Setlist Sky Stadium, Wellington, New Zealand, We&#039;re F&#039;N Back! Tour 2022" style="border: 0;" /></a> <div><a href="https://www.setlist.fm/edit?setlist=3bbf5c80&amp;step=song">Edit this setlist</a> | <a href="https://www.setlist.fm/setlists/guns-n-roses-7bd69e24.html">More Guns N’ Roses setlists</a></div></div>

Last.fm Event Review

[url=https://www.setlist.fm/setlist/guns-n-roses/2022/sky-stadium-wellington-new-zealand-3bbf5c80.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=3bbf5c80[/img][/url] [url=https://www.setlist.fm/edit?setlist=3bbf5c80&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/guns-n-roses-7bd69e24.html]More Guns N’ Roses setlists[/url]

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• Upcoming Concerts

Guns N' Roses NZ Concert & Ticket Details - Dec 2022

By Ahmed Mohamed Nov 11, 2022

Guns N' Roses NZ Concert & Ticket Details - Dec 2022

Guns N Roses are coming to New Zealand in 2022 for two huge shows, supported on stage by the Chats and local NZ band Alien Weaponry. They were initially scheduled to perform one show in November 2021, but it was cancelled due to the Coronavirus. Luckily for us, there back only one year later and with an extra show in Auckland!

The last time Guns N Roses toured in NZ was in 2017 as part of their “Not in this lifetime” tour, the third highest-grossing concert tour of all time! And the band has been on an absolute worldwide blitz in 2022. They’re currently in Asia and heading to Australia and then New Zealand in the summer. Guns N Roses is arguably one of the biggest rock bands of all time, and this could be their last time coming to New Zealand. This is not an opportunity that cannot be missed!

The concert dates are closing fast upon us, so get your official Guns N Roses T-shirts and concert merchandise while stocks last! 100% licensed merch with a 1-3 day delivery NZ-wide.

Who is opening for Guns N Roses in NZ?

Alien weaponry, guns n' roses auckland.

• Many surrounding streets will be closed or have resident entry only
• There is no on-site parking for the general public. Vehicles with exemption must display their parking permits
• Limited mobility parking is available on Cricket Ave for mobility parking permit holders. Pre-booking is unavailable
• Bike racks are located adjacent to Entry G reception, opposite Gate D smoking area and opposite Gate B
• Taxi drop-off point is located on Cricket Ave
• For motorbike parking on concert day, email [email protected]
• You can view where your seats are in Eden Park’s seating plan
• Lift access is available. See yellow boxes on this map

Concert Location

Guns N' Roses Wellington

• Event tickets and parking tickets purchased for the previously scheduled 2021 will be valid for the 2022 show
• Free entry for children (on parent’s lap) under 24 months
• Stadium car park is available at $32 (online) or $35 (gate entry)
• Small amounts of food for personal intake are allowed
• One bag per person
• No alcohol to be brought into the stadium
• Commercial photography is not permitted
• For a full list of event requirements see Sky Stadium’s entry conditions

Guns N' Roses

Guns N Roses is an American rock band from L.A; The band was formed in 1985 after “Hollywood Rose” vocalist Axl Rose joined up with Tracii Guns and other “L.A Guns” members. The group’s manager fired Axl Rose after they got into an argument, and during that same night, Guns and Rose got together and formed Guns N Roses. The rest is history.

GNR debuted with “Appetite for Destruction” in 1987. Initially, the band found it difficult to sell albums due to a lack of exposure. The owner of their record label managed to get some lacklustre airtime for the band and “Welcome to the Jungle” appeared on MTV at 4 am on a weeknight. But that’s all they needed; so many calls came in asking about the band and requesting a video playback. “Appetite for Destruction” would eventually become the best-selling debut album ever! And even legendary L.A rap group N.W.A named one of their songs after this album to pay homage to the rock band. Guns N Roses has been rocking the stage for over three and half decades, and the world can’t seem to get enough of them!

Guns N' Roses New Zealand tour 2017

Guns N' Roses World Tour 2022

The chats are an Australian punk band that hails from the Sunshine Coast in Queensland. The band was formed by a group of teenage friends in 2016, and their first self-titled EP was even recorded at a high school campus.  In 2021 they won the best independent punk album at the AIR Awards and were nominated for two more ARIA Awards in 2020. This year they will be appearing as special guests in  Guns N Roses NZ tour.

Alien Weaponry are a local kiwi thrash metal band. The band was formed in 2010 by brothers Henry and Lewis de Jong when they were only kids. All the current band members have Māori ancestry and often incorporate Te Reo into their songs and performances. The band gave Auckland a hell of a show when they played at the Town Hall right before the Coronavirus lockdown. In 2022 there back to rock the stage at the Guns N Roses NZ tour.

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Guns n roses announces 2022 australian & new zealand tour dates.

Posted by Buddy Iahn | Sep 27, 2021

Band returns Down Under in fall 2022

Guns N Roses is returning to Australia and New Zealand in November 2022, after delaying the trek by a year due to pandemic-related government ordinances. The band — with reunited original members Axl Rose, Slash and Duff McKagan — will spend a month Down Under starting November 18th in Perth. Brisbane, Gold Coast, Sydney, Adelaide, Melbourne, Wellington and Auckland are on the bill through December 10th.

“Australia & New Zealand! We’re coming back with a bigger and better show with new dates in November and December 2022. Plus, we’ve added a new show at Eden Park, Auckland! Until showtime, let’s rock out to Hard Skool,” the band shares on social media .

Nightrain presale tickets on-sale on Friday, October 1st at 10 am NZDT. General public on-sale begins, Thursday, October 7th at 10 am NZDT via the band’s website .

Last week, the band announced the postponement of the October 2021 Mexican tour dates due to government restrictions. The rockers were set to perform three shows in Mexico in October 2021 , but have will now perform sometime in 2022 as dates and routing are currently being scheduled.

In April, GNR postponed its 2021 European tour dates to 2022 with the addition of Gary Clark Jr as support. The band will now kick off the trek on June 4, 2022 with new dates in Norway, Czech Republic, Poland, Netherlands, and Italy.

The band is in the midst of their US summer tour following a slew of  rescheduled dates and 14 additional new shows at stadiums and arenas. The trek wraps with two shows in Hollywood, FL at the Hard Rock Live Arena on October 2nd & 3rd. Wolfgang Van Halen’s Mammoth WVH is making their touring debut on the Live Nation-produced trek.

The band has released two new tracks since reuniting with three original members in 2016. Both are outtakes from the 2008  Chinese Democracy album. “ Absurd ” and “ Hard Skool ” will be released on 7-inch vinyl, cassette and CD with two live tracks in February 2022.

https://www.facebook.com/gunsnroses/posts/426762045479224

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Explore The 2024 GRAMMY Hall Of Fame Inducted Recordings: Lauryn Hill, Guns N' Roses, De La Soul, Donna Summer & Many More

Learn more about the 2024 GRAMMY Hall of Fame inducted recordings, including iconic works by Buena Vista Social Club, Charley Pride, Wanda Jackson, and more. The inaugural GRAMMY Hall of Fame Gala takes place May 21 at the Novo Theater in Los Angeles.

As the GRAMMY Hall of Fame celebrates its 50th anniversary, the Recording Academy and GRAMMY Museum are proud to honor the 2024 inductees with the inaugural GRAMMY Hall of Fame Gala , presented by City National Bank, taking place Tuesday, May 21, at the Novo Theater in Los Angeles. This year, the GRAMMY Hall of Fame will induct 10 recordings: four albums and six singles.

This year's class of inductees highlights the diversity and historical significance of recordings that have shaped the musical landscape. From Lauryn Hill 's groundbreaking album The Miseducation of Lauryn Hill to the electrifying Appetite For Destruction by Guns N' Roses , the selected recordings span genres and eras and showcase the lasting impact of these timeless works. Other notable inductees include De La Soul 's 3 Feet High and Rising , Buena Vista Social Club's self-titled album, and singles by Donna Summer , Charley Pride , Wanda Jackson , Kid Ory's Creole Orchestra, the Doobie Brothers , and William Bell .

The GRAMMY Hall Of Fame Gala promises an unforgettable night, featuring performances that pay tribute to the newly inducted recordings. Artists such as Andra Day , William Bell , Elle King , and HANSON will bring these iconic songs to life while celebrating the rich heritage of the music honored this year. Hosted by veteran CBS journalist Anthony Mason, the evening will also recognize the contributions of Atlantic Records and feature an online auction benefiting the GRAMMY Museum.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final ratification by the Recording Academy's National Board of Trustees. There are currently 1,152 inducted recordings in the GRAMMY Hall Of Fame. Explore the full list of all the GRAMMY Hall Of Fame inducted recordings .

Join us as we honor the 2024 GRAMMY Hall of Fame inductees and celebrate the recordings that continue to resonate with listeners around the world by exploring the newly inducted works in depth below.

Tickets for the inaugural GRAMMY Hall of Fame Gala are available now .

Explore The 2024 GRAMMY Hall Of Fame Inductees

Revisiting 'The Miseducation Of Lauryn Hill': Why The Multiple GRAMMY-Winning Record Is Still Everything 25 Years Later

Remembering De La Soul’s David Jolicoeur, a.k.a. Dave and Trugoy the Dove: 5 Essential Tracks

Guns N' Roses 'Appetite For Destruction' | For The Record

An Ode To Donna Summer's 1970s: How The Disco Queen Embodied Both Innovator And Vixen

Essential Hip-Hop Releases From The 1980s: Slick Rick, RUN-D.M.C., De La Soul & More

For Charley Pride, Black Country Music Was A Self-Evident Truth

Beyoncé To Alison Krauss: 10 Times Women Made GRAMMY History

Love To Love Them, Baby: From Donna Summer To Dua Lipa, Meet The Women Singers Who Shaped (And Continue to Shape) Dance Music

10 Albums That Showcase The Deep Connection Between Hip-Hop And Jazz: De La Soul, A Tribe Called Quest, Kendrick Lamar & More

'The Miseducation Of Lauryn Hill': 25 Facts About The Iconic Album, From Its Cover To Its Controversy

Watch Kenny Loggins And Michael McDonald Take Home A GRAMMY For Song Of The Year For "What A Fool Believes" | GRAMMY Rewind

A History Of Casablanca Records In 10 Songs, From Kiss To Donna Summer To Lindsay Lohan

1968: A Year Of Change For The World, Memphis & Stax Records

Lauryn Hill's 'The Miseducation Of Lauryn Hill' | For The Record

De La Soul, 3 Feet High And Rising

Tommy boy records, 1989.

Celebrating its 35th anniversary in 2024, 3 Feet High and Rising is the debut studio album from Long Island, New York-born hip-hop trio De La Soul. Released on Tommy Boy Records in 1989 — considered one of the years during hip-hop’s "Golden Age" — and produced by legendary DJ and hip-hop producer Prince Paul, the album was a critical and commercial success. Featuring samples that draw on a vast array of genres — from doo-wop and psychedelic rock to children’s music — the album was unlike any hip-hop album that came before it. Melding inventive production with clever and humorous wordplay and samples from artists as diverse as Johnny Cash (the title of the album is derived from the Cash song "Five Feet High and Rising"), Hall & Oates, Steely Dan, and the Turtles, 3 Feet High And Rising is often considered the beginning of 1990s alternative hip-hop. De La Soul’s use of skits/comedy sketches as interludes also had a huge influence on future generations of rappers. In a review of the album for The Village Voice in 1989, music critic Robert Christgau wrote, "An inevitable development in the class history of rap, [De La Soul is] new wave to Public Enemy’s punk."

Featuring the singles "The Magic Number," "Buddy," "Eye Know," and the GRAMMY-nominated "Me Myself and I," 3 Feet High and Rising spent five weeks at No. 1 on the Billboard Top R&B/Hip-Hop Albums chart. "Buddy" is one of the album’s hallmark songs and features cameos from Q-Tip, Phife Dawg, Jungle Brothers, Queen Latifah, and Monie Love — who are collectively known as the Native Tongues (along with Black Sheep, the Beatnuts and Chi Ali). 

The platinum-certified record consistently places on lists of the greatest albums of all time, including in 2023 when Paste magazine featured it at No. 4 on their list of the Greatest Debut Albums of the 1980s. In 2010 it was selected by the Library of Congress for preservation in the National Recording Registry. 3 Feet High and Rising has influenced countless artists, from the Roots and Yasiin Bey to OutKast and Common. With the album's undeniably trailblazing release, Posdnuos, Trugoy the Dove and Pasemaster Mase of De La Soul have cemented themselves as one of the best rap groups of all time. 



Kelvin "Posdnuos" Mercer – Artist/Songwriter

David "Trugoy the Dove" Jolicoeur – Artist/Songwriter

Vincent "Maseo" Mason – Artist/Songwriter

"Prince Paul" Husto n – Producer/Engineer/Songwriter

Alan Watts – Engineer/Mixer

Guns N’ Roses, Appetite For Destruction

Geffen, 1987.

Guns N’ Roses’ Appetite For Destruction LP will go down in history as one of the most iconic and influential rock albums ever made. But when it was released in the summer of 1987, Appetite didn’t initially garner much mainstream attention. Once the band hit the road in support of the album, singles "Welcome to the Jungle", "Paradise City" and "Sweet Child O' Mine" started getting significant airplay. By the summer of 1988, the band found themselves with a No. 1 album on the Billboard 200. Appetite For Destruction became the best-selling album of all time in the U.S. and the best-selling debut album. In a review for Pitchfork, Maura Johnston said, "The debut from Guns N' Roses was a watershed moment in '80s rock that chronicled every vice of Los Angeles led by the lye-voiced Axl Rose and a legendary, switchblade-sharp band."


Produced by Mike Clink, Appetite for Destruction is widely considered a near perfect album where the deep cuts are just as good as the hits. From the opening roar of "Welcome to the Jungle" and the iconic "Sweet Child O’ Mine," to "It's So Easy," "Nightrain," "You're Crazy," and "Mr. Brownstone," the album is an artistic triumph in sound, songwriting and production, earning its place at No. 62 on Rolling Stone’s list of the 500 Greatest Albums of All Time. In many ways, the album changed the world. In a 2018 article for Revolver, Dan Epstein noted that Appetite ushered in a new wave of bands like the Black Crowes with its "blues-based music played by an unflashy yet hard-swinging rhythm section, a rock-solid rhythm guitarist, a flashy-but-soulful lead player and a charismatic vocalist who exuded danger and decadence." It also paved the way for Nirvana and the arrival of grunge as rock fans’ "ears were primed for more raw, real and rebellious hard rock." Now, nearly 40 years since its release, Appetite for Destruction has sold over 30 million copies worldwide and is without a doubt one of the most successful debut albums of all time.

Axl Rose – Artist/Songwriter

Slash – Artist/Songwriter

Duff McKagan – Artist/Songwriter

Steven Adler – Artist/Songwriter

Izzy Stradlin – Artist/Songwriter

Mike Clink – Engineer/Producer

Steve Thompson – Mixer

Buena Vista Social Club, Buena Vista Social Club

World circuit/nonesuch, 1997 .

In 1996, a group of veteran Cuban musicians was assembled to record an album that would pay tribute to Cuba’s "musical golden age" of the 1930s to 1950s. Showcasing styles of music that were popular at the time, such as son, bolero and danzón, the group became known as the Buena Vista Social Club, named after a 1940s-era members-only music club that was located in the Buenavista quarter of Havana. Organized by British music producer and executive Nick Gold and produced by GRAMMY-winning American guitarist Ry Cooder and Cuban director Juan de Marcos Gonzalez, Buena Vista Social Club recorded their eponymous 14-track debut album in just six days. Released in September 1997, the album featured 20 of Cuba’s most prominent musicians, including vocalist Ibrahim Ferrer (1927–2005), pianist Rubén González (1919–2003), and vocalist/guitarist Compay Segundo (1907–2003). Buena Vista Social Club was an instant hit with tracks such as the four-chord song "Chan Chan," written by Segundo, and a rendition of the romantic criolla "La Bayamesa." Everything fell into place at the right time for this album — from the chemistry between the musicians to the rich music history of Havana — to create one of the moments that can only be described as pure musical magic. Buena Vista Social Club sold more than 1 million copies, earned a spot on the Billboard 200, and won the GRAMMY Award for Best Tropical Latin Performance. 

In 1998 the ensemble held performances in Amsterdam and New York that were captured on film by German director Wim Wenders. Along with interviews with musicians that were conducted in Havana, a documentary, titled Buena Vista Social Club , was released in 1999 and earned an Oscar nomination for Best Documentary (Feature). In 2003, Buena Vista Social Club was named on Rolling Stone’s list of the 500 Greatest Albums of All Time, and in 2022, it was selected by the Library of Congress for preservation in the National Recording Registry. Further cementing its place in the music history books, Buena Vista Social Club was recognized by Guinness World Records as the best-selling album of world music with more than 8 million copies sold worldwide.

Ry Cooder – Leader/Producer

Juan Demarcos Gonzalez – Director

Larry Hirsch – Engineer

Jerry Boys – Engineer/Mixer

Donna Summer, "I Feel Love"

Casablanca, 1977.

When the Queen of Disco, Donna Summer, released her hit single "I Feel Love" in 1977, it propelled Brian Eno (who was in the studio with David Bowie at the time) to rush in and declare, "This single is going to change the sound of club music for the next 15 years." Now, more than 40 years after its release, "I Feel Love" definitely changed something – it changed pop music forever. Recorded with producers Giorgio Moroder and Pete Bellotte, the goal was to create a song that signified the future — and it did. "I Feel Love" was the first song to pair repetitive synthesizer loops with four-on the-floor bass drum and an off-beat hi-hat, helping to forge the path for synth pop, New Romantics, Italo disco, Hi-NRG, electro, house, techno, and more. Along the way, the global smash influenced countless artists, including Blondie, who became one of the first punk-associated groups to embrace disco, releasing "Heart of Glass" the following year.

Upon its release, "I Feel Love" reached No. 1 in several countries, including the UK, and peaked in the Top 10 on the Billboard 200. In 2012, the Library of Congress selected it for preservation in the National Recording Registry. Many of today’s biggest artists have paid tribute to Summer’s groundbreaking track with covers or samples, including Madonna, Red Hot Chili Peppers, Bronski Beat, and Beyoncé, the latter of whom samples "I Feel Love" on "Summer Renaissance," the closing track on her 2022 GRAMMY-winning album Renaissance. To this day, "I Feel Love" is considered the No. 1 greatest dance song of all time (Rolling Stone).

The song's impact on the LGBTQ+ community is equally as great as its impact on the dance community. GRAMMY-winning artist Sam Smith, who released a cover of "I Feel Love" in 2019, wrote on X: "As a queer person, ‘I Feel Love’ has followed me to every dance floor in every queer space from the minute I started clubbing. This song, to me, is an anthem of our community." In 2023, Pride Life Global ranked the track as one of the best gay anthems. 

Donna Summer – Artist/Songwriter

Giorgio Moroder – Producer/Songwriter

Pete Bellotte – Producer/Songwriter

Jürgen Koppers – Artist/Songwriter

Charley Pride, "Kiss An Angel Good Mornin'"

Rca victor, 1971.

"Kiss An Angel Good Mornin’" is GRAMMY winner Charley Pride’s biggest hit of his career. Released in 1971 as the first single from his GRAMMY-winning album Charley Pride Sings Heart Songs, the song peaked at No. 21 on the Billboard Hot 100, his only single to break the Top 40. Considered one of Pride’s signature songs, the track marked his eighth single to top the Billboard Hot Country Songs chart and became one of the biggest country hits of the decade. "Kiss An Angel Good Mornin’" was produced by Cowboy Jack Clement (Waylon Jennings, Willie Nelson, Dolly Parton) and written by Ben Peters, who got the inspiration for the song after he and his wife Jackie welcomed their daughter Angela. It’s a song purely about love and a slight departure from Pride’s other hits, such as "I’m Just Me" and "I’d Rather Love You." In a 2021 article for CMT, Marcus K. Dowling writes, "The achievement of conveying life's simple joys with a magnificent voice over complex countrypolitan rhythms and melodies — instead of discussing complex emotions over those same types of tracks — is the greatest victory of Pride's signature song." The single also earned Pride a GRAMMY nomination for Best Country Vocal Performance, Male. Since its release, "Kiss An Angel Good Mornin’" has been covered by countless artists, including George Jones, Conway Twitty, Gene Stuart, and Roy Clark — all of whom released the song in 1972 — along with Percy Sledge, Alan Jackson and Heather Myles. 

When he signed with RCA in 1964, Pride became the first Black country music singer to get a major record label deal. He went on to have 29 No. 1 hits on the Billboard Hot Country Songs chart, selling more than 70 million records. When it comes to sales for RCA, he is second only to Elvis Presley. Though he passed away in December 2020, Pride’s impact on country music, especially Black country music artists, remains. His influence can be heard in the music of up-and-coming artists such as Brittney Spencer, Mickey Guyton and Shy Carter. As country music’s first Black superstar, Pride and his warm baritone captivated audiences, broke racial and cultural barriers, and earned him an induction into the Grand Ole Opry in 1993.

Charley Pride – Artist

Jack Clement – Producer

Ben Peters – Songwriter

Ray Butts – Artist

Mike Shockley – Producer

Wanda Jackson, "Let's Have A Party"

Capitol, 1960.

Originally recorded by Elvis Presley for the 1957 musical/romance film Loving You, "Let’s Have a Party" was recorded by Wanda Jackson and released on her eponymous debut album in 1958. After Jackson’s version of "Let’s Have a Party" was discovered by an Iowa disc jockey and received an increase in interest from radio listeners, Capitol Records encouraged Jackson to release the song as a single two years later in 1960. The song became a hit, making the Top 40 in the U.S. and topping the chart in the U.K. The success of "Let’s Have a Party" inspired Jackson to rename her band the Party Timers and Capitol subsequently released the compilation album, Rockin’ With Wanda that same year. As one of the first women to have a career in rock and roll, Jackson recorded a series of singles in the 1950s that helped earn her the nickname of The Queen of Rockabilly. It was Elvis, with whom she toured with in 1955, who encouraged her to record in the rockabilly style. 

 In 2005, Jackson received the Fellowship Award from the National Endowment for the Arts, becoming the first female country and rock artist to receive the honor. In 2009, after several artists advocated on her behalf — including Elvis Costello, Bruce Springsteen and Cyndi Lauper — Jackson was inducted into the Rock and Roll Hall of Fame. Lauper has cited Jackson as one of her earliest influences, recording a cover of "Funnel of Love" for her 2016 album Detour. Other artists who have listed Jackson as an influence include Adele and Elle King. 

 Lauper told Rolling Stone in 2016: "I think for country you look at Patsy Cline or Loretta Lynn who played a guitar, or sang the songs she wrote, and Dolly Parton. But Wanda Jackson was a rocker, and so, of course, I was going to listen and learn from her because I was a rocker and that's what we did."

Jackson is also a member of the Rockabilly Hall of Fame, the Iowa Rock and Roll Hall of Fame, the Oklahoma Hall of Fame, and the Oklahoma Country Music Hall of Fame. In 2010, she was the recipient of the Lifetime Achievement Award from the Americana Music Honors. 



Wanda Jackson – Artist

Ken Nelson – Producer/Engineer

Jesse Mae Robinson – Songwriter

Kid Ory’s Creole Orchestra (As Spike’s Seven Pods Of Pepper Orchestra), "Ory's Creole Trombone"

Nordskog, 1922 .

Louisiana-born composer, trombonist and bandleader Edward "Kid" Ory put New Orleans jazz on the map. Kid Ory’s 1922 hit "Ory’s Creole Trombone" was the first recording of Black/Creole New Orleans jazz. Recorded in Los Angeles, the single features Ory on trombone, along with Thomas "Papa Mutt" Carey on cornet, Oliver "Dink" Johnson on clarinet, Fred Washington on piano, Ed "Montudie" Garland on bass, and Ben Borders on drums. Upon release, the entire first pressing of 5,000 records sold out, leading to gigs for Ory and his band down the California coast in San Diego and Tijuana.

Born on Christmas Day in LaPlace, Louisiana, Ory led a band early on in his career in New Orleans that featured music legends such as Joe "King" Oliver, Johnny Dodds, Johnny St. Cyr and, later, Louis Armstrong. Ory relocated to Los Angeles after the prohibition of alcohol in 1919 changed the landscape for jazz musicians performing in New Orleans nightclubs. Many of the musicians who played on his L.A. sessions had also recently relocated from New Orleans. After moving to Chicago in 1925, where jazz was just starting to gain traction, Ory worked and recorded with artists such as Armstrong, Jelly Roll Morton, Bessie Smith, Ma Rainey, and many others. He was an original member of Louis Armstrong and His Hot Five, with whom he would later re-record "Ory’s Creole Trombone" in 1927. As demonstrated on "Ory's Creole Trombone," Ory was an early adapter of the glissando technique, now a central element of New Orleans jazz. While he might not have been the first to play a glissando on a trombone, he was certainly the most influential.

In 2005, "Ory’s Creole Trombone" was selected by the Library of Congress for preservation in the National Recording Registry. In an essay written upon the recording's selection by the Library of Congress, GRAMMY-nominated musician and jazz historian David Sager wrote, "‘Ory’s Creole Trombone’ offers a rare glimpse into the origins of New Orleans jazz and a remarkable insight to this music’s durability and universal appeal." A pioneering record and one of the most essential jazz recordings, "Ory’s Creole Trombone" helped define the New Orleans style of jazz and served as the prototype for future musicians of that genre.

Edward "Kid" Ory – Artist/Songwriter

Lauryn Hill, The Miseducation Of Lauryn Hill

Ruffhouse records / columbia records, 1998 .

Widely considered one of the greatest albums of all time, The Miseducation of Lauryn Hill is the debut album and only solo studio set released by GRAMMY-winning singer and rapper Lauryn Hill. The album debuted at No. 1 on the Billboard 200 and sold more than 422,000 copies in its first week, breaking the record for first-week sales by a female artist. Credited for bringing hip-hop and neo-soul to the forefront of popular music, the album earned Hill 10 GRAMMY nominations, which now has her tied with Beyoncé for the Guinness World Record for most GRAMMY nominations in a single year for a female artist. Hill turned half of those nominations into wins, taking home the awards for Album Of The Year, Best New Artist, Best R&B Album, and Best Rhythm & Blues Song and Best Female R&B Vocal Performance for "Doo Wop (That Thing)." With lyrics that present arguably the most poignant of female perspectives on life, love and relationships, while also touching on the turmoil within her former group the Fugees, three of the album’s singles — "Everything Is Everything, "Ex-Factor" and "Doo Wop (That Thing)" — peaked in the Top 40 on the Billboard 200, with the latter claiming the top spot. 

The Miseducation of Lauryn Hill was partially recorded at Bob Marley’s studio Tuff Gong Studios in Kingston, Jamaica, while Hill was pregnant with her first son, Zion. Speaking about that time, Hill told Rolling Stone, "When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create. I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing ... I was very in touch with my feelings at the time." The album’s track "To Zion," which features Carlos Santana on guitar, is a song about her son. 

In 1999, Hill became the first hip-hop artist to appear on the cover of TIME magazine. Now, more than 25 years since its release and with more than 20 million copies sold, The Miseducation of Lauryn Hill continues to be one of the most influential albums ever made. 

Lauryn Hill – Artist/Producer/Songwriter

Gordon "Commissioner Gordon" Williams – Engineer

Tony Prendatt – Engineer

The Doobie Brothers, "What A Fool Believes"

Warner bros. records, 1978.

One of the few non-disco songs to hit No. 1 on the Billboard Hot 100 in 1979, the Doobie Brothers’ "What a Fool Believes" is featured on their 1978 eighth studio album, the Album Of The Year-nominated Minute by Minute. Co-written by Michael McDonald and Kenny Loggins, "What a Fool Believes" won the Doobie Brothers two GRAMMY Awards, including Record Of The Year. Stylistically speaking, the song is unlike anything the Doobie Brothers had done before.

"What a Fool Believes" started off as a piano piece idea McDonald had. Producer Ted Templeman heard what he was working on and encouraged him to put some lyrics down with a co-writer. It turns out that McDonald and Loggins had talked about working together for some time. When they got together at McDonald’s house in Los Angeles to write, Loggins had already come up with the song’s hook — "she had a place in his life." Telling the story of a man who attempts to rekindle a romantic relationship, "What a Fool Believes" is about the lies we sometimes tell ourselves about past romances. When the protagonist in the song attempts to reconnect with an old love, he realizes that he barely registers in the woman’s mind. The Doobie Brothers and Templeman recorded numerous takes of its rhythm track over five or six days, but they couldn’t land on a version they all liked. Templeman eventually decided to cut up the master tape of a recording into sections. "In those days when you cut the tape, you’re over – that’s the master of your recording," recalled Templeman in an interview with The Guardian in 2022. "But we got lucky and I put it together on the spot." McDonald completed the rest of the arrangement, adding keyboards, vocals and strings. Before it was released by the Doobie Brothers, Loggins released his own jazzier and experimental version of the song on his 1978 album Nightwatch. 

"What a Fool Believes" was rated as the Doobie Brothers’ all-time greatest song by Ultimate Classic Rock critic Michael Gallucci and listed on Rolling Stone’s Top 500 Greatest Songs of All Time list. Today, "What a Fool Believes" is considered a "foundational yacht rock classic," as Tom Breihan wrote in a review for Stereogum in 2020.

Jeff "Skunk" Baxter – Artist

John Hartman – Artist

Keith Knudsen – Artist

Michael McDonald – Artist/Songwriter

Tiran Porter – Artist

Patrick Simmons – Artist

Ted Templeman – Producer

Kenny Loggins – Songwriter

Donn Lander – Engineer

William Bell, "You Don’t Miss Your Water"

Stax records, 1961.

As the first male solo act signed to the legendary Stax Records, Memphis-born GRAMMY-winning singer/songwriter William Bell released his solo debut with the melancholy "You Don’t Miss Your Water" in 1961. Recorded as a demo with members of the Mar-Keys and MG’s, "You Don’t Miss Your Water" was originally released as a B-side of his single "Formula of Love" and gained steam after DJs flipped the record over and started playing "You Don’t Miss Your Water." The song became the first hit for Stax Records, charting on the Billboard Hot 100 in 1962. It was later released on Bell’s 1967 album The Soul of a Bell and remains his best-known recording to this day.

 "The message is universal: appreciate what you have," said Bell in a 2022 interview with Uncut magazine. "Back then I didn’t realize what I was writing, but after I got a little older, I realized that although the world changes physically, every generation has the same wishes, desires and aspirations. If you just write truthfully about life and write things you think will help people, it will resonate."

And indeed, the song did resonate. More than six decades since its release, "You Don’t Miss Your Water" has gone on to become a Southern classic. Countless artists have recorded covers of it, including Otis Redding, Percy Sledge, Taj Mahal, Jerry Lee Lewis, the Black Crowes, Sturgill Simpson, Peter Tosh & the Wailers, Brian Eno, and, most notably, the Byrds, on their seminal 1968 country-rock album Sweetheart of the Rodeo.

In 2013, Bell performed "You Don’t Miss Your Water" before President Barack Obama during "In Performance at the White House: Memphis Soul." The following year, Bell was featured in the documentary Take Me to the River, reflecting upon American music's soul. He was inducted into the Memphis Music Hall of Fame in 2016. In 2020, the National Endowment for the Arts celebrated him as a Heritage Fellow. Bell was instrumental in ushering in the Southern soul music genre, which is now known as the globally influential "Memphis Sound."

William Bell – Artist/Songwriter

Chips Moman – Producer

Explore The History Of The Grammy Hall Of Fame

Photo: Courtesy of the Recording Academy™️/photo by Rebecca Sapp, Getty Images

Dillon Francis & Diplo In Conversation: 5 Things We Learned From The GRAMMY Museum Event

In honor of Dillon Francis' breakthrough hit "Get Low" turning 10 this year, the DJ/producer sat down with one of his longtime dance buds, Diplo, at the GRAMMY Museum. Check out five revelations from the career-spanning (and highly entertaining) chat.

Dillon Francis and Diplo have respectively built massive careers within dance music — but as they proved on May 15, they may have been just as successful doing stand-up comedy.

The two producers came together at the GRAMMY Museum's Clive Davis Theater for a wisecracking exchange, marking the 10-year anniversary of Francis' breakthrough song with DJ Snake , the platinum-certified "Get Low." It also felt like a celebration of 

their longstanding friendship — which predates "Get Low" — as the conversation was filled with humorous anecdotes, insider stories about key moments in Francis' career, and some of Francis' favorite memories with Diplo.

Since "Get Low," Francis has had a mercurial music trajectory. Though he's released three studio albums and a number of EPs, his landmark mixtapes — 2015's This Mixtape Is Fire and last year's This Mixtape is Fire TOO — are the key highlights. Like many dance acts, collaboration has been at the core of Francis' work, particularly within the electronic community; he's teamed up with the likes of Skrillex , Calvin Harris , Martin Garrix, Kygo, Alison Wonderland, Illenium , Alesso , and even Diplo's trio Major Lazer . 

More recently, Francis has released collaborations with Ship Wrek, Space Rangers and Sophie Powers, and the moombahton Pero Like EP with Good Times Ahead. The EP includes the bouncy "LA On Acid," whose video — which premiered at the South By Southwest Festival in March — features Diplo in its opening sequencing, along with cameos from Euphoria 's Chloe Cherry, Righteous Gemstones ' Tony Cavalero and Master of None 's Eric Wareheim.

Three days after stopping by the GRAMMY Museum, Francis headed out to Las Vegas to perform at North America's largest electronic dance music festival, Electric Daisy Carnival, on May 18. It was one of many festival appearances for Francis this summer, along with one of several trips to Las Vegas, as he has a residency at the Wynn's XS Nightclub.

Below, take a look at five takeaways from Francis' spirited conversation with Diplo at the GRAMMY Museum.

Francis Met Diplo By Sliding Into His Twitter DMs

The two met in person 16 years ago in Francis' hometown of Los Angeles. Before that, Francis would send Diplo demos for consideration for the latter's record label, Mad Decent. Once Francis realized Diplo had heard his song "Masta Blasta," he slid into Diplo's Twitter DMs — and never left. "I was harassing him so much," Francis quipped. "'Let's please hang out right now. God, please let me come and hang out.'"

Diplo invited him to a bar, and they watched the Phillies (Diplo's team) lose. "It was one of my first blind dates," Diplo said. "I tried to make [Dillon] my ghost producer." 

Shortly after their first meeting, the pair worked together on a dubstep remix for Kelly Rowland 's "Motivation" — and the more exposure he had to Francis' production skills, the more convinced Diplo was of his talent. "[Dillon is] too good to be my ghost producer. He's already better than me. We got to do a real record with this guy."

Francis' Superior Social Media Skills Began As A Class Assignment In High School

Francis' comedic online presence is the perfect combination of humor and authenticity, adding another layer to his appeal alongside his music. He traced his savvy skills back to his time at Los Angeles County High School for the Arts and a new genres course he took. His teacher considered everything as art, and their creations could be whatever they wanted.

"My friend and I would make comedy videos, basic sketch shows, and we passed the class with flying colors," Francis recalled. "When Vine came around, I did what I did in that class. It was another way of doing stuff I love to do, which is making people laugh."

Diplo then chimed in with a hilariously fitting observation. "You are the Weird Al Yankovic of electronic music," he said. "You had bangers, but you made them funny and you made them accessible to people."

He also commended Francis for opening his eyes to what social media can do for a creator. "You put me onto interaction on social media in different ways," Diplo added. "I don't think any other electronic music DJs were putting their personality out there like you did. You were the first one to do that properly."

Francis' Musical Education Came From Collaboration

As Francis revealed, he dropped out of college after a semester. But as someone who has built his career on collaboration, he's learned everything he needs to know by working with other artists. In fact, he thinks of working with other producers as interning. 

"It's my favorite thing to do," he said. "They're going to learn the way that you produce, you're going learn the way they produce. You can cross-pollinate your ideas and come away with new ways to make music. I feel like it also helps with evolving as an artist."

Diplo agreed, noting that Francis' time as a young producer, interning at studios, learning from producers and gaining relationships in the process was essential to his career. "Not to encourage more people to drop out of college," he joked.

Furious 7 Was A Key Player In The Success Of "Get Low"

Diplo pointed out that "Get Low" had its crossover moment after being included in the soundtrack for Furious 7 , the 2015 installment of the Fast and Furious franchise. He asserted that it is special for a producer to have a song in a big movie, as he experienced with M.I.A. 's "Paper Planes" (which he co-wrote and co-produced) after it was featured in 2008's Pineapple Express .  

As Francis recalled, "Get Low" was already well-received and being played by the DJ community, with about five million plays on Spotify before Furious 7 . But once it was part of Furious 7 — first in the trailer and then in the film — it ramped up significantly (and now has more than 200 million Spotify streams as of press time).

"This is when people were buying music on iTunes," Francis remembers. "From the trailer, it peaked at number 5 or something like that, which is huge for any artist in dance music. We're not usually on that chart. To be right next to Selena Gomez with a song that says, 'Get low when the whistle goes,' is crazy."

He Had A Life-Altering Turning Point At 18

After Diplo concluded his questions, Francis took a few from the audience. In response to one fan about what he would have done differently early in his career, Francis opened up about one of the worst moments in his life — which actually turned into a great learning experience. 

As he explained, at the age of 18, Francis was charged with a DUI (which was eventually downgraded to wet reckless). His parents spent their savings on a lawyer; he lost his car; he lost his license for a year; he did the DUI classes. And all of it put things into perspective.

"That was the first moment where I realized, things can get messed up and lost," he said. "I was like, 'I need to figure out my career. I'm going to go make money and I'm going to pay [my parents] back.' That was a very big driving factor for me."

Now 36, Francis views the incident as one of the best things to ever happen to him — and, in turn, for his path in dance music. "If that didn't happen, I don't think I would be sitting here on the stage today."

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Slash's New Blues Ball: How His Collaborations Album 'Orgy Of The Damned' Came Together

On his new album, 'Orgy Of The Damned,' Slash recruits several friends — from Aerosmith's Steven Tyler to Demi Lovato — to jam on blues classics. The rock legend details how the project was "an accumulation of stuff I've learned over the years."

In the pantheon of rock guitar gods, Slash ranks high on the list of legends. Many fans have passionately discussed his work — but if you ask him how he views his evolution over the last four decades, he doesn't offer a detailed analysis.

"As a person, I live very much in the moment, not too far in the past and not very far in the future either," Slash asserts. "So it's hard for me to really look at everything I'm doing in the bigger scheme of things."

While his latest endeavor — his new studio album, Orgy Of The Damned — may seem different to many who know him as the shredding guitarist in Guns N' Roses , Slash's Snakepit, Velvet Revolver , and his four albums with Myles Kennedy and the Conspirators, it's a prime example of his living-in-the-moment ethos. And, perhaps most importantly to Slash, it goes back to what has always been at the heart of his playing: the blues.

Orgy Of The Damned strips back much of the heavier side of his playing for a 12-track homage to the songs and artists that have long inspired him. And he recruited several of his rock cohorts — the likes of AC/DC 's Brian Johnson , Aerosmith 's Steven Tyler , Gary Clark Jr. , Iggy Pop , Beth Hart , and Dorothy, among others — to jam on vintage blues tunes with him, from "Hoochie Coochie Man" to "Born Under A Bad Sign."

But don't be skeptical of his current venture — there's plenty of fire in these interpretations; they just have a different energy than his harder rocking material. The album also includes one new Slash original, the majestic instrumental "Metal Chestnut," a nice showcase for his tastefully melodic and expressive playing.

The initial seed for the project was planted with the guitarist's late '90s group Slash's Blues Ball, which jammed on genre classics. Those live, spontaneous collaborations appealed to him, so when he had a small open window to get something done recently, he jumped at the chance to finally make a full-on blues album.

Released May 17, Orgy Of The Damned serves as an authentic bridge from his musical roots to his many hard rock endeavors. It also sees a full-circle moment: two Blues Ball bandmates, bassist Johnny Griparic and keyboardist Teddy Andreadis, helped lay down the basic tracks. Further seizing on his blues exploration, Slash will be headlining his own touring blues festival called S.E.R.P.E.N.T. in July and August, with support acts including the Warren Haynes Band , Keb' Mo' , ZZ Ward, and Eric Gales .

Part of what has kept Slash's career so intriguing is the diversity he embraces. While many heavy rockers stay in their lane, Slash has always traveled down other roads. And though most of his Orgy Of The Damned guests are more in his world, he's collaborated with the likes of Michael Jackson , Carole King and Ray Charles — further proof that he's one of rock's genre-bending greats.

Below, Slash discusses some of the most memorable collabs from Orgy Of The Damned , as well as from his wide-spanning career.

I was just listening to "Living For The City," which is my favorite track on the album.

Wow, that's awesome. That was the track that I knew was going to be the most left of center for the average person, but that was my favorite song when [ Stevie Wonder 's 1973 album] Innervisions came out when I was, like, 9 years old. I loved that song. This record's origins go back to a blues band that I put together back in the '90s.

Slash's Blues Ball.

Right. We used to play "Superstition," that Stevie Wonder song. I did not want to record that [for Orgy Of The Damned ], but I still wanted to do a Stevie Wonder song. So it gave me the opportunity to do "Living For The City," which is probably the most complicated of all the songs to learn. I thought we did a pretty good job, and Tash [Neal] sang it great. I'm glad you dig it because you're probably the first person that's actually singled that song out.

With the Blues Ball, you performed Hoyt Axton's "The Pusher" and Robert Johnson 's "Crossroads," and they surface here. Isn't it amazing it took this long to record a collection like this?

[Blues Ball] was a fun thrown-together thing that we did when I [was in, I] guess you call it, a transitional period. I'd left Guns N' Roses [in 1996], and it was right before I put together a second incarnation of Snakepit.

I'd been doing a lot of jamming with a lot of blues guys. I'd known Teddy [Andreadis] for a while and been jamming with him at The Baked Potato for years prior to this. So during this period, I got together with Ted and Johnny [Griparic], and we started with this Blues Ball thing. We started touring around the country with it, and then even made it to Europe. It was just fun.

Then Snakepit happened, and then Velvet Revolver. These were more or less serious bands that I was involved in. Blues Ball was really just for the fun of it, so it didn't really take precedence. But all these years later, I was on tour with Guns N' Roses, and we had a three-week break or whatever it was. I thought, I want to make that f—ing record now .

It had been stewing in the back of my mind subconsciously. So I called Teddy and Johnny, and I said, Hey, let's go in the studio and just put together a set and go and record it. We got an old set list from 1998, picked some songs from an app, picked some other songs that I've always wanted to do that I haven't gotten a chance to do.

Then I had the idea of getting Tash Neal involved, because this guy is just an amazing singer/guitar player that I had worked with in a blues thing a couple years prior to that. So we had the nucleus of this band.

Then I thought, Let's bring in a bunch of guest singers to do this. I don't want to try to do a traditional blues record, because I think that's going to just sound corny. So I definitely wanted this to be more eclectic than that, and more of, like, Slash's take on these certain songs, as opposed to it being, like, "blues." It was very off-the-cuff and very loose.

It's refreshing to hear Brian Johnson singing in his lower register on "Killing Floor" like he did in the '70s with Geordie, before he got into AC/DC. Were you expecting him to sound like that?

You know, I didn't know what he was gonna sing it like. He was so enthusiastic about doing a Howlin' Wolf cover.

I think he was one of the first calls that I made, and it was really encouraging the way that he reacted to the idea of the song. So I went to a studio in Florida. We'd already recorded all the music, and he just fell into it in that register.

I think he was more or less trying to keep it in the same feel and in the same sort of tone as the original, which was great. I always say this — because it happened for like two seconds, he sang a bit in the upper register — but it definitely sounded like AC/DC doing a cover of Howlin' Wolf. We're not AC/DC, but he felt more comfortable doing it in the register that Howlin' Wolf did. I just thought it sounded really great.

You chose to have Demi Lovato sing "Papa Was A Rolling Stone." Why did you pick her?

We used to do "Papa Was A Rolling Stone" back in Snakepit, actually, and Johnny played bass. We had this guy named Rod Jackson, who was the singer, and he was incredible. He did a great f—ing interpretation of the Temptations singing it.

When it came to doing it for this record, I wanted to have something different, and the idea of having a young girl's voice telling the story of talking to her mom to find out about her infamous late father, just made sense to me. And Demi was the first person that I thought of. She's got such a great, soulful voice, but it's also got a certain kind of youth to it.

When I told her about it, she reacted like Brian did: "Wow, I would love to do that . " There's some deeper meaning about the song to her and her personal life or her experience. We went to the studio, and she just belted it out. It was a lot of fun to do it with her, with that kind of zeal.

You collaborate with Chris Stapleton on Fleetwood Mac 's "Oh Well" by Peter Green. I'm assuming the original version of that song inspired "Double Talkin' Jive" by GN'R?

It did not, but now that you mention it, because of the classical interlude thing at the end... Is that what you're talking about? I never thought about it.

I mean the overall vibe of the song.

"Oh Well" was a song that I didn't hear until I was about 12 years old. It was on KMET, a local radio station in LA. I didn't even know there was a Fleetwood Mac before Stevie Nicks and Lindsey Buckingham . I always loved that song, and I think it probably had a big influence on me without me even really realizing it. So no, it didn't have a direct influence on "Double Talkin' Jive," but I get it now that you bring it up.

Was there something new that you learned in making this album? Were your collaborators surprised by their own performances?

I think Gary Clark is just this really f—ing wonderful guitar player. When I got "Crossroads," the idea originally was "Crossroads Blues," which is the original Robert Johnson version. And I called Gary and said, "Would you want to play with me on this thing?"

He and I only just met, so I didn't know what his response was going to be. But apparently, he was a big Guns N' Roses fan — I get the idea, anyway. We changed it to the Cream version just because I needed to have something that was a little bit more upbeat. So when we got together and played, we solo-ed it off each other.

When I listen back to it, his playing is just so f—ing smooth, natural, and tasty. There was a lot of that going on throughout the making of the whole record — acclimating to the song and to the feel of it, just in the moment.

I think that's all an accumulation of stuff that I've learned over the years. The record probably would be way different if I did it 20 years ago, so I don't know what that evolution is. But it does exist. The growth thing — God help us if you don't have it.

You've collaborated with a lot of people over the years — Michael Jackson, Carole King, Lemmy , B.B. King, Fergie . Were there any particular moments that were daunting or really challenging? And was there any collaboration that produced something you didn't expect?

All those are a great example of the growth thing, because that's how you really grow as a musician. Learning how to adapt to playing with other people, and playing with people who are better than you — that really helps you blossom as a player.

Playing with Carole King [in 1993] was a really educational experience because she taught me a lot about something that I thought that I did naturally, but she helped me to fine tune it, which was soloing within the context of the song. [It was] really just a couple of words that she said to me during this take that stuck with me. I can't remember exactly what they were, but it was something having to do with making room for the vocal. It was really in passing, but it was important knowledge.

The session that really was the hardest one that I ever did was [when] I was working with Ray Charles before he passed away. I played on his "God Bless America [Again]" record [on 2002's Ray Charles Sings for America ], just doing my thing. It was no big deal. But he asked me to play some standards for the biopic on him [2004's Ray ], and he thought that I could just sit in with his band playing all these Ray Charles standards.

That was something that they gave me the chord charts for, and it was over my head. It was all these chord changes. I wasn't familiar with the music, and most of it was either a jazz or bebop kind of a thing, and it wasn't my natural feel.

I remember taking the chord charts home, those kinds you get in a f—ing songbook. They're all kinds of versions of chords that wouldn't be the version that you would play.

That was one of those really tough sessions that I really learned when I got in over my head with something. But a lot of the other ones I fall into more naturally because I have a feel for it.

That's how those marriages happen in the first place — you have this common interest of a song, so you just feel comfortable doing it because it's in your wheelhouse, even though it's a different kind of music than what everybody's familiar with you doing. You find that you can play and be yourself in a lot of different styles. Some are a little bit challenging, but it's fun.

Are there any people you'd like to collaborate with? Or any styles of music you'd like to explore?

When you say styles, I don't really have a wish list for that. Things just happen. I was just working with this composer, Bear McCreary . We did a song on this epic record that's basically a soundtrack for this whole graphic novel thing, and the compositions are very intense. He's very particular about feel, and about the way each one of these parts has to be played, and so on. That was a little bit challenging. We're going to go do it live at some point coming up.

There's people that I would love to play with, but it's really not like that. It's just whatever opportunities present themselves. It's not like there's a lot of forethought as to who you get to play with, or seeking people out. Except for when you're doing a record where you have people come in and sing on your record, and you have to call them up and beg and plead — "Will you come and do this?"

But I always say Stevie Wonder. I think everybody would like to play with Stevie Wonder at some point.

Incubus On Revisiting Morning View & Finding Rejuvenation By Looking To The Past

Photo: Chris Polk/FilmMagic

How Amy Winehouse's 'Back To Black' Changed Pop Music Forever

Ahead of the new Amy Winehouse biopic 'Back To Black,' reflect on the impact of the album of the same name. Read on for six ways the GRAMMY-winning LP charmed listeners and changed the sound of popular music.

When Amy Winehouse released Back To Black in October 2006, it was a sonic revelation. The beehive-wearing singer’s second full-length blended modern themes with the Shangri-Las sound, crafting something that seemed at once both effortlessly timeless and perfectly timed. 

Kicking off with smash single "Rehab" before blasting into swinging bangers like "Me & Mr. Jones," "Love Is A Losing Game," and "You Know I’m No Good," Black To Black has sold over 16 million copies worldwide to date and is the 12th best-selling record of all time in the United Kingdom. It was nominated for six GRAMMY Awards and won five: Record Of The Year, Song Of The Year, Best New Artist, Best Female Pop Vocal Performance, and Best Pop Vocal Album. 

Winehouse accepted her golden gramophones via remote link from London due to visa problems. At the time, Winehouse set the record for the most GRAMMYs won by a female British artist in a single year, though that record has since been broken by Adele , who won six in 2011.

Written in the wake of a break-up with on-again, off-again flame Blake Fielder-Civil, Black To Black explores heartbreak, grief, and infidelity, as well as substance abuse, isolation, and various traumas. Following her death in 2011, Back To Black became Winehouse’s most enduring legacy. It remains a revealingly soulful message in a bottle, floating forever on the waves. 

With the May 17 release of Sam Taylor-Johnson’s new ( and questionably crafted ) Winehouse biopic, also titled Back To Black , it's the perfect time to reflect on the album that not only charmed listeners but changed the state of a lot of popular music over the course of just 11 songs. Here are five ways that Back To Black influenced music today.

She Heralded The Arrival Of The Alt Pop Star

When Amy Winehouse hit the stage, people remarked on her big voice. She had classic, old-time torch singer pipes, like Sarah Vaughn or Etta Jones , capable of belting out odes to lost love, unrequited dreams, and crushing breakups. And while those types of singers had been around before Winehouse, they didn’t always get the chance — or grace required — to make their kind of music, with labels and producers often seeking work that was more poppy, hook-packed, or modern.

The success of Back To Black changed that, with artists like Duffy , Adele , and even Lady Gaga drawing more eyes in the wake of Winehouse’s overwhelming success. Both Duffy and Adele released their debut projects in 2007, the year after Back To Black , bringing their big, British sound to the masses. Amy Winehouse's look and sound showed other aspiring singers that they could be different and transgressive without losing appeal.

Before she signed to Interscope in 2007, "nobody knew who I was and I had no fans, no record label," Gaga told Rolling Stone in 2011 . "Everybody, when they met me, said I wasn’t pretty enough or that my voice was too low or strange. They had nowhere to put me. And then I saw [Amy Winehouse] in Rolling Stone and I saw her live. I just remember thinking ‘well, they found somewhere to put Amy…’" 

If an artist like Winehouse — who was making records and rocking styles that seemed far outside the norm — could break through, then who’s to say someone else as bold or brassy wouldn’t do just as well? 

It Encouraged Other Torch Singers In The New Millenium

Back To Black might have sounded fun, with swinging cuts about saying "no" to rehab and being bad news that could seem lighthearted to the casual listener. Dig a little deeper, though, and it’s clear Winehouse is going through some real romantic tumult. 

Before Back To Black was released, Fielder-Civil had left Winehouse to get back together with an old girlfriend, and singer felt that she needed to create something good out of all those bad feelings. Songs like "Love Is A Losing Game" and "Tears Dry On Their Own" speak to her fragile emotional state during the making of the record, and to how much she missed Fielder-Civil. The two would later marry, though the couple divorced in 2009.

Today, young pop singers like Olivia Rodrigo , Taylor Swift , and Selena Gomez are lauded for their songs about breakups, boyfriends, and the emotional damage inflicted by callous lovers. While Winehouse certainly wasn’t the first to sing about a broken heart, she was undoubtedly one of the best.

It Created A Bit Of Ronsonmania

Though Mark Ronson was already a fairly successful artist and producer in his own right before he teamed with Winehouse to write and co-produce much of Back To Black, his cred was positively stratospheric after the album's release. Though portions of Back To Black were actually produced by Salaam Remi (who’d previously worked with Winehouse on Frank and who was reportedly working on a follow-up album with her at the time of her death), Ronson got the lion’s share of credit for the record’s sound — perhaps thanks to his his GRAMMY win for Best Pop Vocal Album. Winehouse would even go on to guest on his own Version record, which featured the singer's ever-popular cover of "Valerie."

In the years that followed, Ronson went on to not only produce and make his own funky, genre-bending records, but also to work with acts like Adele, ASAP Rocky , and Paul McCartney , all of whom seemingly wanted a little of the retro soul Ronson could bring. He got huge acclaim for the funk-pop boogie cut "Uptown Funk," which he wrote and released under his own name with help from Bruno Mars , and has pushed into film as well, writing and producing over-the-top tracks like A Star Is Born ’s "Shallow" and Barbie ’s "I’m Just Ken."  To date, he’s been nominated for 17 GRAMMY Awards, winning eight.

Ronson has always acknowledged Winehouse’s role in his success, as well, telling "BBC Breakfast" in 2010 , " I've always been really candid about saying that Amy is the reason I am on the map. If it wasn't for the success of Back To Black , no one would have cared too much about Version ."

Amy Showcased The Artist As An Individual

When the GRAMMY Museum hosted its "Beyond Black - The Style of Amy Winehouse" exhibit in 2020, Museum Curator and Director of Exhibitions Nicholas Vega called the singer's sartorial influence "undeniable." Whether it was her beehive, her bold eyeliner, or her fitted dresses, artists and fans had adopted elements of Winehouse’s Back To Black style into their own fashion repertoire. And though it’s the look we associate most with Winehouse, it was actually one she had truly developed while making the record, amping up her Frank -era low-slung jeans, tank tops, and polo shirts with darker eyeliner and much bigger hair, as well as flirty dresses, vibrant bras, and heels.

"Her stylist and friends were influential in helping her develop her look, but ultimately Amy took bits and pieces of trends and styles that she admired to create her own look," Vega told GRAMMY.com in 2020. While rock ‘n’ rollers have always leaned into genre-bending styles, Winehouse’s grit is notable in the pop world, where artists typically have a bit more of a sheen. These days, artists like Miley Cyrus , Billie Eillish , and Demi Lovato are willing to let their fans see a bit more of the grit — thanks, no doubt, to the doors Winehouse opened.

Winehouse also opened the door to the beauty salon and the tattoo studio, pushing boundaries with not just her 14 different vintage-inspired tattoos — which have become almost de rigeur these days in entertainment — but also with her signature beehive-like bouffant, which hadn’t really been seen on a popular artist since the ‘60s.It’s a frequent look for contemporary pop divas, popping up on artists like Ariana Grande , Lana Del Rey , and Dua Lipa .

The Dap-Kings Got The Flowers They Deserved

Six of Back To Black ’s 11 songs , including "Rehab," got their "retro" sound via backing from t he Dap-Kings , a Brooklyn-based soul act Ronson recruited for the project. 

While Winehouse’s lyrics were mostly laid down in London, the Dap-Kings did their parts in New York. Ronson told GRAMMY.com in 2023 that the Dap-Kings "brought ['Rehab'] to life," saying, "I felt like I was floating because I couldn’t believe anybody could still make that drum sound in 2006." Winehouse and the Dap-Kings met months later after the record was released, and recorded "Valerie." The band later backed Winehouse on her U.S. tour. 

Though the Dap-Kings were known in hip musical circles for their work with late-to-success soul sensation Sharon Jones , Back To Black ’s immense success buoyed the listening public’s interest in soul music and the Dap-Kings' own profile (not to mention that of their label, Daptone Records).

"Soul music never went away and soul lovers never went away, but they’re just kind of closeted because they didn’t think it was commercially viable," Dap-Kings guitarist Binky Griptite said in the book It Ain't Retro: Daptone Records & The 21st Century Soul Revolution . "Then, when Amy’s record hit, all the undercover soul fans are like, I’m free. And then that’s when everybody’s like, Oh, there’s money in it now."

The success of Back To Black also seems to have firmly cemented the Dap-Kings in Ronson’s Rolodex, with the group’s drummer Homer Steinweiss, multi-instrumentalist Leon Michaels, trumpeter Dave Guy , and guitarist/producer Tom Brenneck appearing on many of his projects; the Dap-Kings' horns got prominent placement in "Uptown Funk."

Amy Exposed The Darker Side Of Overwhelming Success

Four years after Winehouse died, a documentary about her life was released. Asif Kapadia’s Amy became an instant rock-doc classic, detailing not only Winehouse’s upbringing, but also her struggles with fame and addiction. It won 30 awards after release, including Best Documentary Feature at the 88th Academy Awards and Best Music Film at the 58th GRAMMY Awards.

It also made a lot of people angry — not for how it portrayed Winehouse, but for how she was made to feel, whether by the British press or by people she considered close. The film documented Winehouse’s struggles with bulimia, self-harm, and depression, and left fans and artists alike feeling heartbroken all over again about the singer’s passing. 

The documentary also let fans in on what life was really like for Winehouse, and potentially for other artists in the public eye. British rapper Stormzy summed it up well in 2016 when he told i-D , "I saw the [documentary, Amy] – it got me flipping angry... [Amy’s story] struck a chord with me in the sense that, as a creative, it looks like on the outside, that it’s very ‘go studio, make a hit, go and perform it around the world, champagne in the club, loads of girls’. But the graft and the emotional strain of being a musician is very hard. No one ever sees that part." 

These days, perhaps because of Winehouse’s plight or documentaries like Amy , the music-loving population seems far more inclined to give their favorite singers a little grace, whether it’s advocating for the end of Britney Spears ’ conservatorship or sympathizing with Demi Lovato’s personal struggles. Even the biggest pop stars are still people, and Amy really drove that point home.

We Only Said Goodbye With Words: Remembering Amy Winehouse 10 Years Later

Image courtesy of the Recording Academy

GRAMMY Museum Announces Hip-Hop Block Party On June 6: What To Know About The Museum Takeover For Black Music Month

Inspired by the GRAMMY Museum's 'Hip-Hop America: The Mixtape Exhibit,' this celebratory event ignites the Museum with an array of interdisciplinary arts and experiences. Get all the details here.

The 50th anniversary of hip-hop may have come and gone — but the celebration is far from over.

On June 6 , experience the potency of hip-hop culture like never before, at the GRAMMY Museum's Hip-Hop Block Party.

The event will take place on site at the GRAMMY Museum, located on 800 W Olympic Boulevard in Los Angeles, California.

This follows in the footsteps of the GRAMMY Museum's ' Hip-Hop America: The Mixtape Exhibit ,' — an expansive series of historical hip-hop eexhibit running until Sept. 24, 2024.

The GRAMMY Museum's Hip-Hop Block Party will introduce an exciting array of interdisciplinary arts and experiences, immersing new audiences in the power of hip-hop. This will include:

Dynamic dance showcases lead by Leslie "Big Lez" Segar and Richard "Swoop" Whitebear

A cutting-edge fashion show featuring Cross Colours and the Black Design Collective

A captivating Sight & Sound photo gallery presented by Alvin Allure & Entertain the Angels and Corentin Villemeur

Riveting live performances by UraelB, Nilla Allin, and Xian Bell, and vibes curated by DJ R-Tistic on the ones and twos

As such, every floor of the GRAMMY Museum will be activated, and transformed into a living canvas of artistic expression.

The Hip-Hop Block Party will celebrate and empower local artists and businesses, creating an unforgettable celebration of creativity, community and culture in celebration of Black Music Month. This event is made possible in part by a grant from the City of Los Angeles Department of Cultural Affairs.

So don't miss the block party on June 6, at the GRAMMY Museum — and keep checking GRAMMY.com for all things commemorating the enduring power of hip-hop!

GRAMMY.com's 50th Anniversary Of Hip-Hop Coverage: A Recap

• 1 Explore The 2024 GRAMMY Hall Of Fame Inducted Recordings: Lauryn Hill, Guns N' Roses, De La Soul, Donna Summer & Many More
• 2 Dillon Francis & Diplo In Conversation: 5 Things We Learned From The GRAMMY Museum Event
• 3 Slash's New Blues Ball: How His Collaborations Album 'Orgy Of The Damned' Came Together
• 4 How Amy Winehouse's 'Back To Black' Changed Pop Music Forever
• 5 GRAMMY Museum Announces Hip-Hop Block Party On June 6: What To Know About The Museum Takeover For Black Music Month