The follow-up to 2013's genre-jumping Fuse, Ripcord has been in the works for some time, with Urban slowly leaking new information about the record over the past five months. First came the kickoff single "John Cougar, John Deere, John 3:16," which found Urban putting down the electric guitar and, instead, driving the tune forward with a bass-heavy groove. Next came the news that Nile Rodgers, award-winning guitarist and co-founder of the disco band Chic, was somehow involved in the project. The two recently performed together during Rodgers' FOLD Festival and are reportedly spending a good chunk of time in the recording studio, a potential indicator that Ripcord, like Fuse, widens Urban's sound far beyond his country roots.
Urban, who will perform with John Mellecamp at next week's CMA Awards, hasn't unveiled any further details for Ripcord. There's no release date, no tracklist and no official producer. Fans can look for future clues on the singer's Twitter account, though, where an October 24th post reading, "Ripcord - KU," effectively gave away the album's title before the official announcement.
Phil Collen, who has played guitar for Def Leppard since 1982, has written an autobiography with Chris Epting — Adrenalized: Life, Def Leppard, and Beyond — that's packed with juicy tales of his time with the band. The book has its frustrating elements: Collen spends time with both Diana Ross and Taylor Swift but doesn't have anything in particular to say about either of them. But the memoir also gives some inside dirt on Def Leppard, everyone's favorite nine-armed pop-metal superband. Here are 10 things we learned.
1. Collen is color-blind. The condition isn't an occupational hazard in his current life as a rock star, but it was a disadvantage in his first job working at a burglar-alarm factory, where he would solder wires incorrectly because he couldn't tell the colors apart.
2. The guitarist has always taken the glam aesthetic literally. When Def Leppard started, Collen was in a glam-rock band called Girl. The two groups were friendly, and at one Girl gig, Def Lep guitarist Steve Clark and Joe Elliott joined them onstage — that night, everyone ended up crashing at Elliott's mother's house. She was irate the next day, because she thought the lads had snuck some ladies into the bedroom: "Ohhhh! There was makeup in the bed this morning when I changed the sheets!" Elliott had to explain to her that it was just because of the excessive amounts of cosmetics worn by the members of Girl.
3. Hysteria producer Mutt Lange's aesthetic was anti-harmony, pro-scream. The Def Leppard mission statement, from genius producer Robert John "Mutt" Lange: "Def Leppard will be all about great pop songs that resonate with the punk ethos. We won't have lovely harmonies like Styx or Foreigner. Our vocals will be more like a screaming chant, which will set them apart."
4. MTV helped the Leps conquer Middle America. The band's early success was hugely dependent on geography: specifically, on whether your town had been wired for cable television. "Places that had cable TV had MTV, and places that had MTV had us all the time," Collen says. "By the time we came to town, we'd already become rock gods to these kids in places like Norman, Oklahoma, and Monroe, Louisiana, that didn't always have big bands rolling through."
5. Def Leppard had a lewdly named backstage pass reserved especially for eager groupies. Def Leppard were astonished to discover that American girls wanted to sleep with them, and would even fellate crew members to gain access. Collen says, "I was waiting for an elevator in a hotel. A really hot girl whom I had never seen in my life came up to me, pulled my pants down, and went down on me and didn't say a word. This type of stuff didn't happen before with total strangers." The band ultimately created a special backstage "boiler pass" for sexually eager fans: In the same style as the band's angular "Def Leppard" logo were the words "Dik Likker."
6. Rick Allen's tragic accident spawned an unlikely romance. The car accident that severed the left arm of drummer Rick Allen was horribly unlucky, of course. But in a weird stroke of good fortune, he was found by a nurse who happened to have a cooler of ice that she was taking to a party. A policeman followed soon after. The pair put Allen's severed arm in the ice and rushed him to the hospital — and the nurse and the policeman ended up getting married.
An operation to reattach the arm failed when it became infected, but Allen barely missed a beat. When the rest of the band nervously visited him in the hospital, he immediately launched into his plans for playing one-armed. Collen's initial reaction: "This poor kid, he must be so medicated that he actually thinks he's cool with all of this and that everything is going to be okay."
7. Lange stirred some country twang into "Pour Some Sugar on Me." By the time the band recorded "Pour Some Sugar on Me," the Hysteria album was two years late. Mutt Lange had gotten in a car accident of his own and was supervising the recording of the song from a hospital bed that he had imported into the studio. You've probably noticed the obvious hip-hop influences on the song, but that wasn't the only genre being mixed in with the sugar. Lange came up with the introductory guitar riff. "It actually sounded very country," Collen says. "When Mutt told me to try it, I was told my finger-picking sucked. He told me to play it the way I would play it. So I played it with a metal guitar pick, making a weird hard-rock/country hybrid."
8. The band were millions of dollars in debt when Hysteria came out. The Leps had always believed in frugality, preferring hotel vans to limousines. "Coming mostly from nothing," Collen writes, "we didn't want to waste anything." But one consequence of taking two years to make an album with Mutt Lange was that by the time Hysteria came out, the band had accumulated $4.5 million in debt, meaning they needed to sell over 5 million copies just to break even. It worked out: The album's been certified for 12 million in sales in the United States, and has sold about that much in the rest of the world as well.
9. Robert Plant once rode through Def Leppard's audience in a laundry basket. Touring behind Hysteria, Def Leppard played arenas in the round: That maximized the number of seats, but the arrangement made it difficult to get onto the stage when it was showtime. So the crew, using the same giant laundry baskets that they had loaded the opening band's equipment into when removing it from the stage, would hide the members of Def Leppard in the baskets and wheel them through the unsuspecting crowd. (Collen says the popular rumors of under-the-stage orgies are untrue.)
One night in Chicago, Robert Plant visited backstage — which would have been enough of a thrill for everyone in the band. But when "he heard about the way we got wheeled out there every night, he got all excited and asked if he could part of the clandestine operation that took place before the show." Plant, one of the most recognizable rock stars in the world, disguised himself with dark sunglasses, a bandana wrapped around his head, and a leather jacket. "I remember he looked a bit like a pirate," Collen writes.
10. The state-fair ain't all it's cracked up to be. Having more fame than record sales can feel undignified. "We were still valid and better than ever onstage, but we were playing these really shitty venues," Collen complains of the band's later years. Def Leppard "got into a bit of a rut playing state fairs."
Hank Williams Jr. has revealed the title, track list and release date of his first new album in four years. It's About Time, produced by Julian Raymond, who oversaw Glen Campbell's Ghost on the Canvas, will hit stores on January 15th.
Williams' first album for the Nash Icon label, his new recording home, features the lead single "Are You Ready for the Country," a duet with Eric Church. The pair will perform the song, written by Neil Young but made famous in country music by Waylon Jennings, to open the 49th CMA Awards on November 4th.
It's About Time also includes a version of Mel Tillis's "Mental Revenge," which artists from Jennings to the Flying Burrito Brothers have covered. Williams says it was that song that generated a buzz around Nashville about his new album, fueled by the word-of-mouth of the studio players.
"It started with the musicians. Right after 'Mental Revenge,' they started yakking in town: 'Man, he's on fire,'" Williams tells Rolling Stone Country, adding that artists began petitioning him to guest on the album. Along with Church, Justin Moore and Brantley Gilbert also appear on It's About Time, helping reprise the 1987 autobiographical swamper "Born to Boogie," with Brad Paisley on guitar. "[My manager] said, 'Everybody in the world is calling here wanting to sing on the album,'" recalls Williams. "It couldn't be any better."
"Buy Me a Boat" singer-songwriter Chris Janson co-wrote a pair of songs for the project, while Williams himself penned four tracks. But it's a cover of the Reverend Charlie Jackson spiritual "Wrapped Up, Tangled Up in Jesus (God's Got It)" that especially excites the son of Hank Williams.
"Wait until you hear it. It's seven and a half minutes of Thunderhead Hawkins," says Williams, referencing his blues alter-ego. "You know what [daughter] Holly [Williams] says, 'In his mind, Daddy is Thunderhead Hawkins.'"
While Williams has never shied away from grand statements — "I only deal in facts," he tells Rolling Stone Country emphatically, smoking a cigar — It's About Time, with its strong first single, guest stars and CMA Awards promotional push is poised to live up to the Bocephus hype.
"I'm what you call a motivated icon," says Williams, "and you got to watch out for a motivated icon, baby."
Here's the track list for It's About Time.
1. "Are You Ready for the Country" featuring Eric Church
2. "Club U.S.A."
3. "God Fearin' Man"
4. "Those Days Are Gone"
5. "Dress Like an Icon"
6. "God and Guns"
7. "Just Call Me Hank"
8. "Mental Revenge"
9. "It's About Time"
10. "The Party's On"
11. "Wrapped Up, Tangled Up in Jesus (God's Got It)"
12. "Born to Boogie" featuring Brantley Gilbert, Justin Moore and Brad Paisley
David Gilmour has released another video from his new album,Rattle That Lock, a harrowing black and white clip for "Faces of Stone" that mixes old film footage and shots of the guitarist performing the song in the studio.
The footage used follows a woman as she scavenges for stones on a beach and eventually walks into a nearby town. She finds her way to a dinner party, and though her presence is ostensibly obtrusive — at one point she drags herself across a table — she goes completely unnoticed. As another quintessentially heroic Gilmour guitar solo brings the song to its end, the woman tumbles back towards the beach as if all life beyond it is no longer accessible to her.
In a post on Facebook, Gilmour said "Faces of Stone" was written about a peculiar time in his life when he was surrounded by birth and death. "Towards the end of my mother's life, when she was suffering from dementia, there was a brief crossover period of about nine months, when she was alive and my daughter was newly born," Gilmour wrote. "This song is a musing on that time. Specifically it refers to a walk in the park where my mother was 'seeing' pictures, or 'faces of stone,' hanging in the trees."
"Faces of Stone" arrives in the wake of two other Rattle That Lock clips: The relatively straightforward "Today," in which the guitarist and his band prep for their upcoming tour, and the beautifully animated "The Girl In The Yellow Dress."
Rattle That Lock, released in September, marked Gilmour's first solo album since 2006's On an Island. It also arrived in the wake of Pink Floyd's final studio LP, 2014's The Endless River. Gilmour will begin his tour in South America this December; a North American leg will kick off March 24th, 2016 at the Hollywood Bowl in Los Angeles.
Built around a potent combination of dainty string plucks, booming bass and scattershot trap percussion, "Switch Up" finds R. Kelly in classic form vocally. His lyrics about dropping one flame for another at a whim are silly and bombastic, but his staccato flow is as infectious as ever as he traipses across a remarkably vast melodic range.
Jeremih manages to keep pace with Kellz with his own quick-tongued verse, while Lil Wayne, as is his wont, ends up on another planet entirely, spewing out a laundry list of lines that are equally goofy and grotesque.
"Switch Up" follows previous Buffet track, "Backyard Party," which recently received a cameo-filled video featuring Snoop Dogg and fellow Chicago native, Chance the Rapper.
The Buffet arrives November 20th, and marks R. Kelly's first album since 2013's Black Panties. In an interview with EW about the new record, the singer said he wrote 462 full songs for the album. "I wanted to be sure that I really nailed it to the point that when I started breaking it down to the 14, 15, 16 songs that go on the album that I had more than enough to choose from, and they would all be great choices," he said.
While Kelly's recent albums have been tied to a similar concept — Love Letter and Write Me Back's soul-indebted sound, Black Panties' hip-hop-oriented production — The Buffet, like its title suggests, will sample a wide array of musical genres, including a potential foray into country.
The follow-up to 2013's Fuse, Ripcord got off to a chart-topping start with its first single, "John Cougar, John Deere, John 3:16." Urban takes the tempo down and the emotion up with its second release, "Break on Me." And he's hinted that he'll crank up the guitars on a few more tracks, as he's been collaborating with lauded musician Nile Rodgers.
"We finally got together a few months ago and started writing in the studio," Urban tells Rolling Stone Country. "I've always just liked his guitar playing and it felt like we would click musically."
The feeling is mutual: "[Urban]'s scary; I didn't know he played guitar like that!" Rodgers recently told Yahoo! Music.
Rodgers, who co-wrote Daft Punk and Pharrell Williams' Grammy-winning "Get Lucky," has worked with artists ranging from Aretha Franklin and Diana Ross to Madonna and David Bowie.
Just days after releasing her fifth studio album, Storyteller, Carrie Underwood has been named the headliner of one of the world's largest celebrations — the New Year's Eve countdown from Times Square in New York City.
Underwood will be the star performer in the live telecast of Dick Clark's New Year's Rockin' Eve With Ryan Seacrest 2016, taking the stage just before the ball drops to announce the new year. In Times Square alone, Underwood's audience is expected to top one million people, while millions more could tune in worldwide.
"There's nowhere else I'd rather be than New York's Times Square, one of the most magical places in the world, to ring in the New Year," Underwood said in a press statement.
The telecast begins at 8:00 p.m. ET on December 31st, live on ABC, and will be hosted for the 10th year by Ryan Seacrest. He'll be joined in New York by Jenny McCarthy, while Fergie will host the pretaped West Coast party from Hollywood.
Meanwhile, Underwood appeared on Jimmy Kimmel Live! as musical guest Tuesday (October 27th), wearing a tasseled white dress and belting out her latest single, the foot-stomping "Smoke Break." (Watch the video below.) Playing acoustic guitar and singing with radio-ready tone in front of her eight-piece band, her performance was the latest in a string of promotional appearances for Storyteller. Yesterday, the entertainer announced dates for her in-the-round Storyteller Tour.
"There was a spirit and reverence they brought to it," Derek Trucks said in a recent interview, marking the one-year anniversary of his final performance with the Allman Brothers Band, at New York's Beacon Theater on October 28th, 2014. "I hoped it would be that way," the guitarist went on, "but I didn't know how it would turn out. People have a tendency — you let your ego get in the way of the big moments," he adds, laughing.
"That night everybody got out of the way," Trucks said, with gratitude and pride evident even over the phone from his home in Jacksonville, Florida. The group's suriving original members — singer-organist Gregg Allman, drummer Jaimoe and Derek's uncle, drummer Butch Trucks — "were all thinking about those first days in Jacksonville when they formed the band. I could see my uncle between sets — you could see the wheels turning. It was all in the right spirit. That night was one of the few times you got off stage and feel, 'That's how it was supposed to go down.'"
Trucks, 36, was speaking for a story, also featuring fellow Allmans guitarist Warren Haynes, in the current issue of Rolling Stone about their respective lives since the end of that band. Like Haynes, Trucks was talking between gigs — after an extensive summer tour with the Tedeschi Trucks Band, the R&B big band he co-leads with his wife, singer-guitarist Susan Tedeschi; on the verge of a TTB spectacular at the recent Lockn' Festival in Virginia, honoring the 45th anniversary of Joe Cocker's historic Mad Dogs & Englishmen tour; and a few weeks before TTB's own two-weekend run at the Beacon, now a fall tradition in New York City. The Tedeschi Trucks Band has also signed a new deal with Concord Records and completed their debut for the label, Let Me Get By, out early next year.
"I was watching that movie the other day," Trucks said of the Mad Dogs & Englishmen documentary, fimed on that 1970 tour. "It was kind of the end — maybe the peak, the remnants — of the hippie movement. They did all the drugs, had all the sex, all the fun," Trucks noted, with another laugh. "And it spun Cocker out for a bit. That tour wore his ass out."
So when does Trucks relax now, with so much on his itinerary, even without the Allmans?
"That's a good question," he replied cheerfully. "There'll probably be a few days off after the Beacon." He paused, as if catching his breath. "But then we gear up and head overseas. Mixing the new record, touring, playing — it's all work." But after the Allmans, Trucks concedes, "It's a different level of stress. It's lower most of the time."
Do you have more or less time off since the Allmans ended? In some ways, it's really close. There is so much going on. But the ability to focus has been really nice — just not having to think about that dynamic, changing hats musically. The Mad Dogs thing — that was a one-off. Outside of that, it's been nice between touring and working on the record, to keep that in your head at all times.
How would you characterize the new album?It's more adventurous sonically and in some of the places it goes musically. It's more of an extension of what we were doing with my solo group but evolved in a different group. I heard the record for the first time last night, with everything mixed, and I feel like I can see everybody — everybody's personality in the band — a lot more [laughs]. It feels like hanging on the tour bus.
Was there a point when you wondered if a band that size was economically feasible?The first few years, it was certainly touch and go. Me and Susan are pretty stubborn — musically, idealistically. "Whatever! It'll be fine." But there was defnitely a time when we really had to think about it. It was like going back a decade or so, the early days with the solo band, where everyone makes a living but you.
Did you and Susan have to take out a second mortgage, for instance, to keep the tour bus rolling?It was right on the edge. But it worked. The momentum for the group caught just in time. Another year or two in the same place — it might have been tough, with hard decisions. We just added a 12th member, and we went out this summer for the first time with our own PA and production. As it builds, you put that energy and cash back into it. You're feeding the beast.
When did you come to the conclusion — for yourself, Susan and your family — that it was time to leave the Allmans? You and Warren announced your departures together in January 2014, but he said it had a long gestation.When I was out playing with Eric Clapton in '06, that was the first time I sat down with the band and said, "This is going to be my last [Allmans] tour. I want to focus on my solo band." I was trying to find a way out that was comfortable with everybody, because it's family and friendships. Not that I felt leaving would slow the train down. But when the momentum is there, you don't want to rock the boat too much. I basically gave my notice a few times. And the family loyalty pulls you back in.
Me and Warren had talked quite a bit. He didn't want to reinvent the band again. So if I was going, he was gonna go too. That factored in to me hanging around. I didn't want to push him.
How much of your decision to go involved work load, like the time and energy that went into the Beacon residencies each year? And how much of it was about the room left to grow in the band? Honestly, for me, it was a lot more than that, especially since the band wasn't in the mode of writing tunes or interested in making records. I love that [classic] material as much as anyone on earth. But I knew you can only do it so many times and feel like you're making a statement. That's one of the reasons I put my Derek Trucks Band aside [in 2010]. It wasn't out of gas yet, but I could feel it coming. I could feel my interest waning.
Warren said that he felt there was half of a new Allmans studio album in the works, in terms of material he had and songs already in live rotation. The problem was getting it past the concept, to something concrete.A few of the guys just weren't into making records with the Allman Brothers. My uncle would always say, "This is a live band." He hated being in the studio. And I get that. But the Allman Brothers made some great studio records. To me, the one big missed opportunity with that [last] incarnation was not making another record. Hittin' the Note [released in 2003] was good, but there was a better record in there. Having a studio in my backyard where we could have easily recorded the band — between me and Warren, we would have crushed an Allman Brothers record. It only takes time. Get people down here, writing, focused. You have to be mentally into it. And it never came to pass.
"Between me and Warren, we would have crushed an Allman Brothers record."
What did you take away from your Allman Brothers experience that has influenced the way you and Susan run your band now?There were some things the Allmans did conceptually that were forward-thinking and high concept. Any of the music the band performed live — it was communal. It wasn't like because this guy's been here longer, he gets a different share. Those things, without a doubt, they did not have to do. It was very much in the spirit of the way the music was made.
Even when the Grammy Lifetime Achievement Award came up [in 2012], they insisted that me, Warren, [percussionist] Marc Quiñones and [bassist] Oteil Burbridge be included, which was an incredibly gracious thing to do. There's a way you think things should be, and there's a way the music industry does it. And they are pretty far apart. I've always been of that mindset — when you're writing tunes with people, there's a traditional way of chopping things up, and then there's the way that feels right. If people contribute, you hit 'em accordingly.
The other part I took away was the things you don't do — just the grudges and the saga with [original guitarist] Dickey Betts, the lack of communication at times. Susan and I have been really forward with our band. When things come up, you deal with them. However uncomfortable that is, let's have this discussion right now.
Why do you think you and Warren connected so profoundly, as soloists and partners, in your time with the Allmans? There was quite a gap in your ages.The first time I met Warren was when they were making Seven Turns, the [1990] reunion album. I was 9 or 10, down in south Florida playing this bar called Tropics International. Gregg, Warren and [then–Allmans bassist] Allen Woody came and sat in. I remember it because there was this great photo taken. The stage was above a bar, so there's all these liquor bottles at your feet. My grandparents hung that picture in their living room, but they put a piece of paper over the liquor bottles because they were super-conservative. I always thought that was funny.
Warren and I dove into the Allman Brothers gig at different times, but we both dove into it pretty hard and headfirst. There was so much love and respect for the Duane parts, the Dickey parts, the whole history. That was a pretty big book that we absorbed, and we lived it for awhile. He was there for several years before I joined; then I was there before he rejoined. But having known him since I was 9 or 10, there was enough respect and trust already. It took a few years for us to work through having both played the same role and having to relearn it. But once that settled in, it got really good. There were a handful of years where you didn't have to think about it at all.
When the Tedeschi Trucks Band does their fall Beacon weekends now, is that your way of keeping the Allmans spring residencies alive in your own way?It certainly is. It feels like home — and a new tradition. But it's firmly rooted in that [Allmans] time. You feel those moments and the way it resonates. And for me, the sixth-floor dressing room was where I was, always, for 15 years. My wife and son came up when he was seven days old. The kids have been in those dressing rooms since they were babies. It's a way to mark time — every time I come up to the Beacon dressing room.
With a CMA nomination for Vocal Duo of the Year and a Top 15 hit in "Stay a Little Longer," John and TJ Osborne, collectively known as Brothers Osborne, are gearing up for the release of their debut album. Titled Pawn Shop, the LP is set for release January 15th on the EMI Nashville label.
Featuring 11 tracks, all of which the Maryland-born siblings had a hand in co-writing (with heavyweight writers including Barry Dean, Craig Wiseman, Shane McAnally, Jessi Alexander and more), Pawn Shop is the Osbornes' bid to deliver music that they believe will have some staying power. The siblings produced the record with Jay Joyce (Eric Church).
"I think people are tired of the bullshit and are ready for the real substance," guitarist John Osborne told Rolling Stone Country earlier this year, after the pair's debut single "Rum" was released.
"We went through an era of big hit songs that no one is going to listen to 10 years from now," says lead vocalist T.J. "And we're about to hit a decade of country that I think is going to be played for a long time. It's about to hit the same stride it hit in the Nineties."
The blue-collar brothers, who previously toured with Darius Rucker, Little Big Town and Kacey Musgraves, among others, will be hitting the road with Jon Pardi as part of the All Time High Tour.
Here's the track list for Pawn Shop, along with songwriting credits: 1. "Dirt Rich" (Brothers Osborne, Barry Dean) 2. "21 Summer" (Brothers Osborne, Craig Wiseman) 3. "Stay a Little Longer" (Brothers Osborne, Shane McAnally) 4. "Pawn Shop" (Brothers Osborne, Sean McConnell) 5. "Rum" (Brothers Osborne, Barry Dean) 6. "Loving Me Back" (Brothers Osborne, Casey Beathard) 7. "American Crazy" (Brothers Osborne, Ross Copperman) 8. "Greener Pastures" (Brothers Osborne, Ryan Hurd and Maren Morris) 9. "Down Home" (Brothers Osborne, Jessi Alexander) 10. "Heart Shaped Locket" (TJ Osborne, Lisa Carver and Andi Zack) 11. "It Ain't My Fault" (Brothers Osborne, Jessi Alexander)
Earlier this week, Keith Urban fans began looking toward the future and the anticpicated release of the "Break on Me" singer's upcoming album, Ripcord. But beginning next month, a brand-new exhibit at the Country Music Hall of Fame and Museum will be all about looking back — "Keith Urban So Far" tracks the origins of the guitar player's phenomenal career.
Opening November 20th, the new exhibit will run through May 2016. The items on display will trace Urban's path to music superstardom and include his 1989 Fender Custom Shop 40th Anniversary Telecaster (dubbed "Clarence") and the Levinson Blade electric guitar that he played on the first of his 19 Number One hits, "But for the Grace of God."
Along with handwritten song manuscripts and other items culled from scrapbooks of his childhood and teen years in Australia, visitors will also see the shirt Urban donned for the cover of his self-titled 1999 debut LP.
"Keith Urban So Far" also emphasizes the philanthropic entertainer's passionate commitment to music education and the arts. Since 2009, he has co-hosted (with Vince Gill) the star-studded "All for the Hall" concert events in support of the Hall of Fame and Museum's education-based efforts.
Urban's upcoming LP Ripcord is the follow-up to 2013's Fuse and already has a hit with "John Cougar, John Deere, John 3:16," which recently became Urban's 34th Top 10 single.
Justin Bieber spent his Wednesday teasing fans with song titles from his forthcoming album, Purpose. On Wednesday afternoon, he began tweeting and sharing on Instagram the album's track list via photos of graffiti on walls located around the world.
The first one, "Mark My Words," was from Sydney, Australia. Track two, "I'll Show You," came by way of London. "What Do You Mean?" was from Stockholm, Sweden. The single, "Sorry," featured graffiti from Paris, France, while the fifth song, "Love Yourself," showcased a wall in Oslo, Norway. The sixth artful script, "Company," was taken in Berlin, Germany.
A photo posted by Justin Bieber (@justinbieber) on Oct 28, 2015 at 4:09pm PDT
The singer took a several-hour-break before resuming his song posts up, with art from North American cities. The album includes high-profile collaborators, including Big Sean on "No Pressure," Travi$ Scott on "No Sense," "The Feeling" with Halsey and "Where Are You Now" featuring Diplo and Skrillex of Jack Ü. Skrillex also serves as the co-producer of "Sorry" alongside Blood.
Purpose is Bieber's fourth LP and his first since 2012's Believe. He released Journals, a compilation of new songs in 2013. His new Kanye West-assisted album is out November 13th.
MODEL AMANDA CERNY BIOGRAPHY BIRTHDAY June 26, 1991 BIRTH PLACE Pennsylvania AGE 23 years old BIRTH SIGN Cancer ABOUT Fitness professional, television personality, and founder of Play Foundation who has a strong online presence on both YouTube and Vine. She reached 1 million Vine followers by July of 2014. BEFORE FAME She is a former Playboy Playmate of the Month for the month of October in 2011. TRIVIA She was a cover model for Health & Wellness magazine. FAMILY LIFE She was born in Pittsburgh and later moved to Los Angeles, California. ASSOCIATED WITH She has collaborated with Rudy Mancuso on Vine videos.
John Ono Lennon, MBE, born John Winston Lennon;, was an English musician, singer and songwriter who rose to worldwide fame as a founder member of the rock band the Beatles, the most commercially successful band in the history of popular music. Sir James Paul McCartney MBE is an English singer, multi-instrumentalist, and composer.
Elvis Aaron Presley was an American singer and actor. Regarded as one of the most significant cultural icons of the20th century, he is often referred to as “the King of Rock and Roll”, or simply, “the King”.
Brooke Shields (born May 31, 1965) is an American actress, model and former child star. Shields, initially a child model, gained critical acclaim for her leading role in Louis Malle’s controversial film Pretty Baby (1978), in which she played a child prostitute in New Orleans at the turn of the 20th century. Brooke Shields
