Dave Manson cancels all tour dates amid 'challenging' health concerns
Show Caption
Hide Caption
2025 Rock & Roll Hall of Fame inductees announced
The Rock & Roll Hall of Fame has announced its 2025 inductees, which include hip-hop pioneers Outkast and '80s icon Cyndi Lauper.
unbranded - Entertainment
Dave Mason is still dealing with serious health issues, leading him to cancel all tour dates this year.
The Rock and Roll Hall of Famer and founding member of '60s prog-rock band Traffic, announced on June 3 that he's still battling an infection he contracted in March.
'I'm incredibly grateful to my team of doctors − this has been challenging territory, to say the least,' Mason wrote on Instagram, adding his thanks to fans for their support. 'Your kind messages have lifted my spirits more than words can express.'
Mason, 79, ended his note, 'Recovery is a long road. My love for you all runs deep.'
The musician, who released his memoir 'Only You Know & I Know' last fall, postponed his 2024 tour after a serious heart condition was discovered during a routine medical checkup.
In March, he released 'A Shade of Blues,' his 21st album, featuring appearances by Michael McDonald and Joe Bonamassa, but a spring tour to support it was also shelved.
Mason's upcoming shows included a summer run with Kansas and 38 Special as well as solo dates through August. All tickets will be refunded automatically at point of sale.
Review: Heart returns to the road with feisty songs and a robust Ann Wilson
In addition to his guitar work with Traffic, Mason is regarded for playing with Jimi Hendrix, Paul McCartney and the Rolling Stones as well as writing the soulful 'Feelin' Alright?,' which Joe Cocker popularized with a finger-snapping version in 1969. Mason's solo work includes the 1977 hit ballad 'We Just Disagree.'
Through the years, Mason battled addiction and endured bankruptcy, but told USA TODAY last year that he's tried to stay active and healthy.
'I eat, I sleep, I play. That's basically my life,' he said. 'Everything is great, other than just getting a little bit older.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
7 hours ago
- Yahoo
Staff Picks: A historical fiction podcast, and a drummer gone too soon
This week in Staff Picks, TV Editor Tim Lowery lauds The Ponys' Nathan Jerde and Staff Writer William Hughes goes along for the ride when Mike Duncan's Revolutions swerves into fiction. Tim Lowery: The Ponys' Nathan Jerde One of my favorite drummers to watch back in the day—and by that, I specifically mean 2007 to 2010—was Nathan Jerde of The Ponys. Jerde passed away in May, prompting a few texts with friends and a lot of memories from that period in my life, of seeing the Chicago garage-rock outfit play that city's best venue, the Empty Bottle, on Halloween, all dressed as pro wrestlers (and surrounded by bright tape fashioned to look like the ropes of a ring); hit a big stage on a lovely summer day at the Pitchfork Music Festival in Union Park (following Deerhunter, if I'm not mistaken); and then perform in Brooklyn shortly after I had moved to there and was and feeling a tad homesick. Jerde had a way of keeping his head down a lot as he played, popping it up, his hair slicked with sweat, every so often—during less busy or fill-heavy parts, say, or when the band was kicking into a new song. He always looked in the zone and was one of those drummers from that era (like The Walkmen's Matt Barrick) that was just so infectious and fun to witness, the kind that made you want to give the instrument a go. He was also a key, propulsive ingredient to a truly great band that also included frontman-guitarist Jered Gummere, bassist Melissa Elias, and guitarist Ian Adams (who was replaced by Brian Case, the future leader of Disappears, when he left). The Ponys came out with some killer seven inches and three LPs: Laced With Romance, the most exciting sounding and punchy of the bunch; Celebration Castle, an occasionally moodier but still frenetic release that was recorded by Steve Albini in four days; and Turn The Lights Out, which marked the band's move from the fantastic garage-rock label In The Red to indie stalwart Matador and feels a bit wider in scope, with a few new tricks thrown in. Honestly, if you don't know this band and would like to hear what made their alchemy special, just play these records all the way through. But if I had to pick a track from each album that highlights Jerde's skills, I'd go with (in chronological order): 'Little Friends' (those snare hits!), 'Shadow Box' (those returns to the hi-hat!), 'Small Talk' (that beat that helps keep a four-minute-plus song that's only three chords from ever getting boring!). But my favorite drumming from him—and my favorite Ponys song, period—isn't on any of their LPs: 'I Wanna Fuck You' (the narrative is sweeter than the title implies), which you can listen to above. I love the drum fills on this track—and go back to it often. In May, the outfit wrote the following to break the sad news: 'Nathan was an amazing drummer and possessed savant-like art skills. Nathan loved goofing around and had the sweetest of hearts. We traveled the world together. We ate amazing meals together and we met lifelong friends together. We fought like brothers sometimes, but we had so much fucking fun together. Nathan, we will miss you so much!' R.I.P. William Hughes: Mike Duncan's 'The Martian Revolution' I'll confess to being extremely skeptical when Mike Duncan—creator, writer, and star of my favorite history podcast, Revolutions—announced that he was taking the show into the world of speculative fiction. After all, part of what I love about Duncan's work is the way he blends the relatable and the reliable; he'd be the first to encourage his listeners to check their own sources, and draw their own conclusions, about the tumultuous, highly contested arcs of history that he covers in long-form, entertaining, only occasionally depressing detail. (Ranging from the English Revolution of the 1640s through the Russian Revolution of the 20th century; if you, like me, were only familiar with the French Revolution as a series of cultural signifiers—or of the Haitian Revolution as a name and not much else—you could have much worse primers than Duncan's highly approachable, meticulously researched prose.) I trust Duncan, as both a historian and a storyteller. Hearing that he was taking the show into the realm of fiction, with a season covering a fictitious political revolution on Mars, though? It worried me enough that I spent months putting the new season of the show off. So it is with the zeal of the fresh convert that I arrive here to tell you Duncan's 'The Martian Revolution'—which he has now completed, having delivered it serially from October of last year up through this recent June—is some of my favorite 'historical' fiction I've imbibed in some time. Drawing on years of researching the ways humanity tends to blow up its own political orders—and, perhaps, pulling from just a smidge of other influences—Duncan crafts a story about distant colonists going into revolt against an oppressive Earth regime that feels genuinely authentic to the currents of history. (Also: Exciting, funny, and sad. Pour one out for Mabel Dore.) Once I got over my reservations and began to binge, I got caught up on 'The Martian Revolution' quickly—and then got to enjoy each week of cliffhangers as Duncan, surprisingly great at delivering a deadpan, slightly fictionalized version of his regular authorial voice, spooled out his story with the same attention to detail he'd previously devoted to actual facts. It's kind of shocking how easy the show was to accept as semi-fact, even discounting occasional meta flourishes. (Duncan is quick to handwave that his entire narrative hinges on Mars producing a scientifically insane super-fuel that makes its continual mining absolutely vital to human society—just one of many ways the show adapts well-observed historical forces to the stars.) And the whole thing is shot through with the same slightly weary irony that has made Revolutions regular listening for me for years: An acknowledgement that we do these things to ourselves—and likely will continue to, from now into the far future. More from A.V. Club The biggest news (so far) from San Diego Comic-Con 2025 What's on TV this week—Chief Of War and Eyes Of Wakanda R.I.P. Tom Lehrer, mathematician and musical satirist Solve the daily Crossword
Yahoo
12 hours ago
- Yahoo
Natasha Lyonne talks flirting with the Thing in 'Fantastic Four': 'It's kinky'
The actress reveals things aren't that serious between her and Ben Grimm, adding, "I'm also seeing four other rocks, you should know, at this time." Natasha Lyonne says flirting with Ben Grimm/the Thing in Fantastic Four: The First Steps was anything but a rocky experience. The actress, who stars as the Thing's love interest Rachel Rozman in the Marvel film, tells Entertainment Weekly that sparks were genuinely flying between her and Ebon Moss-Bachrach's craggy character. 'Oh gosh. Really kinda wild,' Lyonne confesses of flirting with the solid superhero while visiting Entertainment Weekly's video studio for The Bad Guys 2. 'Ebon and I have known each other for a long time, but, well, it's kinky. I'll be honest.' She continues, "Yes. Super specific. But I just love him so much, I mean, he's such a good actor. We've known each other for a very long time, too, so it was very special to be a part of that."Rachel, a schoolteacher, and Ben, a cosmically altered rockman, have their own mini meet-cute in The First Steps when she encounters him playing with one of her students. Despite the pair hitting it off, Ben keeps his distance from Rachel out of fear of being rejected, but ultimately seeks her out at a local synagogue in the end. Lyonne, however, insists that the pair isn't that serious. "By the way, I'm also seeing four other rocks, you should know, at this time," she teases. "I won't name names." But, before anyone gets any ideas, Dwayne "the Rock" Johnson is not one of them. "Not the Rock!" she quickly clarifies. "I'm so sorry, I just don't want it to get tangled up." There may still be hope for Rachel and Ben's blooming romance — after all, the Fantastic Four are set to appear in Avengers: Doomsday, and if First Steps taught us anything, it's that the end of the world has a way of bringing people together. Check out more of . Read the original article on Entertainment Weekly Solve the daily Crossword
San Francisco Chronicle
18 hours ago
- San Francisco Chronicle
‘It's a big deal': Grahame Lesh readies for S.F.'s Grateful Dead 60th anniversary celebration
Grahame Lesh had a front row seat to one of the country's most cherished jam bands as a kid. Now, he's helping to carry forward its legacy. The son of Grateful Dead founding bassist Phil Lesh, the 38-year-old grew up immersed in the music and culture of the Bay Area band. Though he was only 8 years old when its founding guitarist Jerry Garcia died of a heart attack in 1995, he learned much of the music by watching his father perform in the spinoff group Phil Lesh & Friends, which was formed in 1998 and featured a rotating cast of musicians inspired by the Dead. Lesh even jammed with his father on several occasions. When the Rock & Roll Hall of Fame inductee died in October at 84, Lesh made it his mission to continue honoring his father's legacy through his own career. He plans to do so with the Heart of Town, a three-night concert series at San Francisco's Pier 48 that will be part of the electric city-wide celebration of the Grateful Dead's 60th anniversary year. Scheduled for July 31-Aug. 2, the guitarist and his band Grahame Lesh & Friends will honor the influential band, which was founded in the 1960s and became emblematic of the era's counterculture movement, with an array of special musical guests. 'It just seems that the entire world of Grateful Dead fans are going to descend on the city,' Lesh said, describing the weekend as 'a celebration of the entire city and the music that came from San Francisco, especially in the '60s.' The Heart of Town's kickoff show is slated to begin at 8 p.m., but the Aug. 1-2 shows, which overlap with Dead & Company's sold-out three-show run, will begin at 11 p.m. to allow Deadheads to attend both concerts without being too crunched for time. Lesh spoke with the Chronicle a few weeks before kicking off the Heart of Town shows. This interview has been edited for length and clarity. Q: What inspired the Heart of Town run of shows? A: It's the 60th, it's a big deal … It really just seemed perfect to try and gather as many musicians that have been inspired by the Grateful Dead, because there's countless of them, including myself. A: I've lived in the Bay Area my whole life, in Marin and in San Francisco, so it's not unfamiliar to me what the community is like. … I run into Deadheads everywhere, and my dad would as well. It's very cool to give everyone in the community, and the familiar faces that I'm going to see, a place, basically the whole city, to go and celebrate the music and the community that we all love. Q: Is there a particular memory you have growing up around the Dead that really sticks with you as a musician today? A: I was younger when it was the actual Grateful Dead, so I kind of learned this music when my dad started Phil Lesh & Friends a few years later. … The breadth of musicians that came through is very memorable to me, and I really learned and have memories from them that are maybe even stronger than my memories of the Grateful Dead. But every time my dad and Bob and Mickey and Billy would get back together and do something as the Dead or as the Other Ones, it was always really special. They all harkened back to the long history they had since they were in their teens and 20s. It's kind of crazy how far back the music goes and reaches deep into the roots of American music that predate even them. My brother and I grew up in this whole community and it's going to outlive us all too. Q: What is the most helpful piece of advice you received during that experience? A: My dad would talk a lot about the way they approached the music. But the takeaway generally was just that they always did what felt right, and they pursued what they wanted, what they thought sounded good, what they thought was fun, what they thought was right for each song in each moment. That sort of freedom is definitely what I try to bring to every time I approach the music. Q: What does it feel like to be carrying forward your father's legacy with these upcoming San Francisco shows? A: It's been nine months or so since he passed, so it's all still relatively fresh. It's all very special. I was lucky enough to play with him in San Francisco, especially in the last five or so years, kind of a lot. The Grateful Dead is kind of just the ultimate American music to me and to a lot of people. It's always very special to be a part of that.
