Again.

Hey — some people don’t get it right the first time.

So, these masked men of rock ‘n’ roll mayhem have hit the road with their second farewell trek, dubbed the End of the Road World Tour.

It’s a mammoth road show that has already stretched more than four years (minus the COVID shutdown, of course) and looks to finish up in December.

Along the way, the band is set to play Acrisure Arena at Greater Palm Springs on Nov. 1 and the Hollywood Bowl on Nov. 3, which will be the final KISS shows ever played in California.

Well, at least until the band adds more dates or announces a third farewell tour.

After all, pretty much nothing is off the table when it comes to KISS and making money.

To commemorate these closing shows of this long goodbye, we decided to take a look back in KISStory at some of the big moments in the band’s Rock and Roll Hall of Fame career.

Since the band is (allegedly) wrapping up its storied, groundbreaking career in 2023, here are 23 KISS milestones, ranging from landmark album releases to a performance witnessed by billions.

1. First KISS

Bassist Gene Simmons, vocalist-guitarist Paul Stanley, guitarist Ace Frehley and drummer Peter Criss perform the first-ever KISS show on Jan. 30, 1973. A crowd of roughly 10 people witness the gig at a small club called Popcorn in Queens.

2. Debut album

The band’s eponymous debut hits shelves on Feb. 18, 1974, offering up such key cuts as “Strutter,” “Deuce” and “Black Diamond.” It didn’t make much of a mark out of the gate, initially selling only 75,000 copies, but was finally certified gold a little over 3 years later.

3. “All Nite” long

KISS finds its signature song with the release of “Rock and Roll All Nite” from their third album, 1975’s “Dressed to Kill.” The hit is released as a single on April 2, 1975. Nearly a half century later, it’s still a tune that KISS turns to for nearly every  encore.

4. KISS comes ‘Alive!’

Although KISS’ studio albums continue to struggle on the charts, the band’s fortunes change dramatically with the release of “Alive!” on Sept. 10, 1975. The live double album proves to be the breakthrough hit that sets the band up for everything to come.

5. Slowing it down

It’s a bit ironic that a band that loves to “Rock and Roll All Nite” and “Shout It Loud” scores its biggest hit with the ballad “Beth,” released on the “Destroyer” album on March 15, 1976.

6. A different fantastic four

The band gets its own comic when A Marvel Comics Super Special!: KISS is released on June 30, 1977. The four musicians do more than just star in the comic — they also add their own blood to the ink at the printing press.

7. Alive, too

The band returns to the well that has served them so nicely and releases arguably its most powerful album — “Alive II” — on Oct. 14, 1977, a two-LP offering recorded mainly during a run of shows earlier in the year at the Forum in Inglewood.

8. Going solo (kinda)

All four members release eponymous solo albums on Sept. 18, 1978. None of the four reach the top 20 on the album charts, yet all of them still go platinum.

9. ‘Phantom’ menace

The feature-length TV film, “KISS Meets the Phantom of the Park,” is aired by NBC on Oct. 28, 1978. The movie — filmed mainly at Six Flags Magic Mountain in Valencia — is widely panned, especially by the band. Simmons reportedly once compared it to Ed Wood’s cult classic, “Plan 9 from Outer Space.”

10. Disco inferno

Hard-rocking KISS fans cringe a bit when the disco-happy “I Was Made for Lovin’ You” is released on the “Dynasty” album on May 23, 1979. Everybody else just dances and sings along to what is surely one of the best KISS songs of all time.

11. Criss to Carr

Original drummer Criss leaves the band not long after “Unmasked” is released on May 20, 1980. Eric Carr quickly takes over on the kit, making his concert debut with the band on July 25, 1980.

12. The big reveal

Known at least as much for their makeup as their music, the KISS guys finally show their faces on MTV on Sept. 18, 1983. Once the novelty fades, basically everyone agrees that they like the band better in makeup.

13. Wait .. who?

Released as a single on Jan. 5, 1990, the power ballad “Forever” becomes the band’s second top 10 hit (after “Beth”). Stanley co-wrote the song with — get ready for this — Michael Bolton.

14. R.I.P. Carr

The amazingly talented drummer dies from heart cancer at age 41 on Nov. 24, 1991.

15. The big four

The original members of KISS embark on a reunion tour on June 28, 1996 in Detroit. (And, equally important, they are all back in makeup!) The trek — which marks the first tour with Frehley and Criss since 1979’s Dynasty Tour — is a massive success.

16. Goodbye (take 1)

The group launches its first farewell tour on March 11, 2000 in Phoenix. By late 2002, however, KISS announces that the retirement is, um, well, not really happening. (Sorry about that!)

17. Gold medal performance

In a move that probably only Gene and Paul would have predicted, KISS is chosen to perform during the closing ceremony of the Salt Lake City Winter Olympic Games on Feb. 24, 2002. The band’s high-octane take on “Rock and Roll All Nite” is seen by some three billion TV viewers.

18. Thayer on guitar

Guitarist Tommy Thayer fills in for Frehley and makes his live KISS debut during a private concert in Jamaica on March 6, 2002. Not long after, he officially gets the gig as the band’s lead guitarist.

19. Super ‘Sonic’

After more than a decade without putting out a new studio album, KISS finally releases No. 10 — “Sonic Boom” — on Oct. 6, 2009. The album reaches No. 2 on the Billboard 200, making it the highest charting effort of the band’s career.

20. Rock Hall

After years of eligibility and countless cries from KISS Army, the band’s original lineup — Simmons, Stanley, Criss and Frehley — is finally (and rightfully) inducted into the Rock and Roll Hall of Fame during a ceremony on April 10, 2014 at Barclays Center in Brooklyn, New York.

21. It’s a long Road

The band launches its mammoth End of the Road World Tour on Jan. 31, 2019 at Rogers Arena in Vancouver, Canada. More than four years later, it’s still going.

22. Going to California

Fans from around the Golden State and beyond will gather at the legendary Hollywood Bowl on Nov. 3 for what is increasingly looking like the final KISS show in California.

23. If you can make it there

A little less than a month after the Hollywood date, KISS is set to bring its End of the Road World Tour to a conclusion with two shows (Dec. 1-2) at Madison Square Garden in New York.

Note: Sources include kissonline.com.

Thus, after fashioning some of the greatest acoustic jazz recordings of all time in the ’50s and ’60s, the great trumpeter “plugged in” with 1969’s “In a Silent Way.”

The result is widely considered the start of the jazz master’s “electric period,” which continued on to include such progressive jazz-rock-funk fusion outings as 1971’s “Jack Johnson” (also known as “A Tribute to Jack Johnson”) and 1972’s “On the Corner.”

Those three highly influential albums, as well as the equally significant 1970’s “Bitches Brew,” 1971’s “Live-Evil,” 1974’s “Big Fun” and “Get Up With It,”  are featured in the amazing new vinyl box set “Miles Davis: The Electric Years.”

The 11-LP set comes from the audio powerhouse Vinyl Me, Please, so you know the records are going to sound great — mastered in high-quality AAA fashion (using the original tapes) and served up on 180-gram black vinyl.

Beyond the platters, the set also includes a 24-page booklet complete with pictures as well as listening notes written by jazz critic-historian Ben Ratliff.

It’s a pricey set, but also one that any die-hard Miles Davis fan would likely be thrilled to get.

Cost is $349-$399, vinylmeplease.com.

Yet, she’s done so in a way that is different than ever before, delivering fans a career-spanning major theatrical release that ranks as nothing less than one of the greatest concert films ever made.

The Sam Wrench-directed offering — which hit theaters this week and is expected to quickly set box office records as the top-grossing concert movie of all time — succeeds in numerous ways, magnifying the strengths of the blockbuster tour of the same name as it nicely translates the experience from cavernous football stadiums to movie houses.

That’s not easy to do, but it certainly helps when the film crew is drawing from stellar source material — and “The Eras Tour” is indeed nothing short of brilliant. Yet, there’s more to it than that, given that the tour is designed in a way that makes sense for filming.

As the tour’s name implies, the production is organized by different eras (or, more specifically, albums) in Swift’s career, with the singer performing a batch of material from one album before moving onto the next disc. Each of these segments unfold onstage like individual chapters, with the star embracing different thematic stage settings/wardrobes/special effects that correspond to the specific albums. There are nine chapters in all — well, 10, if you count the “surprise songs” segment.

On film, even more so than during the actual live show, these different chapters really break up the action into easily digestible pieces. You never have time to get tired of what you’re watching, because the next adventure awaits just around the corner.

That’s incredibly important for a film that runs right around 2 hours and 50 minutes. Granted, that run time is still a good 40 minutes less what I witnessed during the first night of the Eras Tour stop at Levi’s Stadium in Santa Clara back in July.

But it’s an enormous amount of time for pretty much any concert film not named “Woodstock” and is roughly twice the length of the Talking Heads’ “Stop Making Sense,” the highly acclaimed rock doc from 1984 that recently found its way back to theaters.

Yet, amazingly, “The Eras Tour” doesn’t feel overly long at all. Indeed, there will certainly be some Swifties who will complain about what was edited out of the show to get it under the 3-hour mark. And I can’t be the only one who wishes Swift would have included one more Era in the mix and spotlighted her self-titled debut. (The movie does, however, include the first album’s “Our Song” in the “Surprise” song segment.)

Swift’s greatest strength — of many — is her ability to connect with the crowd. In 30 years of writing about concerts, I’ve never seen anybody do it better. She does it with big pop production numbers, which get everybody dancing and singing along at top volume, and she does it even more convincingly with the most basic of body language, captivating crowds of 50,000-plus with the wink of an eye or a sideways glance.

Wrench focuses the film on capturing that amazing trait, never letting the special effects, dance routines or other big production elements crowd out Swift’s sheer charisma. He’s always directing us back to her megawatt smile, overwhelming sense of joy onstage and connection with fans.

Wrench also eschews such frequent concert movie staples as backstage scenes or interviews with musicians, fans etc. The film sticks to the concert performance.

That’s a very wise and decision, since it must have been tempting to let the magnitude of the occasion — the film is drawn from multiple sold-out nights at the massive SoFi Stadium in Los Angeles — really dictate the direction. Yet, this film manages to feel very intimate, even in the midst of tens of thousands of people gathered together in the second largest city in the United States to witness one of the biggest pop stars of all time.

Swift’s performances are simply magnetic, as she waltzes back through her 17-year recording career, stopping here and there to perform some of the very greatest songs of the 21st century. It’s simply can’t-miss viewing for all Swifties.

Of course, the hallmark of any great concert film is its ability to appeal to non-fans. And I think the movie definitely checks that box as well.

“Taylor Swift: The Eras Tour” is really for anybody who wants to not only experience but also more fully understand and appreciate an incredible artist who is accomplishing things that so few have ever done before.

Concert film setlist(“Lover”)1. “Miss Americana & the Heartbreak Prince”2. “Cruel Summer”3. “The Man”4. “You Need to Calm Down”5. “Lover”(“Fearless”)6. “Fearless”7. “You Belong With Me”8. “Love Story”(“Evermore”)9. “Willow”10. “Marjorie”11. “Champagne Problems”12. “Tolerate It”(“Reputation”)13. “…Ready for It?”14. “Delicate”15. “Don’t Blame Me”16. “Look What You Made Me Do”(“Speak Now”)17. “Enchanted”(“Red”)18. “22″19. “We Are Never Ever Getting Back Together”20. “I Knew You Were Trouble”21. “All Too Well (10 Minute Version)”(“Folklore”)22. “The 1”23. “Betty”24. “The Last Great American Dynasty”25. “August”26. “Illicit Affairs”27. “My Tears Ricochet”(“1989”)28. “Style”29. “Blank Space”30. “Shake It Off”31. “Wildest Dreams”32. “Bad Blood”(Surprise songs)33. “Our Song”34. “You’re on Your Own, Kid”(“Midnights”)35. “Lavender Haze”36. “Anti-Hero”37. “Midnight Rain”38. “Vigilante Shit”39. “Bejeweled”40. “Mastermind”41. “Karma”

On one hand, fright fans witnessed the release of one of the most thrilling horror films in years.

On the other hand, viewers got a bunch of sequels — including a goodly number worth watching — as well as some fairly fresh takes on old ideas.

And on yet the other hand — since we are taking horror here and monsters can have as many hands/claws as they want — there was a seemingly never-ending parade of (at best) macabre mediocrity and (more often than not) horribly bad films.

I’ve combed through a huge number of these flicks and have come up with a list of some of the top horror releases from 2023.

The timing, of course, is pegged to the Halloween season, when even non-horror fans seem to like a good jump scare or two.

All 10 of my picks were released widely in 2023, although some may have premiered earlier, most likely at film festivals.

So, try mixing some of these new offerings in with your old favorites (“Texas Chainsaw Massacre,” “Let the Right One In,” “Zoltan Hound of Dracula,” etc.) during your own scary movie marathons in the days and nights leading up to Halloween.

I limited my picks to ones that are all available to stream/rent/download, which means some of the more recently released gems won’t be found here. Also, the picks are ranked from (very, very) best to, yeah, possibly still worth your time if you don’t have any other plans.

1. “Talk to Me”

I simply can’t get enough of this low budget Australian horror film, having already seen it a record (for me) five times in theaters and looking forward to even more viewings via streaming in the near future.

Obviously, I’m not alone, as “Talk to Me” — which premiered at the Adelaide Film Festival in October 2022 — has been a surprise hit at the box office.

Everything about this film works – from the writing and acting to the special effects and convincing scares – in this tale of a group of teenagers who find they can contact the dead with the use of a freaky embalmed hand.

The result is more than just the finest horror film of 2023. It’s simply one of the best horror movies of all time.

2. “M3GAN”

Although the film premiered back in December 2022 (obviously for Oscar consideration purposes), it wasn’t released theatrically until early January and, thus, is fair game for this list.

“M3GAN” is a wonderful update on the “Chucky” premise, as a child in need of a forever friend is given an extraordinary doll with a taste for blood. Only this time around, the resulting killing spree can’t be credited to a serial killer who has transferred his soul (via voodoo, of course) into a doll, but rather must be blamed on faulty programming.

So 2023, right?

The film is fun, clever and menacing, with a killer doll who already seems to have achieved icon status. Further following in Chucky’s footsteps, M3GAN seems destined to be a highly successful horror movie franchise.

3. Meg 2: The Trench

Nobody beats up sharks — especially deadly prehistoric sharks that are roughly the size of 18-wheelers — quite like Jason Statham.

And he’s back at it again in this sequel that’s even better than the original model from 2018. OK, maybe it’s not technically better — in terms of quality writing, fine acting and all those other things that aren’t all that important in a film like this. But it’s certainly more fun — and way more over the top — and that translates to a shark tale that is very worth your time this Halloween season.

4. “Viking Wolf”

The title is reminiscent of one of those goofy Syfy channel numbers — like “Ghost Shark” or “Ice Spiders” — where you spend more time scoffing at the special effects than actually being afraid.

Yet, “Viking Wolf” is anything but a laughing matter. Instead, this Norwegian horror film — which was released on Netflix in early 2023 — ranks as one of the most chilling werewolf epics to come around in years.

The story kicks off more than a thousand years in the past, when Vikings discover a wolf cub during a raid in Normandy. They decide to take the cub with them back to Norway — a decision that proves costly for generations to come.

The feature grows increasingly intense as the rest of the tale unfolds, doubling down on cool creature moments and big scares. Yet, “Viking Wolf” is also a film with a ton of heart — which is what’s really likely to stick with viewers long after the end credits roll.

5. “The Boogeyman”

The film is wonderfully unsettling, slowly building a nightmare scenario that feels both surreal and right around the corner. It’s based on a 1973 Stephen King short story of the same name. And when it comes to the wildly varying quality of King adaptations, “Boogeyman” is closer to “It’ than “Dreamcatcher.”

It’s not, however, recommended late-night viewing for all parties, given that the film might leave you questioning whether you’re actually hearing something moving in your bedroom closet as you turn off the light and rethinking whether you need to check under the bed just one more time.

I actually got a bit of the shivers just from writing that last paragraph, which further underscores the effectiveness of this Rob Savage-directed supernatural horror flick addressing the thing “that comes for your kids when you’re not paying attention.”

6. “The Blackening”

I tend to steer clear of the intentionally funny horror-movie lampoons — including most of the “Scary Movie” flicks — preferring instead to get laughs from horror films that aren’t trying to be funny. That’s why “Children of the Corn III: Urban Harvest” is by far my favorite in that franchise.

Yet, this lampoon, specifically skewering how Blacks have long been portrayed in horror films, is a definite keeper. The film, which tells of a reunion of friends for a Juneteenth getaway in a cabin the woods, is smart, funny, well-acted and produces more legitimate scares than one typically gets in these types of horror lampoons.

7. “Evil Dead Rise”

I’m part of the camp that will always have a hard time with any “Evil Dead” film that doesn’t star the great Bruce Campbell. Yet, I still enjoyed this latest chapter in the seemingly never-ending tale of the dastardly Deadites.

It’s a wholly intense film, which gets off to a incredibly strong start and then just continues to ratchet up the menace, blood and gore as we move from a lakeside cabin to the home of what’s about to be a very unhappy family.

Ellie, the possessed mom played by Alyssa Sutherland, is nothing short of the stuff of nightmares.

8. “Cocaine Bear”

“Barbie” and “Oppenheimer” were quite likely the only films in 2023 to scare up more advance buzz than “Cocaine Bear,” which brought the Internet to its knees with its amazing coming attractions trailer.

The Elizabeth Banks-directed film then lived up to its advance hype, offering up equal amounts of ludicrous humor and horror as it tells the story of a forest creature who is certainly willing to fight for its right to party.

It’s worth seeing for many reasons, not the least of which being the chance to witness the late great Ray Liotta — in one of his last performances — do what only Ray Liotta could.

9. “Renfield”

There’s something to be said about having low expectations, which is exactly what I had after watching just a few seconds of Nicholas Cage overact (yet again) in the trailer for this film. Yet, I try to be somewhat of a horror completist, and I had a few hours to kill in Los Angeles before going to see Phish at the Hollywood Bowl, so I plopped down the money for a matinee screening.

It turned out to be a very good idea, given that the Chris McKay-directed film is a really fun action/horror/comedies. Nicholas Hoult is superb in the title role, playing a supernaturally powerful servant to Dracula who is looking to make a career change. And, yes, Cage overacts in the role of Dracula – but in all the right ways.

10. “Scream VI”

Did we need another “Scream” movie? Absolutely not. But I’m still glad we got one as fun as this sixth installment, which now finds Ghostface terrorizing folks in New York City. Most of the main characters from the classic run of “Scream” films are now gone, except for unstoppable talk show host Gale Weathers (played by Courteney Cox), but the new crew — introduced in the previous “Scream” flick — and some old friends help move the story forward in a way that does justice to Wes Craven and Kevin Williamson’s creation.

The big screen.

The 1984 Jonathan Demme-directed masterpiece, which many consider to be the greatest concert film of all time, opens in IMAX theaters on Sept. 22. One week later, on Sept. 29, distribution widens to include other theaters across the country.

In either format, the film — starring Rock and Roll Hall of Famers the Talking Heads at the very height of their powers — will be a great treat for rock fans. Yet, having had the chance to catch this new 4K IMAX restoration of the film during a special event screening earlier in the month, we implore music lovers to try to catch “Stop Making Sense” on the big, big screen.

Seeing Talking Heads front man David Byrne tower over you on the IMAX screen, as he moves and shakes his way through such great songs as “Girlfriend Is Better” and “Crosseyed and Painless,” just underscores his uniqueness as a performer in ways that watching the film on your phone or tablet could never do.

The guy was simply a force of nature at that point in his career, whirling about the stage with equal amounts of ideas and energy. It’s hard to take your eyes off him, whether he’s grooving solo next to a boom box or rocking out on a stage filled with other talented musicians. And once he dons his famed “big suit” then the party is really on.

Don’t be surprised if the audience breaks out in applause after many of the numbers — as they did during the screening we saw. And definitely don’t be surprised if you decide to embark on a Talking Heads listening binge after seeing the movie, diving even deeper into the wonderful music of Byrne, drummer Chris Frantz, guitarist-keyboardist Jerry Harrison and bassist Tina Weymouth.

The multiplatinum superstar is out on the road in support of her seventh studio album, 2022’s “Renaissance,” which is her first full-length solo outing since 2016’s “Lemonade.”

As she makes her way across the country, we’re offering up a little something we’re calling “Beyonce by the Numbers.”

It’s a stats-and-figures-based look at the career of this amazing entertainer, who, in basically every category imaginable, ranks among the most popular music superstars of all time. We’ll also dish up some details about the current tour.

Here we go!

2.1 billion

That’s as in dollar, folks. Yes, the Renaissance World Tour could reportedly bring in about $2.1 billion in ticket sales, according to a Forbes article. That would make it the top-grossing road show of all time — some $500 million more than the trek that currently sits at the No. 1 spot, Taylor Swift’s Eras Tour.

200 million

Beyonce has sold more than 200 million albums during her career, which squarely places her among the best-selling music artists of all time.

60 million

Prior to launching her solo recording career, Beyonce was part of the amazing group Destiny’s Child. That great vocal outfit was also a smash hit, selling some 60 millions albums over the years.

700

How does generate the top-grossing tour of all time? Well, a good start is by charging as much as $700 for tickets, which is reportedly what some fans are paying to see Beyonce this time around. (Currently, prices on Ticketmaster are listed as $171-$601, subject to change.)

88

The star led the field with nine nominations at the 65th annual Grammy Awards in February, pushing her career total to 88. The latter figure tied the all-time record for nominations with, appropriately enough, Beyonce’s husband, Jay-Z.

32

With her four victories at the 2023 show, Beyonce passed Georg Solti for having the most Grammy wins in history. The singer now has 32 Grammys, compared to the Hungarian-British conductor’s total of 31. Next on the list is Quincy Jones with 28.

10

By our count, Beyonce has starred in 10 feature films, including 2006’s “Dream Girls,” 2008’s “Cadillac Records” and, our personal favorite Bey movie, the tense psychological thriller “Obsessed” from 2009.

9

The Renaissance World Tour is the ninth road show in Bey’s solo career, including the two she’s done with hubby Jay-Z (2014’s On the Run and 2018’s On the Run II) as well as the co-headlining Verizon Ladies First Tour with Alicia Keys and Missy Elliott in 2004.

8

That’s where Beyonce ranked — eighth — on Rolling Stone magazine’s 2023 list of the 200 greatest singers of all time, trailing only (in ascending order) Stevie Wonder, Ray Charles, Mariah Carey, Billie Holiday, Sam Cooke, Whitney Houston and — at No. 1 — Aretha Franklin.

7

With the success of her most-recent studio album, 2022’s “Renaissance,” Beyonce became the first solo artist to have their first seven studio albums debut at No. 1 in the U.S.

5

This month’s shows will be the fifth time that Beyonce has played at the Santa Clara stadium. She last performed there with husband Jay-Z with the On the Run II Tour in 2018. She also brought her solo Formation Tour to the venue for two nights in 2016. She made her Levi’s Stadium debut earlier that same year as part of the Super Bowl 50 Halftime Show.

1

Queen Bey ranks as the No. 1 winner of all time at several award shows, including MTV Video Music Awards, NAACP Image Awards, BET Awards and the Soul Train Music Awards.

“I’ve been blessed to do what I love,” the acclaimed musician says. “And I’m going to keep on doing it — because it’s all that I know how to do, really.”

And that’s a big reason for fans to feel grateful as well, resting assured that this Rock and Roll Hall of Famer — who was enshrined as a founding member of Tom Petty and the Heartbreakers in 2002 — fully intends to keep making and playing music for years to come.

The vocalist-guitarist’s primary musical focus these days is the Dirty Knobs, the ‘60s-influenced blues-garage-rock act that once was a side project but moved to the forefront after Petty died and the Heartbreakers disbanded in 2017.

Fans can check out Mike Campbell and the Dirty Knobs when they play a number of shows in the Golden State this month in support of their sophomore full-length release, 2022’s “External Combustion.”

The group’s tour travels up and down California, and includes shows in Nevada, Arizona, Missouri, Alabama, and Mississippi. Information and ticket links for all those shows can be found at thedirtyknobs.com.

I recently had the chance to chat with Campbell about his not-so-new band, his legendary former Heartbreaker outfit and his stint with Fleetwood Mac.

Q: Great to talk with you, Mike. I guess I’d like to start off by just asking whether you feel a special connection to the Bay Area? You have had some pretty amazing experiences here over the years.

A: The Bay Area — San Francisco, Oakland, the Fillmore and the old Winterland, back in the day — it’s always been a place I that I have dreamed about. When I was a kid , and they were having all the great late-‘60s groups and the Haight-Ashbury and all that stuff, I was always enamored with (the Bay Area).

Every time I go there, I kind of get a flashback of dreaming about coming to the Bay Area. Of course, playing up there has been a treat — from the early days with Bill Graham with the Heartbreakers and the Fillmore.

Q: Thanks for leading me right into my next question — which indeed has to do with the Bay Area’s famed Fillmore. What was it like going back and listening to the tapes from Petty and the Heartbreakers’ legendary 20-show residency at the venue while putting together the “Live at the Fillmore 1997” set?

A: It was exciting because I remembered, in the back of my mind, those were really magical gigs. So, of all the archive stuff, that was the one thing that I was looking forward to digging into.

And I was pleased to hear it was as good as I remembered it — between the sound, the band and the crowd. I think that is some of the best Heartbreakers live stuff you’ll find.

Q: I was at the Fillmore show where the venue had to be suddenly evacuated.

A: The first show — yeah, somebody let off teargas or something in the crowd. I do remember that. I just remember getting this weird feeling in my eyes — like something was burning. Then the security was saying, “Get off the stage.” So, we all came running off.

The crowd left the room — as I guess you remember — for about 30 minutes or so. Then we came back and did the show. That was freaky. Such a horrible feeling — I couldn’t breathe, I couldn’t see.

Fortunately, nobody got hurt and we finished the show.

That was the only time that ever happened to us.

Q: A lot of people probably think of the Dirty Knobs as a new band, likely because the debut album didn’t come out until 2020 and the group was overshadowed by your Heartbreakers work for years. But it’s not new — it’s been around well over a decade. Still, just to get everybody up to speed, would you be willing to give readers a quick little Dirty Knobs history lesson?

A: The Dirty Knobs started out as me and some friends in the studio, trying out songs and recording them. Then we thought, “Let’s take these to a couple of clubs and try some of these songs live.”

So, it became a workshop for me to try songs out and then go out and play little places and try my hand at fronting the band, which I really like now.

It’s still kind of an organic thing we do mostly for fun. We have been around for awhile and we’ve had a few personnel changes, but the group we have right now I think is really solid. Actually, on this tour Steve Ferrone from the Heartbreakers is going to fill in on the drums for us.

Q: Did you have any initial thoughts that this could turn into a career back when you were first putting the band together?

A: There were never any designs that this was going to be anything. As it went on, at some point it did cross my mind, “Well, if the Heartbreakers ever retired this is something that I would like to do.” Unfortunately, the Heartbreakers ended unexpectedly. But then my time opened up and so this is what I am focused on now.

Q: You’re one of the best guitarists in the business. Yet, singing — at least in front of a crowd — is relatively new for you. What was it like for you to first step up to microphone with the Dirty Knobs?

A: It was kind of like walking the gangplank. I thought I was going to fall off the end and drown. (Laughs)

It was scary, because I had never really sung before. But I only started singing because I had all these songs — more than Tom could deal with — and I wanted to hear what they might sound like.

Then when we went onstage, surprisingly, it was relatively comfortable. I just had to get used to being at the microphone and connecting with the audience and trying to sing in pitch, you know?

But I found I really like it. I’m really comfortable doing it now.

Q: Similar question — what was it like recording that first Dirty Knobs album (2020’s “Wreckless Abandon”) as the bandleader?

A: It was fun. It wasn’t hard at all — because I do have a lot of experience. In the Heartbreakers, although Tom was the leader of the band, a lot of the times I was kind of the musical director and leader. So, I felt pretty comfortable fronting the band.

The (Dirty Knobs) band is so good and we had great sounds. We didn’t (mess) around. We just did it real quick. And I love to record that way — here’s the song, here are the chords, just play it once or twice until everybody gets the notes right. And if the groove is good, move onto the next song.

Q: Sounds like the way to do it.

A: I wanted to keep it live. The new record that is going to be coming out, it’s built around everyone playing together at once and keeping as much of the live performance as you can.

Q: Wait — Are we talking about a third Dirty Knobs record here? Because the last one is only a year old.

A: Yeah, I’ve got one that is basically finished except for a couple of guest vocalists who are going to come in and add some vocals for me.

In two weeks, we cut like 24 songs. The hard part was narrowing it down. I finally got it down to 10 songs. And the other songs will be on the following record.

But it’s basically done. I’m really happy with it. It picks up where the last record left out and then kind of ventures into some more lyrical territory.

Q: That’s a lot of music to produce in just a few years.

A: Well, I’m a writing fanatic. I was writing this morning before you called. I have a lot of songs — I just love the process — and they start to pile up on me. So, it’s nice to finally get them recorded and get them out.

This record will be out probably at the end of the year. And then we will go out and tour next year behind that.

Q: You apparently love touring as well.

A: I do. I love to play. I love to play in front of people. It’s hard to say if I love the studio more or not. They are two different things. I just like to play music — whether it’s in the studio or live, it’s very rewarding and I feel like I have a purpose.

Q: You weren’t able to tour the way you wanted to in support of “Wreckless Abandon.” So, instead of hitting the road, you went back into the studio and recorded “External Combustion.” In what ways can the whole pandemic experience be felt on that record?

A: There’s nothing specifically that refers to the pandemic. But a lot of my songs, I’m noticing, are about desperate people — misfits who are trying to get out of a bad situation into a better place of hope and redemption. So, maybe, subconsciously, some of (pandemic experience) crept in. But I did not address it specifically.

Q: Was it fun touring as a member of Fleetwood Mac during that 2018-19 run?

A: It was. It was tricky at first. I am not used to copying other people’s songs, per se. So, I had to dig in and do a little work to fill the hole there on the guitar. So, that was new for me. But it was a challenge and I learned a lot. Then once we got out on the road, though, we had a blast.

Q: Would you do it again?

A: I don’t think they are going to do it again. I don’t really see it, because Christine (McVie) is gone now and Stevie (Nicks) is really busy. So, I have my doubts that they would crank that up again.

I don’t really see that ship leaving the port again. But if they asked me, and my time was open, I would certainly do it because I love the people and their songs are really good.

Q: You have undergone so much in the last six years — Tom’s death and the corresponding loss of your Rock and Roll Hall of Fame band, the Fleetwood Mac tour, the pandemic, the Dirty Knobs albums, etc. Are you exhausted? Or are you energized?

A: I feel totally energized. I’m surprised, Jim, honestly. I’m not a spring chicken, but, physically, I’m in really good shape. I eat well. I’ve got a lot of energy. I’ve got a lot of creative energy.

And I’m really grateful to be able to do what I do for a living. I’m pretty jazzed up.

I love my life.

While the big-name rock and pop offerings will draw the most attention, there are also plenty of cool items for jazz fans as well. Here are four that we’d certainly want to spin:

 “Blue Room: The 1979 VARA Studio Sessions in Holland,” Chet Baker

Fans of the acclaimed trumpeter-vocalist will certainly dig these rare recordings, which reportedly have gone unheard since they were originally aired by Dutch radio station KRO-NCRV some 44 years ago. It arrives as a two-LP set for Record Store Day via the Jazz Detective Label, followed by double-CD and digital versions on April 28.

“Live at Jazz Workshop 1970,” Art Blakey & the Jazz Messengers

This one is a Record Store Day exclusive, which means Blakey fans will likely have to actually visit one of the participating stores, if they want to get their hands on this previously unreleased recording that includes such titles as “Autumn In New York” and “East of the Sun (and West of the Moon).” It’s served up as a single LP by Gearbox Records.

“Queen Talk: Live at the Left Bank,” Shirley Scott

The great jazz organist combines forces with saxophonist George Coleman and drummer Bobby Durham (as well as guest vocalist Ernie Andrews on three tracks) in this never-before-released 1972 concert recording from Baltimore. It’s being made available as a two-LP set by Jazz Detective and Reel To Real Records.

“Europe 1966,” Albert Ayler

The four-LP box set from ORG Music highlights the free jazz giant performing with trumpeter Donald Ayler (Albert’s brother), violinist Michel Samson, bassist William Folwell and drummer Beaver Harris during shows in Berlin and Lorrach, Germany, and Stockholm and Paris.

For participating stores, a complete list of releases and other information, visit recordstoreday.com.

“72 Seasons”

Mighty Metallica, the top-selling Bay Area act of all time, is back with its eagerly anticipated 11th studio album. The title of the album is a reference to the “first 18 years of our lives that form our true or false selves,” vocalist James Hetfield said on the band’s website. (We’ve done the math — and, yup, it checks out.) The 11-track outing follows the excellent 2016 double-album “Hardwired… to Self-Destruct.”

“Why Does the Earth Give Us People to Love?”

Kara Jackson — who served as National Youth Poet Laureate in 2019-20 — is set to release her debut album. We’ve really been enjoying the Illinois singer-songwriter’s “pawnshop” — a catchy tune that nicely mixes pop, soul, country and other genres — and look forward to hearing more.

“Empty Room”

Cade Thompson returns with his sophomore album, which follows 2021’s “Bigger Story” and features the singles “Good God’ and “Arms of Jesus.” He’s found success on the charts, on radio and online, having  racked up more than 50 million streams to date.

“Hills of Tyrone,” We Are Messengers

The Irish pop-rock act, known for the multiweek No. 1 hit “Come What May” as well as “Image of God,” “Power,” “Maybe It’s Ok,” “God With Us,” “This Is Jesus” and a number of other top-10-charting contemporary Christian music singles, returns with a new EP. It’s a great listen from start to finish, delivering seven memorable songs — including the lovely title track and the gorgeous “Father Would You Hold My Hand” — in just over 23 minutes.

“Did You Know That There’s a Tunnel Under Ocean Blvd,” Lana Del Rey

We are digging the two singles we’ve heard —  the title track and “A&W” — and fully expect the rest of Del Rey’s 16-track ninth album will be excellent as well. The recording, which follows the 2021 releases “Chemtrails over the Country Club” and “Blue Banisters,” features Jon Batiste, Father John Misty, Bleachers and others. It’s due out March 24.

“Voice Notes,” Yazmin Lacey

Having already charmed listeners on three EPs, the British soul singer definitely appears ready to take her career to the next level with the release of her full-length debut. The album is jazzy cool, brimming with great lines and a voice that deserves to be heard by millions.

The immensely talented singer-songwriter-guitarist, who was born and raised in Palo Alto, led her band Golden Highway to victory in the best bluegrass album category with 2022’s “Crooked Tree” on Sunday night (Feb. 5).

Tuttle was also nominated for best new artist — one of the “Big Four” general field categories — but ended up losing to terrific jazz vocalist Samara Joy when the awards where handed out at Crypto.com Arena in Los Angeles.

“Crooked Tree” is Tuttle’s third studio album overall, but marks her first release on mighty Nonesuch Records. It features collaborations with such notable acts as Gillian Welch, Margo Price and Old Crow Medicine Show. Tuttle co-produced the album with dobro champ Jerry Douglas.

Tuttle has had a string of success at recent award shows. Beyond the Grammys, she won female vocalist of the year at the 2022 International Bluegrass Music Awards and “Crooked Tree” was named album of the year at the 2023 International Folk Music Awards.

Tuttle has a big hometown show on the horizon, as she leads Golden Highway into the Guild Theatre in Menlo Park on April 1.

Visit mollytuttlemusic.com for more information.

The California singer-songwriter-guitarist, who splits her time between homes in Marin County and Los Angeles, won for the tender “Just Like That,” triumphing in a category that featured some of the most famous artists on the planet — including Adele, Taylor Swift, Harry Styles (the night’s big winner) and Beyonce.

And nobody seemed more surprised about the victory than Raitt — who was presumed to be a massive underdog going into the night. Her expression conveyed absolute disbelief when she heard the presenter of the award — first lady Jill Biden — announce her name inside Crypto.com Arena.

“I’m so surprised,” Raitt said as she picked up the trophy in front of the celebrity-packed audience and the millions of TV viewers watching around the globe. “I don’t know what to say. This is just an unreal moment.”

She then thanked the Recording Academy — the organization that presents the Grammys — for surrounding her “with so much support and appreciating the art of songwriting as I do.”

Indeed, that’s what this particular Grammy is all about — honoring the art of songwriting, as opposed to being another award given out to performers. However, in many cases — such as with Raitt and “Just Like That” — the songwriter is also the performer.

Winning this award may change the perception that some have of Raitt, who many think of first and foremost as an interpreter of other people’s songs rather than someone who sings her own compositions. (Of course, she has a long history in doing both.)

Of the 10 songs in the running for this award, “Just Like That” was the sole offering penned by just one writer. The others all had multiple contributors, including a team of nine that fashioned “God Did” by DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend and Fridayy.

The song is one of four numbers that Raitt wrote (or co-wrote) on her 10-track 18th studio album, “Just Like That…” (2022). It followed up her terrific release “Dig in Deep,” which she talked to us about in a 2018 interview).

“I was so inspired for his song by the incredible story of the love and grace and generosity of someone that donates their beloved’s organs to help another person live,” Raitt said. “And the story was so simple and so beautiful for these times.

“People have been responding partly because of how much I love, and we all love, John Prine and that was the inspiration (for this) song.”

Prine is the late great songwriter behind “Angel from Montgomery,” which Raitt covered on the 1974 album “Streetlights” and has since become one of her signature songs.

It was an overall big night for Raitt, who won three of the four categories she was nominated in. Besides triumphing for song of the year, Raitt took home awards for best American roots song for “Just Like That” and best Americana performance for “Made Up My Mind.”

Raitt’s three trophies on Sunday brings her career Grammy total up to 15.

Queen Bey — who with 28 victories to her credit already ranks as the most highly awarded performing artist in Grammy history — leads all comers at the 2023 award show with nine nominations.

That ratchets up her lifetime total to a staggering 88 nominations, which ties her with — believe it or not — husband Jay-Z for the most of all time. (Yeah, the trophy cabinet in the Bey and Jay household must truly be something to behold.)

Yet, Queen Bey, despite all her amazing success at the awards show over the decades, will be looking to add to her collection in brand new ways when the Grammys are handed out on Feb. 5 at Crypto.com Arena in Los Angeles.

Standing in the way of Beyonce’s quest for wins No. 29-37 is a mighty impressive group of talent, including hip-hop star Kendrick Lamar with eight nominations.

On their heels are Adele and Brandi Carlile, each with seven nods. And there are a half-dozen artists — including Mary J. Blige and Harry Styles — who have scored six nominations.

How will it all play out? Well, that’s what we’re hoping to figure out as we peer into our crystal ball and handicap the races for the top awards.

Here’s who we see emerging victorious in the “Big Four” general field categories — best album, best record, best song and best new artist — at the 65th annual Grammy Awards. Follow all the action beginning at 5 p.m. on CBS and Paramount +.

Record of the Year

The nominees: “Don’t Shut Me Down,” ABBA; “Easy on Me,” Adele; “Break My Soul,” Beyonce; “Good Morning Gorgeous,” Mary J. Blige; “You and Me on the Rock,” Brandi Carlile featuring Lucius; “Woman,” Doja Cat; “Bad Habit,” Steve Lacy; “The Heart Part 5,” Kendrick Lamar; “About Damn Time,” Lizzo; “As It Was,” Harry Styles

The skinny: Beyonce is nominated in all three of the Big Four categories that she’s eligible to compete in and seems well poised for a sweep.

She’d certainly love to win record of the year, which, amazingly, she’s somehow failed to do despite being nominated more times than any other artist.

“Break My Soul” — an uplifting dance-pop number boosting impeccable production and vocal work — could be the one to do the trick. Yet, it faces stiff competition from at least four other nominees.

First up, there’s Lizzo, who delivered one of 2022’s most memorable dance-floor bangers with “About Damn Time.” And everybody loves Harry, right? So, expect substantial support for “As It Was.”

One can also certainly make a convincing case for Steve Lacy’s omnipresent “Bad Habit,” which became the first song in history to simultaneously hold the No. 1 spot on the Hot R&B/Hip-Hop Songs, Hot R&B Songs and Hot Rock & Alternative Songs charts. And Adele is always a threat to win in any Grammy category.

Yet, voters had to be asking themselves one question as they cast their ballots — “Are we really going to pass up Beyonce once again?”

The winner: “Break My Soul”

Song of the Year

Note: The award is for songwriters, the song’s performer appears in parentheses.

Nominees: “abcdefu,” Sara Davis, GAYLE and Dave Pittenger (Gayle); “About Damn Time,” Melissa “Lizzo” Jefferson, Eric Frederic, Blake Slatkin and Theron Makiel Thomas (Lizzo); “All Too Well (10 Minute Version) (The Short Film), Liz Rose and Taylor Swift, (Taylor Swift); “As It Was,” Tyler Johnson, Kid Harpoon and Harry Styles (Harry Styles); “Bad Habit,” Matthew Castellanos, Brittany Fousheé, Diana Gordon, John Carroll Kirby and Steve Lacy (Steve Lacy); “Break My Soul,” Beyonce, S. Carter, Terius “The-Dream” Gesteelde-Diamant and Christopher A. Stewart (Beyonce); “Easy On Me,” Adele Adkins and Greg Kurstin (Adele); “God Did,” Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts and Nicholas Warwar (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend and Fridayy); “The Heart Part 5,” Jake Kosich, Johnny Kosich, Kendrick Lamar and Matt Schaeffer (Kendrick Lamar); “Just Like That,” Bonnie Raitt (Bonnie Raitt)

The skinny: For proof that the songwriting process differs from song to song, consider that the nominees in this category range from a song with just one writer (“Just Like That”) to a number with nine authors (“God Did”) — with the other contenders landing somewhere in between.

“Break My Soul” is a definite favorite in this category once again. Yet, Beyonce has already won this field once before with “Single Ladies (Put a Ring on It)” in 2010, which means that voters might be a little less inclined to give it to her again — especially if they plan to honor her in one (or more) of the other Big Four categories.

Swift has earned the right to be considered a frontrunner in any category she’s in — especially when it has to do with songwriting. Yet, this offering is a refashioned version of a decade-old song — an amazingly refashioned version, yes, but still a refashioned version. Plus, voters might decide to wait and honor Swift in 2024 for the material from “Midnights,” which was released too late for consideration for this year’s show.

Adele has won this category twice before, with “Rolling in the Deep” in 2012 and “Hello” in 2017,” and could definitely go for the hat trick with the lovely piano ballad “Easy on Me.”

Lamar’s “The Heart Part 5” is one of the best songs in the running, but it’s doubtful that it stands much of a chance against such pop culture juggernauts as Styles’ “As It Was,” Lacy’s “Bad Habit” and, especially, Lizzo’s “About Damn Time.”

It’s a close call, so let’s go with the one we’d most want to turn up in our car.

The winner: “About Damn Time”

Best New Artist

The nominees: Anitta, Omar Apollo, DOMi & JD Beck, Muni Long, Samara Joy, Latto, Måneskin, Tobe Nwigwe, Molly Tuttle, Wet Leg

The skinny: Here’s one category that Beyonce definitely won’t win, given that she hasn’t been eligible since the ‘90s.

And that’s pretty much the only thing that we can tell you for certain about this category, which appears to be as wide open a best new artist race as any we’ve seen in years.

There’s no certainly no 2023 equivalent to Billie Eilish, Megan Thee Stallion and Olivia Rodrigo — the clear frontrunners and eventual champs in 2020, 2021 and 2022, respectively.

Instead, one can make a (somewhat) convincing case for a number of these nominees.

For instance, it certainly wouldn’t be a surprise to see the award go to Latto, whose “Big Energy” was one of the defining songs of 2022.

A victory for Anitta — the Brazilian superstar behind the worldwide smash “Envolver” — would make her the first non-English act to take home this award. It would also serve as a statement that Grammy voters recognize that Latin music has never been more popular.

And there’s no artist on this list we like better than Samara Joy, an amazing vocalist who’s also up for best jazz vocal album with “Linger Awhile.”

Likewise, we’d definitely be happy to see Northern California’s own Molly Tuttle — who was born in Santa Clara and raised in Palo Alto — take home the trophy. Even if doesn’t happen, Tuttle and her band Golden Highway seem to be the favorite to win the Grammy for best bluegrass album for “Crooked Tree.”

Then there’s the Wet Leg, the much-buzzed-about indie-rock act from the U.K. that received equal amounts of critical and commercial success with its self-titled debut.

The winner: (flips coin multiple times) Wet Leg

Album of the Year

The nominees: “Voyage,” ABBA; “30,” Adele; “Un Verano Sin Ti,” Bad Bunny; “Renaissance,” Beyoncé; “Good Morning Gorgeous (Deluxe),” Mary J. Blige; “In These Silent Days,” Brandi Carlile; “Music of the Spheres,” Coldplay; “Mr. Morale & the Big Steppers,” Kendrick Lamar; “Special,” Lizzo; “Harry’s House,” Harry Styles

The skinny: This category is absolutely loaded with strong contenders. So, let’s start off by eliminating the ones that seemingly don’t stand much of a chance in this packed field. In other words, goodbye Coldplay, ABBA, Carlile and even the great Mary J. Blige. Thanks for playing, but we just don’t see any of you toppling the giants in the race.

Meanwhile, one could make a strong case for each of the offerings from Styles, Lamar, Bad Bunny, Lizzo and Beyonce — five of the world’s most popular acts, none of whom have previously won this award.

Yes, this is yet another Big Four category that Beyonce has somehow never won, despite this being her fourth album of the year nomination. She lost to Taylor Swift in 2010, Beck in 2015 and, most famously, Adele in 2017.

Oh, and did we mention that the latter is up for this trophy as well in 2023?

And many consider Adele to be the frontrunner, given her previous track record in this category — having won both times she was nominated — as well as the commercial success of “30.”

The last time Adele battled Beyonce in this category — back when “25” toppled “Lemonade” in 2017 – she seemed absolutely mortified during her acceptance speech, giving the impression that she thought Queen Bey should’ve won.

Honestly, Adele might be having nightmares that history could repeat itself in 2023 and probably is rooting as strongly for “Renaissance” as any member of Beyonce’s loyal “Beyhive” fan base.

We believe Adele shouldn’t be all that worried and that voters will actually decide to honor the best album of 2022.

The winner: “Renaissance”

THE 65th ANNUAL GRAMMY AWARDS

When: 5 p.m. PST

Where: Crypto.com Arena, Los Angeles

TV/Streaming: CBS, Peacock

Host: Trevor Noah

Performers: Bad Bunny, Brandi Carlile, Kim Petras, Lizzo, Luke Combs, Mary J. Blige, Sam Smith, Steve Lacy, more TBA

The animated TV show — which premiered on ABC Kids in Australia in 2018 and has seen become a global sensation in large part due to Disney+ — is technically aimed at preschoolers. Yet, millions of older siblings and, especially, parents are also charmed by the heartwarming and fun tales of Bluey and her family.

Bluey — an energetic blue heeler puppy with a knack for getting her dad to do goofy things — has now moved beyond the small screen and is busy delighting fans with “Bluey’s Big Play the Stage Show!”

It’s the first-ever “Bluey” live theater show in the U.S., featuring large puppets, live actors and cool stage sets. It also boosts an original story by series series creator Joe Brumm and new music from “Bluey” composer Joff Bush.

“We know how much love there is out there for Bluey and are thrilled and honored to translate these brilliant characters into the three-dimensional world and to share this special experience with fans throughout America,” says director Rosemary Myers of Windmill Theatre Co., the Australian troupe that adapted “Bluey” for the stage.

The show, which runs 45-50 minutes with no intermission, has upcoming dates in both San Jose and San Francisco.

“Bluey’s Big Play The Stage Show!” is performed at 11 a.m. and 2 p.m. Jan. 21 and 22 at the Golden Gate Theatre in San Francisco. Tickets are $36-$96, broadwaysf.com. It then returns for five shows — 6 p.m. Feb. 3; 2 and 6 p.m. Feb. 4; and 1 and 6 p.m. Feb. 5 — at San Jose’s Center for the Performing Arts. Tickets are $26-$73 , broadwaysanjose.com.

The four jam-band titans — vocalist-guitarist Trey Anastasio, bassist Mike Gordon, drummer Jon Fishman and keyboardist Page McConnell — only got as far west as the Denver area, where they once again set up shop for multiple nights with their annual Labor Day weekend run at Dick’s Sporting Goods Park.

While “Phans” (Phish speak for fans) wait for the band to hopefully announce some West Coast dates in 2023, they can focus on the next best thing: the Trey Anastasio Band (TAB) on tour, which lands at UC Berkeley’s Greek Theatre on Oct. 8.

The current TAB lineup includes an amazing array of players — drummer Russ Lawton, bassist Dezron Douglas, keyboardist Ray Paczkowski, percussionist Cyro Baptista and a full horn section featuring trombonist-vocalist Natalie Cressman, multi-instrumentalist James Casey and trumpeter-vocalist Jennifer Hartswick.

And, of course, there’s the bandleader himself — who is a really solid vocalist and ranks among the greatest electric guitarists in rock ‘n’ roll history.

Anastasio will likely always be known first and foremost for his work with Phish. Yet, he’s also put together a hugely impressive catalog outside of the band, releasing more than a dozen solo albums and collaborating with such artists as Dave Matthews, Herbie Hancock, Carlos Santana, Toots and the Maytals, B.B. King and the Roots.

Anastasio is also part of the super group Oysterhead with Les Claypool of Primus and Stewart Copeland of the Police.

Showtime is 7 p.m. and tickets are $55, apeconcerts.com.

Trips to the beach, backyard barbecues with friends, church services, vacations, hikes in the mountains — none of it has been the same in 2020.

Yet we still have music, even though we probably aren’t enjoying it in the same ways that we are accustomed to during the season. And music still bonds us together even in this time of social distancing.

That’s what the Song of Summer is all about. It’s the track that unites millions, as it’s played countless times, while creating just as many memories, from Memorial Day to Labor Day weekend.

Past Songs of Summer have included such tuneful timestamps as “Old Town Road” by Lil Nas X featuring Billy Ray Cyrus (2019), “Call Me Maybe” by Carly Rae Jepsen (2012) and “Hot in Herre” by Nelly (2002).

What will be the song that ends up defining this unprecedented season? Here are the top nominees for Song of Summer 2020.

(Note: Some of these songs may contain explicit language and sexual references.)

“Savage (Remix),” Megan Thee Stallion featuring Beyonce

The original version of this hot hip-hop number was already a viral sensation on TikTok, as millions tuned in to watch folks participate in the cool “Savage” dance challenge. Yet, the song would reach a whole new level once fellow Houston native Beyonce joined forces with Megan Thee Stallion for the chart-topping remix.

“Rain on Me,” Lady Gaga and Ariana Grande

Two of music’s biggest stars combine forces on this disco-pop retro-’90s gem, which in normal times would be dominating dance floors from Miami to Ibiza all summer long. It’s no wonder that this tune debuted at No. 1 in multiple countries, given the amount of star power behind it.

“Stuck With U,” Ariana Grande and Justin Bieber

If Grande doesn’t take the Song of Summer title with Gaga, perhaps she will with Justin Bieber on this warmly romantic, and COVID-19 inspired, ballad. The voices of these two megastars mesh very well on what is one of the best pop-music slow jams to come around in quite some time.

“Say So (Remix),” Doja Cat featuring Nicki Minaj

The original model, delivered as the lead single from the sophomore effort “Hot Pink,” was an amazing enough slice of disco-pop-rap. Then Nicki Minaj was added to the equation, bringing along some of the hottest hip-hop of the year, and the result was an instant classic.

“Blinding Lights,” the Weeknd

This single from the artist’s fourth studio album, “After Hours,” came out way back in November, which would seem to knock it out of contention for the Song of Summer. But the groovy, driving electro-soul-pop song took its time getting to the top, eventually hitting No. 1 in mid-April, and has remained red hot to this date.

“Watermelon Sugar,” Harry Styles

“Watermelon Sugar” feels like an unabashed attempt to write a summer song, one that could someday make it onto the same seasonal playlist as “Under the Boardwalk” and “Summertime Blues” (kids, ask your parents). It’s sunny, upbeat and uncomplicated, with a video shot at the beach and “dedicated to touching.”

“Toosie Slide,” Drake

This chart-topper is another viral sensation, with millions of homemade videos — usually showing folks dancing to bits of “Toosie Slide” — being viewed billions of times on TikTok. Drake is certainly no stranger to the Song of Summer race, having been at the forefront of the conversation several times since releasing his debut album, “Thank Me Later,” in 2010.

“Break My Heart,” Dua Lipa

This one hasn’t experienced the kind of commercial success as the others on this list — at least not yet. But it’s such a terrific dance-pop offering, with a fun retro tilt to the ’80s and ’90s, that it deserves to be in the running. Chalk it up as further proof that Dua Lipa appears well on her way to becoming a megastar

“Rockstar (BLM Remix),” DaBaby featuring Roddy Ricch

The original version of the song came out in late April and first hit No. 1 in mid-June, about the same time that these two rising star rappers released an even more poignant remix version that was inspired by the death of George Floyd. It’s anything but the ordinary Song of Summer fare, but it’s also a number that truly resonates in 2020.

— Tribune News Service

Thus, I’d usually buy her something purple each Mother’s Day. It’s been too long since I had the occasion to buy a special purple gift, given that my awesome mom died in 2012. But I’m sending this Mother’s Day playlist up to her. I decided to kick it off with my mom’s all-time favorite artist

Besides that personal touch, this playlist is just a collection of some of the all-time best tunes about moms. So, crank it up and have a happy Mother’s Day.

“Mama Liked the Roses,” Elvis Presley (1970)

Presley was a proud mama’s boy and he wears that on his sleeve on this gorgeous tune penned by Johnny Christopher, who also co-wrote the breathtaking “Always on My Mind.”

“The Best Day,” Taylor Swift (2008)

Swift pays tribute to her mother with possibly the most touching lyrics of her career: “I don’t know why all the trees change in the fall/ But I know you’re not scared of anything at all/ Don’t know if Snow White’s house is near or far away/ But I know I had the best day with you today”

“Mama’s He’s Crazy,” the Judds (2004)

The county music genre is rich with great songs about mama, including this memorable number that became the first No. 1 for the amazing mother-daughter act.

“Dear Mama,” Tupac Shakur (1995)

The legendary rapper delivers a remarkably tender, candid and, more than anything else, grateful look back at his mother.

“Hand That Rocks the Cradle,” Glen Campbell and Steve Wariner (1987)

This country classic suggests that “there ought to be a hall of fame for mamas, creation’s most unique and precious pearls.” And that sounds like a marvelous idea to me.

“Coat of Many Colors,” Dolly Parton (1971)

Parton reportedly has called this her favorite song she’s ever written. And if that report is indeed true I can only add that Parton has excellent taste in music.

“Mama Said,” The Shirelles (1961)

Two minutes of pure pop/doo-wop/R&B perfection, dished up by one of the greatest girl groups of all time.

“Don’t Forget to Remember Me,” Carrie Underwood (2006)

A vivid portrait of that moment when a son or daughter leaves home.

“Mother,” Kacey Musgraves (2018)

This might be the finest 1-minute, 18-second piano ballad tribute ever written about a parent.

“One Heartbeat at a Time,” Steven Curtis Chapman (2007)

An intensely satisfying and uplifting tribute to moms who “are changing the world one little heartbeat at a time”

“I’ll Always Love My Mama,” the Intruders (1973)

Here’s a true Mother’s Day classic, courtesy of these Philly soul champs and the legendary songwriting team of Gamble and Huff.

“Mama Said Knock You Out,” LL Cool J (1991)

Here’s a little trivia for you: It was actually LL Cool J’s grandma, not his mama, who told the rapper to “knock you out.”

“Mama, I’m Coming Home,” Ozzy Osbourne (1991)

A pioneer in both the heavy metal and hard rock genres, Osbourne sure knows his way around a power ballad.

“Take Your Mama,” Scissor Sisters (2004)

You simply won’t find a more fun song on this list than this glam-dance-pop nugget.

“Hey Mama,” Kanye West (2005)

One of the key early tracks that led so many to believe, rightfully so, that Ye is nothing short of genius.

“From Small Things (Big Things One Day Come),” Bruce Springsteen (2003)

This fun rocker was recorded during “The River” sessions (1979) but wouldn’t actually see the light of day until much later — kicking off the bonus disc to 2003’s “The Essential Bruce Springsteen” set.

“In My Daughter’s Eyes,” Martina McBride (2003)

The song is nothing short of breathtaking. Don’t be surprised to find a tear or two in your eyes by the time this all-time-great vocalist hits the chorus for the second time.

The weather behaved, even if the rapper known as Logic didn’t.

“They told me I can’t cuss,” Logic told the crowd. “But (expletive) that.”

Who would’ve guessed on a night when stormy weather threatened to soak everyone attending the free concert going on at Discovery Meadow Park in downtown San Jose that the big problem would turn out to be a few F-bombs and the like?

But that’s the way the second night of AT&T Playoff Playlist Live! — the free concert series held in conjunction with the Jan. 7 College Football Playoff National Championship at Levi’s Stadium in Santa Clara — turned out on Saturday, Jan. 5.

. @Logic301 takes stage at #ATTPlayoffPlaylist #NationalChampionship #CFBPlayoff pic.twitter.com/o3ycmQNRAJ

— Jim Harrington (@jimthecritic) January 6, 2019

Logic explained from the stage that he was in danger of having his set cut short by organizers due to his language. Of course, he was just doing his normal show — rapping his regular lyrics — which made one wonder if the organizers had actually taken the time to listen to Logic’s music before hiring him to perform.

“You did book a rapper,” Logic said in response to the reported threats to pull the plug.

. @logic brings 18 year old fan Jacob onstage to rap with him pic.twitter.com/KTpcq5nBdu

— Jim Harrington (@jimthecritic) January 6, 2019

Fortunately for everybody involved — especially the approximately 5,000 fans in attendance — Logic basically was able to finish his roughly hour-long set.

Basically.

It did end rather abruptly, with organizers quickly setting off the concert series’ nightly fireworks display in a fashion that left many fans believing that Logic had been “cut off.”

Social media was absolutely buzzing with complaints from fans who thought Logic had been “disrespected.”

“It was also rude that they disrespected him by cutting him off with fireworks live,” tweeted @realwordshipper

It was also rude that they disrespected him by cutting him off with fireworks live

— Zach (@RealWordshipper) January 6, 2019

“They cut off @Logic301 tonight for swearing. That’s so not fair but ‘it is what it is’ I guess,” added @JessicaSerrano0.

They cut off @Logic301 tonight for swearing. That’s so not fair but “it is what it is” I guess

— Jessica (@JessicaSerrano0) January 6, 2019

The concert was being streamed live online for those who weren’t able to make it out to Discovery Meadow. Judging by the angry reactions on social media, however, the stream appears to have been cut short.

Now that is some fast rapping @Logic301 #NationalChampionship #ATTPlayoffPlaylist pic.twitter.com/S90giXXG30

— Jim Harrington (@jimthecritic) January 6, 2019

Besides those issues, it was an otherwise nice evening of music, which also featured a performance by soulful crooner Leon Bridges.

Of course, there was much hand-wringing leading up the event, as many worried about the forecast for rain. And surely that concern kept many people away. The concert drew some 5,000, which is less than half capacity for the venue. But it was still a much bigger turnout than what was reportedly seen on Day 1 of the concert series, Friday, Jan. 4, for a lineup headlined by Alessia Cara.

#CFBPlayoff – @leonbridges takes stage at #ATTPlayoffPlaylist in #SanJose pic.twitter.com/NBfzzALlOL

— Jim Harrington (@jimthecritic) January 6, 2019

But the weather turned out to be much better than expected. There were a few quick showers, but mainly the skies remained clear. That made it even easier to enjoy the performances.

Overall, Logic proved to be quite charismatic — promoting, as always, his values of “peace, love and positivity.” He compared the crowd to a family, encouraging people to treat each other that way, and even brought one fan by the name of Jacob onstage to rap with him.

Plus, his vocal work was sensational as he rapped with precision and power through such numbers as “Fade Away,” “Wu-Tang Forever” and the multi-platinum hit “1-800-273-8255.” (The song’s title is taken from the number of the American National Suicide Prevention Lifeline.)

Bridges also sounded strong as he worked the crowd with the likes of “Coming Home” and “Beyond.”

The concert series is scheduled to conclude on Jan. 6 with a lineup featuring Ellie Goulding and OneRepublic. Here’s how to watch the concert without getting rained on.

For more information on the AT&T Playoff Playlist Live! shows, click here.

More @leonbridges at #ATTPlayoffPlaylist #CFBPlayoff #NationalChampionship pic.twitter.com/DgIgm7Fmlo

— Jim Harrington (@jimthecritic) January 6, 2019