Peter Frampton remains one of the most celebrated artists in rock history. At age 16, he was lead singer and guitarist for British band The Herd. At 18, he co-founded one of the first supergroups, seminal rock act Humble Pie. His session work includes collaborations with such legendary artists as George Harrison, Harry Nilsson, David Bowie, Jerry Lee Lewis, Ringo Starr, John Entwistle, Mike McCready and Matt Cameron (Pearl Jam), among many others.

Frampton has appeared as himself in television shows “The Simpsons” and “Family Guy.” He also served as technical advisor on Cameron Crowe’s 2000 film Almost Famous as well as appearing in it and writing songs for the soundtrack. In 2007 he won the Grammy Award for “Best Pop Instrumental Album” for Fingerprints and in 2014 was inducted into the Musicians Hall of Fame.

Frampton has toured with the likes of David Bowie, Stevie Nicks, Greg Allman, Ringo Starr, Lynyrd Skynyrd, Cheap Trick, Steve Miller Band, Bill Wyman’s Rhythm Kings, and many others. Additionally, he took Peter Frampton’s Guitar Circus on the road for two years with special guests B.B. King, Buddy Guy, Vince Gill, Larry Carlton, Robert Randolph, Don Felder (formerly of The Eagles), Dean DeLeo (Stone Temple Pilots), Kenny Wayne Shepherd, Sonny Landreth, Robert Cray and Roger McGuinn (the BYRDS).

He recently celebrated the 42nd anniversary of his fifth solo album, Frampton Comes Alive!, which remains one of the top-selling live records of all time, with over 17 million copies sold worldwide.

Steve Miller Band 2019 Spring Tour

ABOUT STEVE MILLER:

Steve Miller was a mainstay of the San Francisco music scene that upended American culture in the late ’60s. With albums like Children of the Future, Sailor and Brave New World, Miller perfected a psychedelic blues sound that drew on the deepest sources of American roots music and simultaneously articulated a compelling vision of what music – and, indeed, society – could be in the years to come. Then, in the ’70s, Miller crafted a brand of pure pop that was polished, exciting and irresistible – and that dominated radio in a way that few artists have ever managed. Hit followed hit in what seemed like an endless flow: “Take The Money and Run,” “Rock’n Me,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love,” among them. To this day, those songs are instantly recognizable when they come on the radio – and impossible not to sing along with. Their hooks are the very definition of indelible. Running through Miller’s distinctive catalog is a combination of virtuosity and song craft. His parents were jazz aficionados – not to mention close friends of Les Paul and Mary Ford – so, as a budding guitarist, Miller absorbed valuable lessons from that musical tradition. When the family moved to Texas, Miller deepened his education in the blues, eventually moving to Chicago, where he played with Muddy Waters, Howlin’ Wolf, Buddy Guy and Paul Butterfield. In recent years, Miller has immersed himself in the blues once again. And, as always, whether he was riding the top of the charts or exploring the blue highways of American music, he is playing and singing with conviction and precision, passion and eloquence, and making records that are at once immediately accessible and more than able to stand the test of time.

ABOUT MARTY STUART

Born in Mississippi in 1958, country music singer Marty Stuart got his start in Johnny Cash’s back-up band in 1979. He soon enjoyed solo success as well as hits performing with other country musicians, including Travis Tritt and Willie Nelson. He has received multiple Grammy Awards for his work.

Around this time, Stuart married Cash’s daughter Cindy, but he parted ways with his father-in-law in 1985 in order to focus on his own career. Exploring the sounds of rockabilly, he found some success with the 1986 album Marty Stuart and scored his first hit with the song “Arlene.” Stuart also worked on his stage persona, choosing to wear fancy western-style suits on stage and to tease his hair. In his personal life, he began to make changes, too. He and his wife Cindy divorced in 1988.Returning with 1989’s Hillbilly Rock, Stuart reached the top 10 of the country music charts with the album’s title track. He again won over country music fans with 1991’s Tempted, which featured “Burn Me Down” and “Little Things.” Partnering with Travis Tritt, Stuart won his first Grammy Award for Best Country Vocal Collaboration for “The Whiskey Ain’t Workin'” in 1992. The pair toured together and scored another big hit with their “This One Is Going to Hurt (For a Long, Long Time)” that same year.In 1993, Stuart won another Grammy Award—this time for Best Country Instrumental Performance. He joined forces with Chet Atkins, Vince Gill, and several other country stars for the song “Red Wing.” His next solo album Love and Luck (1994) proved to be a commercial disappointment, but he remained a popular country star. Stuart hosted the first of many Marty Party television specials that year.

Busy as ever, Stuart recorded duets with Steve Earle, Willie Nelson, B. B. King, and Travis Tritt. He also worked behind the scenes, serving as producer for songs by George Ducas, Pam Tillis, and Jerry and Tammy Sullivan. Stuart worked on film soundtracks for a diverse range of movies from the Steven Seagal action flick Fire Down Below (1997) to the Western drama All The Pretty Horses (2000). For All The Pretty Horses, he received a Golden Globe nomination.In 1999 Stuart released The Pilgrim, a concept album that told the story of a man, brokenhearted and suicidal, who sets off on a journey. Country stars such as Emmylou Harris, Earl Scruggs and Pam Tillis contributed to the project. While it earned some positive reviews, it failed to catch on with music buyers.Working again with Scruggs, Stuart earned a Grammy Award in 2001 for Best Country Instrumental Performance for their version of “Foggy Mountain Breakdown.” Legendary banjo player Scruggs had recorded the song decades earlier when he teamed up with Lester Flatt. The following year, Stuart formed his own backup band called the Fabulous Superlatives. He recorded several albums with them, including 2003’s Country Music and 2006’s Live at the Ryman. The group has also toured with the likes of Merle Haggard and the Old Crow Medicine Show. Stuart is currently at work on his next album.

Little Big Town

GRAMMY, ACM, CMA, and AMA Award-winning group, Little Big Town — consisting of members Karen Fairchild, Phillip Sweet, Kimberly Schlapman, and Jimi Westbrook — first entered the music scene over 19 years ago with hit songs “Boondocks,” “Bring It On Home,” “Good As Gone” and the GRAMMY-nominated “Little White Church.” Their breakthrough albums Tornado and Pain Killer produced multiple #1 singles, including  “Pontoon,” “Tornado,” and “Day Drinking,” as well as the history-making, best-selling country single of the year (2015) “Girl Crush.”  Released February 24, 2017, Little Big Town’s latest studio album, The Breaker, debuted #1 on the Billboard Country Charts and Top 10 (No.4) on the Billboard 200 to critical acclaim, marking the group’s fourth Top 10 debut on the Billboard 200 chart. The album features their GRAMMY-winning, multi-week #1 single, “Better Man,” as well as “When Someone Stops Loving You.”

Little Big Town has earned more than 40 award show nominations and in the past five years has taken home nearly 20 awards, including multiple GRAMMY, AMA, People’s Choice, CMA, ACM awards, and an Emmy award. Currently the reigning CMA and ACM Vocal Group of the Year, the Country Music Hall of Fame inductees (2014) went onto receive their star on the Nashville Walk of Fame in 2017. Also in 2017, Little Big Town hosted a sold-out, year-long artist residency at the famed Ryman Auditorium in Nashville — marking the venue’s first-ever, year-long residency in its 125-year history. The band also recently launched 4 Cellars wine, their first non-musical project as a band, with Browne Family Vineyards. For more information on Little Big Town visit LittleBigTown.com or follow them @littlebigtown.

 

With Season 15 Winner of the voice Chevel Shepherd

Tickets go on Sale Friday, February 15, 2019.

Ever since 2010, when Gary Clark Jr. wowed audiences with electrifying live sets everywhere from the Crossroads Festival to Hollywood’s historic Hotel Café, his modus operandi has remained crystal clear: “I listen to everything…so I want to play everything.” The revelation that is the Austin-born virtuoso guitarist, vocalist and songwriter finds him just as much an amalgamation of his myriad influences and inspirations. Anyone who gravitated towards Clark’s, 2011’s Bright Lights EP, heard both the evolution of rock and roll and a savior of blues. The following year’s full-length debut, Blak And Blu, illuminated Clark’s vast spectrum – “Please Come Home” is reminiscent of Smokey Robinson, while “Ain’t Messin’ Around” recalls Sly and the Family Stone. 2014’s double disc Gary Clark Jr–Liveprojected Clark into 3D by adding palpable dimension and transcendent power –– songs soared and drifted from the epic, psychedelic-blues of “When My Train Comes In” to his anthemic, hip-hop, rock-crunch calling card, “Bright Lights”, all the way down to the deep, dark, muddy water of “When The Sun Goes Down”.

There are a handful of folks who have informed for the mélange of genres and styles, which comprise the genius of Clark. One is Michael Jackson. It was on Denver stop of MJ’s Bad Tour where a four-year-old Gary’s life was altered after witnessing The King of Pop. By the sixth grade, Clark would own his first set of strings (Ibanez RX20).

As a teen, Clark began making a local name by jamming with adult musicians around nearby clubs. He struck a balance by singing in the church choir with his sisters. That gritty & sweet combination imbues the honey-thick soul that oozes from his vocals today. The eclectic Texas circuit, though, was Clark greatest university, where another culprit in the GCJ genesis lives: Clifford Antone, ambassador of the Austin music scene. Antone’s nightclub granted Clark the honor of sharing the stage with local blues heroes like Jimmie Vaughn, Hubert Sumlin Jr, and Pinetop Perkins. This on-the-job training, combined with studying licks by literal Kings like BB, Albert and Freddie, observing the mastery of Curtis Mayfield, Miles Davis, Hendrix, Marvin Gaye, Parliament-Funkadelic, and digesting the fresh edge of Tupac and Biggie, lifted the guitar prodigy up into a multi-instrumentalist, adept scribe, and undisputed music festival champ.

Now, after spending the last five years transforming audiences from the California desert to the London metropolis, acquiring fans like Barack Obama, Keith Richards, Alicia Keys and Beyoncé along the way, the 6’4 Texan needs to spread his musical wings and spectrum hues wider. This exhibition will be Clark’s second full-length worldwide album, The Story of Sonny Boy Slim due from Warner Bros. Records on September 11th. The title’s inspiration is one half Clark’s Southern roots––those singers and local musicians who saw the future in this young man ––and other half, his acting debut in John Sayles’ 2007 film Honeydripper. A 23-year-old Clark played the fictitious Sonny, (in fact, already his family-given nick-name), a young musician who transformed the blues and R&B into rock and roll. On his latest, Clark isn’t trying to reinvent any wheel. He’d rather deploy as many wheels as possible in order to lead music fans toward his favorite destinations.

“The Healing” mashes blues and hip-hop into the 21st century with a Marleyesque message of hope and faith. This journey of the soul hits Mississippi on the Delta jam of “Shake,” before pulling into the spiritual station of“Church,” serving gospel made with the purist folk elements: hypnotic strum, sweet harmonica, and aloud prayers as painful as they are beautiful (dare we say, Dylan-esque). “Grinder” makes musical graffiti out of fierce, freeform wah-wah screaming that spars with rap-tough urban tension. The code is completed once Clark’s chordophone wails a salute to all guitar gods.

“Our Love” could’ve easily been a standard in any decade past or present; “Down To Ride”, an avant-garde, soul love letter with its sensual falsetto, classic Casio synths, and outer-space guitar fade, fits into fresh unexplored sonic territories. The trippy flight “Wings” is Clark’s most modern flip as the Outkast fan is heard in his lyrical prime: “We got issues and people get misused/and girl I miss you/but I know that we’ll get through what we go through.”

Sterling songwriting is where Mr. Clark’s evolution is arrayed best. Never has his pen’s moonshine been so in tune with the times. The Lone Star diamond gleams brightest when he’s sketching then voicing his country’s current and evergreen socio-economic tensions simultaneously. When he’s progressing the art of blues by replacing hopeless conclusion with empathy and strength. When he’s reintroducing and redefining red, white, and blue music. “Hold On,” impressively captures the struggle of being African-American in any era by stirring a pungent punch of Curtis Mayfield, Gil Scott-Heron and Buddy Guy influence over some serious (and visual) commentary. “Seems like new news is the old news from a different angle/another mother on TV crying cause her boy didn’t make it/She said, What am I gon’ do? What I’m gon’ tell these babies?”

A 2015 reply is offered on the all-consuming space-age funk of “Star.” “I am devoted to seeing you shine on,” could be a message in falsetto from Clark to those babies, his country, his family, and his innermost self. With a musical palette as gracious and glorious as Gary Clark Jr’s, the target is most likely all of the above. As Clark put his mojo in full motion on the album’s opening track, “The Healing”, he eloquently states his subtle and underlying theme that “this music” is our hope, faith and ultimate healing.

with Peterson Brothers

Frankie Valli
Romancing the 60´s

Oh, what a story. Frankie Valli, who came to fame in 1962 as the lead singer of the Four Seasons, is hotter than ever in the 21st century. Thanks to the volcanic success of the Tony-winning musical Jersey Boys, which chronicles the life and times of Frankie and his legendary group, such classic songs as “Big Girls Don’t Cry,” “Walk Like a Man,” “Rag Doll,” and “Can’t Take My Eyes Off You” are all the rage all over again. As the play enters its third sold-out year on Broadway, and two touring companies of Jersey Boys travel around the U.S., the real Frankie Valli is packing concert halls coast to coast, from the Rose Theater, home of Jazz at Lincoln Center in New York City, to L.A.’s Kodak Theater, home of the Academy Awards.

Now Frankie salutes the decade that made him a star with his first new studio album in 15 years. In Romancing The ’60s, to be released October 2, he puts his own stamp on some of his favorite ’60s songs, the ones he always wanted to record but somehow got away. Produced by Bob Gaudio, an original member of the Four Seasons and Frankie’s long-time partner, the set includes unforgettable new versions of such gems as “Spanish Harlem,” “Call Me” and “Take Good Care of My Baby.” And the album features a delightful guest appearance by the four young stars of Jersey Boys, providing background vocals for—what else?—“On Broadway.” Launched with perfect timing amid Jersey Boy-mania, Romancing The ’60s is the most eagerly anticipated album of Frankie Valli’s 54-year recording career.

But please don’t say that Frankie is back. The truth is, he never went away. Sure, the majority of the 71 chart hits of Frankie Valli and the Four Seasons (including 40 in the Top 40, 19 in the Top 10 and eight No. 1’s) came during the 1960s, but the music didn’t just disappear. He has toured almost continuously since 1962, and his songs have been omnipresent in such movies as The Deer Hunter, Dirty Dancing, Mrs. Doubtfire, Conspiracy Theory and The Wanderers. As many as 200 artists have done cover versions of Frankie’s “Can’t Take My Eyes Off You,” from Nancy Wilson’s jazz treatment to Lauryn Hill’s hip-hop makeover.

Frankie and the Seasons have influenced many other great recording artists. That was acknowledged in dozens of recent tributes collected for Jersey Beat, the newly released Four Seasons boxed set. For example, from Barry Gibb: “Frankie Valli to me has become one of the hallmark voices of our generation. From the deepest emotions of his real voice to the power of his falsetto, he created a style that we all still strive to emulate.” From Billy Joel: “I wrote ‘Uptown Girl’ as the flip side to the story of ‘Rag Doll.’ I always loved that record.” And from Brian Wilson: “In the early ’60s the Four Seasons were my favorite group. I thought they were fantastic. The voice blend was fantastic. The competition helped me to get cracking. It inspired me, because they made good music. I went to the piano thinking I could top their music.”

There’s something about Frankie’s music that makes young people of every generation want to get up and dance. Amid the disco era, the Seasons hit it big with “Who Loves You,” which reached No 3 in 1975, and “December 1963 (Oh, What a Night), a No. 1 record in 1976. On the other side of the Atlantic, “You’re Ready Now” and “The Night,” which didn’t do anything in the U.S., emerged from dance clubs in the north of England to become huge hits in Europe. Two decades later, in 1994, a dance club remix of “December 1963” climbed to No. 14 in the U.S. on the Billboard Hot 100. In 2000, a French-language rap version of “December 1963” went to No. 1 in Paris. And last July—yes, July of 2007—a remix of the Four Seasons’ 1967 hit “Beggin’ ” became the No. 1 dance record in Britain. This was eight months in advance of the scheduled March 2008 opening of Jersey Boys in London. Case closed: Frankie never went away.

Anyone who forgot about Frankie apparently never watched one of the most popular and critically acclaimed TV series in history: The Sopranos. The Seasons’ music could be heard in the show or sometimes over the credits. The characters often spouted their admiration for “Frankie Valli.” Tony Soprano bragged that he used the same florist as Frankie. And Frankie himself, in an acting role, guest-starred in Seasons 5 and 6 of The Sopranos as mobster Rusty Millio—until Rusty’s unfortunate demise in a hail of bullets.

Considering Frankie’s background, it’s a wonder he didn’t end up like Rusty rather than in the Rock and Roll Hall of Fame. Born Francis Castelluccio on May 3, 1934, he grew up in a public housing project—Stephen Crane Village—on the tough streets of Newark, New Jersey. As the character of Tommy DeVito, Frankie’s friend and fellow Four Season, says in Jersey Boys: “If you’re from my neighborhood, you got three ways out: You could join the army. You could get mobbed up. Or—you could become a star.” At an early age, Frankie chose Door No. 3. When he was seven, his mother took him to New York City’s Paramount Theater to see Frank Sinatra. “I saw Sinatra coming out on stage,” Frankie recalls, “and the way he was lit up, it was like he had an aura around him. I decided then and there that’s what I was going to do—be a successful singer.”

That’s not easy in the best of circumstances, and hanging out in Newark was certainly not the best of circumstances. Several of Frankie’s friends did stints in jail for small-time robberies, including two buddies, Tommy DeVito and Nick Massi, who would later become original members of the Four Seasons. If you didn’t watch out, Frankie says, “you could wind up in the trunk of a car.”

Fortunately, Frankie’s friends discovered that making music was a good way to stay out of jail and car trunks. In the early ’50s, DeVito headed a group called the Variety Trio, and one night he invited young Frankie on stage to sing “I Can’t Give You Anything But Love.” Soon, Frankie was known around the neighborhood for having the voice of an angel. In 1953, he caught the eye of music publisher Paul Kapp, who helped Frankie make his first record, “My Mother’s Eyes,” on the Corona label. Realizing that Castelluccio was “a little long for a marquee” (as his girlfriend kids him in Jersey Boys), he rechristened himself Frankie Valley (later Italianized to Valli), borrowing the name from friend and fellow performer Texas Jean Valley. “My Mother’s Eyes” made a little splash locally but sank without a trace outside Newark.

A bit of national attention didn’t come until 1956, when Frankie was in a group called the Four Lovers with Tommy, his brother Nick DeVito and Hank Majewski. They had a minor hit with “You’re the Apple of My Eye” by Otis Blackwell, who also penned “Don’t Be Cruel” for Elvis Presley. The Four Lovers also cut an album called Joyride and appeared on the Ed Sullivan Show. But even this modest success proved to be short-lived, and Frankie kept open his other main career path—cutting hair.

It wasn’t until 1959 that the Lovers, now numbering three (Frankie, Tommy and Nick Massi) started catching some big breaks. First, a friend named Joe Pesci (yes, the same Joe Pesci who would go on, improbably, to become an Oscar-winning actor) introduced the Lovers to Bob Gaudio, a piano-playing, song-writing prodigy and former member of the Royal Teens. He had co-written the monster hit “Short Shorts,” but then his Teens had returned to obscurity. After taking in Gaudio, the Lovers, now Four again, started working with Bob Crewe, a brilliant lyricist and producer with a golden ear (his songwriting credits already included “Silhouettes” for the Rays). Meanwhile, the Lovers flunked an audition to play at the cocktail lounge of a bowling alley in Union, N.J., but they decided the lounge’s name would make a classy moniker for a singing group: The Four Seasons.

For two years the Four Seasons sang background for Crewe’s other acts while working on a style of their own. Finally, in 1962, Gaudio came up with a song that made full use of Frankie’s remarkable range, from baritone to falsetto. When the unknown Seasons sang “Sherry” on American Bandstand, they suddenly became the hottest band in the land, and after nine years as a recording artist, Frankie Valli became an “overnight” sensation with a No. 1 record. The sound of “Sherry” was unlike anything else on the airwaves. “Many R&B groups had used falsetto as part of their background harmonies,” explains Frankie, “but we were different because we put the falsetto out front and made it the lead.”

Determined not to be a one-hit wonder again, Gaudio collaborated with Crewe, and the duo quickly composed two more No 1 hits for the Seasons: “Big Girls Don’t Cry” and “Walk Like a Man.” Gaudio and Crewe went on to become one of the most successful song-writing teams in pop-music history. Around the same time, Gaudio also formed a special partnership with Valli. With a handshake, Bob agreed to give Frankie half of everything Bob earned as a writer and producer, and Frankie agreed to give Bob half of Frankie’s earnings from performances outside the group. That partnership remains in force 45 years later, still sealed only with a handshake.

The fateful year of 1964 brought the British invasion, but that didn’t stall the Four Seasons. With the Gaudio-Crewe engine firing on all cylinders, the group released one smash after another: “Dawn (Go Away),” “Ronnie,” “Rag Doll,” “Save It For Me,” “Big Man in Town” and, in early 1965, “Bye Bye Baby (Baby, Goodbye).”

From late 1965 to 1967, Gaudio and Crewe began working on songs that Frankie could sing solo—adult-oriented songs that didn’t rely on his famous falsetto. Songwriting for the group was largely turned over to the team of Denny Randell and Sandy Linzer, who produced three straight giant hits: “Let’s Hang On,” “Working My Way Back to You” and “Opus 17 (Don’t You Worry ’Bout Me).” The Seasons also cracked the Top 10 with a gorgeous reinvention of the old Cole Porter standard “I’ve Got You Under My Skin.” Gaudio’s main contribution to the group during this period was “Beggin’,” written with Peggy Farina of the Angels.

Back in the studio, Gaudio and Crewe were still puzzling over songs that could give Frankie his own identity. After several unsuccessful attempts, they finally fashioned a signature song that would make Frankie a solo superstar: “Can’t Take My Eyes Off You.” Released in 1967, it went to No. 2 in Billboard and No. 1 in Cashbox. With the popularity of the original record and all the cover versions, “Can’t Take My Eyes Off You” has become one of the top ten most-played songs in the history of BMI, one of the two major companies that collect royalties for songwriters.

After “Can’t Take My Eyes Off You” came two more Top 40 solo hits: “I Make a Fool of Myself” and “To Give (the Reason I Live).” But unlike many lead singers who achieve solo success, leave their groups and never look back, Frankie stayed with the Four Seasons, producing hits in two parallel careers. While Frankie flourished solo, the Four Seasons stayed in the Top 40 with “C’mon Marianne,” “Watch the Flowers Grow” and a remake of “Will You Love Me Tomorrow.”

In the early 1970’s the Seasons finally had a cold spell. Massi and DeVito had left the group, and the lineup of players kept changing. But while Gaudio stopped touring with the group, he continued to write songs, and Frankie Valli remained one of the biggest names in the music business.

In 1975 Frankie came roaring back with “My Eyes Adored You,” which reached No. 1, “Swearin’ to God” and a cover of “Our Day Will Come.” That burst of success spurred Gaudio to put together a new Four Seasons, led by Frankie of course. With his future wife Judy Parker, Gaudio wrote “Who Loves You” and “December 1963 (Oh, What a Night),” two of the biggest hits in the Seasons’ history. The new hot streak culminated in 1978, when Frankie’s solo performance of “Grease,” featured not once but twice in the movie soundtrack, reached the inevitable No. 1 ranking in Billboard.

From 1962 to 1978, Frankie Valli and the Four Seasons sold more than 100 million records, even before the invention of the compact disc prompted Seasons collectors to buy the hits all over again. For decades after their heyday, Frankie and the Seasons continued to be a top concert draw, and radio constantly played their classics, not to mention the new remixes that kept popping up on the charts. In 1990 Frankie and the other original Seasons were inducted into the Rock and Roll Hall of Fame, only five years after the Hall opened for business.

But who could imagine that the first 45 years would be only the beginning—that Frankie Valli would celebrate 2007 with a new album and a heavy sold-out concert schedule? No other pop star has ever received the kind of new lease on life that Jersey Boys has given Frankie Valli. In addition to the three current productions of Jersey Boys, plans have been laid to take the play to London, Las Vegas and Toronto for open-ended runs. And producers are clamoring to bring the musical to Australia, Singapore, China and even Dubai—yes, the Dubai that’s part of the United Arab Emirates. Every major Hollywood studio has asked about making a Jersey Boys movie.

For as far into the future as anyone can see, Jersey Boys will introduce the music of Frankie Valli to new generations. Romancing The ’60s is a most welcome and long-awaited addition to that legacy. The man himself shows no signs of slowing down. As his character says at the end of Jersey Boys: “Like that bunny on TV with the battery, I just keep going and going and going.” For as long as he wants to sing, people will want to listen.