Live Aid: The Day Heard Around the World

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On July 13, 1985, the world witnessed the first global musical event of its kind. The planet’s biggest and brightest musical artists banded together in unison for a day of camaraderie and caring with the purpose of ending famine in Ethiopia, and what a day it was. This year marks the 35th anniversary of Live Aid.

The event was the brainchild of Bob Geldof (Boomtown Rats) and Midge Ure (Ultravox) who created a global jukebox of artists including: David Bowie, Alison Moyet, Paul Young, Spandau Ballet, Duran Duran, Sting, Paul McCartney, Tom Petty, Mick Jagger, Tina Turner, Bryan Adams and many more.

Live Aid went down in history for many reasons, including the unfortunate Led Zeppelin reunion debacle, and Duran Duran’s final performance (until 2003) by the five original band members, which unfortunately included an unintentional off-key falsetto note by Simon Le Bon. The incident was notoriously referred to as “The bum note heard round the world.” Those fiascos aside, the day’s three most deliberated moments were performances by Madonna, Queen, and U2. [Read Full Feature]

Charles Kelley: ‘The Driver’

Kelley

Charles Kelley: The Driver

Lady Antebellum star Charles Kelley strikes out on his own with his first solo record, The Driver. At first, you may be wondering why the member of a mega-successful country trio would willingly leave his band mates in the dust to kick up his boot heels, but you won’t have to listen very long to resolve that burning question.

Kelley’s impressive solo debut features duets with Stevie Nicks, Dierks Bentley and Miranda Lambert, and contains captivating material from songwriting heavyweights Tom Petty (“Southern Accents”) and Chris Stapleton (“Lonely Girl”). Despite all of that, Kelley remains firmly planted in the driver’s seat on the album as his resounding vocal delivery effortlessly claims center stage.

The album’s shining moments include the haunting hit title track co-written with Eric Paslay and the gorgeous mid-tempo ballad “Round in Circles,” which Kelley co-penned with his singer-songwriter brother Josh Kelley. But it’s the surprising realism of the heart wrenching album closer “Leaving Nashville” that will not only give you chills, but will convince you why it was necessary for Kelley to deliver this first-class and important solo bow. The Driver serves as a much-needed reminder that there are still a few artists who firmly grasp the concept of how to make an album with a vital beginning, middle and end.