John Mellencamp will embark on a landmark tour this summer. The Dancing Words Tour — The Greatest Hits will take place across 19 U.S. cities.

The tour, produced by Live Nation, marks the first time Mellencamp will be performing all his most beloved songs in a single night, some of which haven’t been played live in many years.

Poised to be one of the most anticipated tours of the summer, fans can expect to hear Mellencamp’s best known songs including “Pink Houses,” “Jack and Diane,” “Small Town,” “Hurts So Good,” “Authority Song,” “Key West Intermezzo (I Saw You First),” as well as beloved tracks that he hasn’t performed live in ten plus years, including “R.O.C.K. in the U.S.A.,” “I Need a Lover,” “Wild Nights,” “Ain’t Even Done With the Night” among other long un-played gems.

Dancing Words Tour – The Greatest Hits kicks off July 10 and brings Mellencamp and his band to major markets and iconic venues across the U.S., including the Hollywood Bowl, Northwell at Jones Beach Theater, Xfinity Center and more. The Indiana-native will also be stopping at Indianapolis’ Ruoff Music Center.

Citi card members will have access to presale tickets beginning January 20 at 10 A.M. local time until January 22 at 10 P.M. local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.

Additional presales will run throughout the week ahead of the general on sale beginning January 23 at 10 A.M. local time at Mellencamp.com.

For more information about a variety of different VIP packages, visit vipnation.com.

Dancing Words Tour — The Greatest Hits Tour Dates:

July 10—Grand Rapids, MI—Acrisure Amphitheater

July 11—Tinley Park, IL—Credit Union 1 Amphitheatre

July 13—Kansas City, MO—Morton Amphitheater

July 14—Shakopee, MN—Mystic Lake Amphitheater

July 16—Clarkston, MI—Pine Knob Music Theatre

July 18—Noblesville, IN—Ruoff Music Center

July 19—Cincinnati, OH—Riverbend Music Center

July 21—Cuyahoga Falls, OH—Blossom Music Center

July 24—Mansfield, MA—Xfinity Center

July 25—Holmdel, NJ—PNC Bank Arts Center

July 26—Wantagh, NY—Northwell at Jones Beach Theater

July 29—Bristow, VA—Jiffy Lube Live

July 30—Charlotte, NC—Truliant Amphitheatre

August 1—Alpharetta, GA—Ameris Bank Amphitheatre

August 3—Tampa, FL—MIDFLORIDA Credit Union Amphitheatre

August 6—Houston, TX—The Cynthia Woods Mitchell Pavilion

August 9—Phoenix, AZ—Talking Stick Resort Amphitheatre

August 10—Hollywood, CA—Hollywood Bowl

August 12—Mountain View, CA—Shoreline Amphitheatre

Gibson has announced a partnership with Rolling Stones legend Keith Richards to introduce two 1960 ES-355 Collector’s Edition guitars.

This collaboration introduces the Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label, and the Keith Richards 1960 ES-355, Signed Label — both handcrafted by Gibson Custom in Nashville, Tennessee, and limited in numbers.

Developed in close collaboration with Richards himself, these guitars represent a rare opportunity for fans and collectors alike to own a signed replica of one of Keith’s best-loved and most recognizable guitars.

Only 50 of the Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label have been produced and will be available exclusively worldwide on Gibson.com and at the Gibson Garage in Nashville and London. These guitars have been signed both on the f-hole label by Richards and on the back of the headstock.

Additionally, 100 of the Keith Richards 1960 ES-355, Signed Label—signed by Richards on the f-hole label only—will be available at Gibson.com and Gibson Garage locations, and authorized Gibson Custom dealers.

Keith first used an ES-355 back in 1969, taking it out on the road and into the studio during the legendary recording sessions for Sticky Fingers and Exile on Main St. His black 1960 model has been a staple of every planet-straddling Rolling Stones tour since 1997.

The recreations of the ES-355 that Keith made famous were handcrafted in the Gibson Custom Shop in Nashville, Tennessee. “This is my standard-tuning six-string; this is the other side of my thing,” Richards explains in an exclusive interview for Gibson TV. “My six-string stuff has always been, you know, a great Gibson—that’s where I feel the most comfortable. And also with the sound. Put it through just about any amp, and it will sound the way you want it, because this has so much more room for expression.”

Responding to Gene Simmons’ recent claim that he “had nothing to do” with KISS’ 1976 hit “Beth,” Peter Criss told Billboard that Simmons’ description of the song’s creative process is “not correct.”

Simmons had told YouTube’s “Professor of Rock” that Criss’ role in the song has been overstated: “Peter had nothing to do with that song. He sang it…The mythology of ‘Beth’ is exactly that: mythology. The real story is Peter was lucky enough to be in the same place at the same time as a guy who wrote a song called ‘Beth.'”

“Gene wouldn’t know how the song was originally written because Gene wasn’t there from the conception of the song in the late ’60s and he wasn’t there for the completion of the song with Bob Ezrin,” Criss told Billboard. “Gene’s statements are ridiculous and very uncalled for; he talks about things that he doesn’t know about.”

“What Gene’s getting wrong is that as the singing songwriter, I wrote the melody and creating the phrasing for the song that’s on the original demo ‘Beck’ with Stan Penridge [his late bandmate from the pre-KISS Chelsea]. Out of Stan’s little black book what remained on the reworked version of ‘Beth’ is Stan’s original verse and chorus, and my core melody remains on the reworked composition. The core melody was expanded with Bob’s orchestration symphony and musical genius. Bob and I sat at the piano at the Record Plant studio working out the song. Bob Ezrin changed the tempo and made it slower, and I worked on changing some of the second verse and the phrasing with the slower tempo.”

Criss adds that, “Bob Ezrin changed the title from ‘Beck’ to ‘Beth’ — not Gene or anybody else. It was Bob Ezrin; He asked me, ‘Peter, do you mind if we change the title?’ I said, ‘Absolutely not. Beth is much better.’ Bob took the song home and fixed the rest of the lyrics and the structure of the song. He added piano, some time changes and the incredible orchestra composition which elevated the song beyond my wildest my dreams. It was mind-blowing.

Criss sang “Beth,” which he co-wrote with the late Stan Penridge and producer Bob Ezrin. The song, which was originally released as the B-side to “Detroit Rock City,” peaked at No. 7 on the Billboard Hot 100. The track was certified gold by the RIAA and won the People’s Choice Award in 1977. The song featured on KISS’ fourth studio album, Destroyer.

Rock legend Peter Frampton has announced the release of a special vinylphyle edition of his iconic album, Frampton Comes Alive!

Frampton Comes Alive! (Vinylphyle) 2LP will be released on January 22 via A&M/UMe.

One of the top-selling live albums of all time, Frampton Comes Alive! was originally released in 1976.

“I can’t believe it’s now been 50 years since Frampton Comes Alive! was released, but that record still feels like a living, breathing moment in my life,” says Frampton. “When we decided to do this Vinylphyle edition, it was important to me that it be done the right way.”

“I personally asked that the audio be sourced from the original 1975 Doug Sax production master because I wanted it to sound exactly as we heard it back then,” he added. “This album was born onstage, and hearing it presented this way on vinyl feels like bringing that energy back to life for longtime fans and new listeners alike.”

This limited Vinylphyle pressing of Frampton Comes Alive! is sourced from the original 1975 Doug Sax 1/4″ production master. The lacquer is cut by Joe Nino-Hernes and 180g black vinyl is pressed at RTI.

The package features a 4-panel insert that includes a new interview with Peter Frampton conducted by Anthony Fantano of the Needle Drop.