Pete Townshend revealed the Who's long-awaited Who's Next box set will be out this fall. During a lengthily chat with Record Collector, he spoke about the collection, explaining, "It's coming out, I think, in October. The big version of that is nearly three inches thick. . . Firstly, there's a graphic novel, coming out in July. That will also be part of the larger package later in the year. I got all the old demo tapes out and they all sounded really great. I'm really proud of the demos, and it's so good to hear them all together. They're not meant to tell the story of (the aborted concept behind Who's Next) Lifehouse, but one of the things that the album is supposed to trigger is new interest in the Lifehouse project."

He went on to say, "There's a documentary about Lifehouse, which is hopefully coming out in November. And I'm particularly interested in having one more stab at getting people to look again at what Lifehouse was. It's a sad story, because I wasn't able to complete the album as I wanted. But it also produced some of the best music that I've ever written. It has some of the most ordinary songs, but also some of the most stadium-worthy songs. So, as a package, I'm really, really excited about it."

Regarding previously unheard material, Townshend said, "There'll be some, but I think one of the things that's happened with the Who is we've done so much trawling through our old catalogue, because we've not been a recording band for so long, that we've pretty much rifled everything. The other thing is, I kept a few things back."

Lifehouse, which had huge Orwellian undertones, was based around Townshend's tale of society existing in pods which are controlled by an evil government that uses an Internet-like power grid to brainwash people and dupe them into thinking the experiences they go through are actually life. A revolution ensues before the masses are eventually freed as the humans become attuned to a single note of music.

Pete Townshend recalled creating the basic premise for the legendary and infamous Lifehouse story: "I want the story to be about music, I want it to be about the future, I want it to be about hope and vision -- but it's got to be rooted in reality. (It's) got to look at the possible problems. How could I make my character, effectively, deaf, dumb, and blind without doing it again, y'know? And I thought, I know what I'll do -- I'll make him live in the future and I'll put him in a suit. And he'll be in the suit and he won't live real life, he'll live pretend life. He'll live spoon-fed life. He'll live couch-potato life. He'll live the life brainwashers want him to live. And thus, he'll be deaf, dumb, and blind to his spiritual potential, which is his freedom to congregate with other human beings, interact with other human beings and live what we now call life."

Christina Aguilera is now selling personal lubricants.

RollingStone reports that as Co-Founder and Chief Brand advisor for Playground, she is working to to help de-stigmatize narratives around female sexuality, while working to "champion the brand's mission to create an open dialogue around sexual wellness."

She wrote on Instagram Tuesday (March 28th), "Sex is an essential part of our overall wellness, and @hello.playground is here to remind you that EVERY part of your body, not just your hair or your face, deserves to be pampered."

It was 37 years ago today (March 24th, 1986) that the Rolling Stones released their fourth studio album of the 1980's, Dirty Work. The album, which was recorded during 1985 in the midst of Mick Jagger and Keith Richards' slowly simmering cold war, saw the "Glimmer Twins" tracking their parts at different times, so as not to run into each other in the studio. Richards took exception that Jagger was more interested in promoting his 1985 solo debut, She's The Boss, than recording the new Stones album.

Dirty Work, which was co-produced by Jagger & Richards and Steve Lillywhite, was the band's first as part of their contract for CBS Records. It peaked at Number Four on both the U.S. and UK albums charts, but only spent a scant six weeks in the Top 10 of the Billboard 200. Dirty Work's lead single, a cover of Bob & Earl's 1963 hit "Harlem Shuffle," reached Number Five. Dirty Work holds the distinction of featuring the most number of co-written songs with guitarist Ron Wood -- a total of four.

Two other songs from Dirty Work are still regularly featured in the Stones' setlists -- Keith Richards' ballad "Sleep Tonight" and the Ron Wood co-write "One Hit (To The Body)." Among the high profile guests on Dirty Work were Jimmy Page, Bobby Womack, Jimmy Cliff, Anton Fig, Don Covay, Beverly D'Angelo, Kirsty MacColl, Patti Scialfa, and Tom Waits.

Noted Stones historian Bill German recalled that the tension in the band at that point stemmed from Mick Jagger blatantly putting his solo career before the Stones: "He didn't really wanna be there. He didn't really wanna be in the Stones at that point. Y'know, he was like the reluctant lead singer who had to contractually come in and sing the songs on Dirty Work. He really didn't wanna be there. Y'know, while they were recording Dirty Work, he was busy at the same time promoting his first solo album, She's The Boss."

Keith Richards told us that he's always had a soft spot for Dirty Work, which was overlooked in the wake of his and Jagger's late-'80s feud following Jagger's disinterest in recording and touring behind the album. Over 30 years on, it's clear to nearly everyone involved that Dirty Work planted the seeds for Richards' solo career: "Dirty Work for me was. . . I, I love the record and everything, but it was probably the most difficult one to make, because there was -- the tensions were all rising to the surface of whatever was going on. And I think it was probably Mick's and my frustration, really, just being in the Stones. But I wasn't, there was no way I was going to make the first move (laughs)."

Old friend, Jimmy Page supplied the distinctive lead work and solo on the album's lead track and second single, "One Hit (To The Body)." Shortly after the sessions, Page recalled the scene recording with the Stones: "It was a fantastic night, and the next night I was going to go down and put the solos on this thing, on their stuff, but when I got down there, Mick (Jagger) was there. I think it might've been some time since they've seen him prior to that. And he had just done a vocal on one of the numbers -- which is the one that I put some stuff on. Um, actually, at the time, I did bits and pieces on it and I don't really know now what, what I actually ended up (laughs) doing. Apparently, it's out and I'd really like to hear it, ‘cause I haven't (laughs)."

Mick Jagger credits a united professional front for the Stones' longevity over any fan's notion of a "brotherhood" with the rest of the band: "Relationships, for a long period, they go up and down, and sometimes they're good and sometimes they're not very good. Any internal, kind of, group of people always have varying groups of relationships with each other, so the dynamic changes. But, y'know, we sort of have common goals and so we try to get over the ups and downs and try and keep on the common goal."

Following the Dirty Work sessions, it would be four long years before the Rolling Stones would hit the studio again for 1989's Steel Wheels collection.

It was 50 years ago today (March 28th, 1973) that Led Zeppelin's fifth album, the beloved Houses Of The Holy, was released in North America. The collection went on to hit Number One the following May 12th, and held down the top spot for two weeks. In all, the album stayed in the Top 10 of the Billboard 200 albums chart for 14 weeks.

Houses Of The Holy -- which also topped the charts in England, Canada, and Australia -- was nominated for the Best Recording Package Grammy award. To date, Houses Of The Holy has sold over 11 million units in North America alone.

The eight-track album includes many of Zeppelin's best loved tunes: "The Song Remains The Same," "The Rain Song," "Over The Hills And Far Away," "The Crunge," "Dancing Days," "D'yer Mak'er," "No Quarter," and "The Ocean."

We caught up with Jimmy Page, who produced Houses Of The Holy -- as well as all the Zeppelin albums -- and asked him about the sessions the band held at Mick Jagger's English country estate, Stargroves. Seeing as how Zeppelin would be following the Who into the residence after they wrapped their own sessions -- we asked him if he asked either producer Glyn Johns and/or Pete Townshend about some of the prime spots to record in at Jagger's place: "I did actually go over to check out Stargroves and the Who were there -- I don't know if they were recording or rehearsing or what, to be honest with you. I just remember walking in and I'd hate that if someone walked in on my session. I sort of was invited into the house and they were sort of playing, and just remember seeing Pete Townshend on this orange Gretsch. But it was a trip! Y'know, it was Mick Jagger's country home and there were certain areas of the upstairs wing -- where the bedroom was -- it was out of bounds (laughs)."

Page explained his thought process behind layering the guitars on "The Rain Song": "On '(The) Rain Song' there's a whole sort of sonic perspective that was intended for the guitars on that; and to be frank, it's only the same sort of the sonic perspective that I would have for that particular track that I would have to another one -- although it would change, it would mutate."

Jimmy Page admitted there was a concerted effort to highlight Zeppelin's melodic capabilities on House Of The Holy: "I was definitely thinking in that mode -- from what you're saying. I mean, there's definitely an intent to come up with melody, whether it's in the form of a riff-induced thing, like 'Whole Lotta Love' -- I mean, that is like a voodoo melody. And when you come to something like, '(The) Rain Song,' that's an intentional sort of piece, a composed piece with melody. 'Dancing Days,' that really kicks its way into life, as, like -- it's a guitar riff with the bass and the drums sort of playing to it. And then Robert (Plant's) singing over it."

We asked Jimmy Page if there's footage of Led Zeppelin recording House Of The Holy -- or any of their albums for that matter: "No, no there isn't. Because it was a very sort of private world, it was ruthlessly efficient in its delivery of the music and there was no time for waiting to see whether somebody'd put a magazine in his camera and all of that. I mean, it was like pulling teeth just having a photographer in there on a couple of occasions. They were just interfering with the flow of what the music was about."

On October 28th, 2014, Led Zeppelin released a new, remastered edition of Houses Of The Holy, which features previously unreleased audio content in a variety of packages -- including a limited edition "Super Deluxe" box set.