Vocalist Lou Koller of New York hardcore legends SICK OF IT ALL, who underwent chemotherapy last year after being diagnosed with an esophageal tumor, says that his cancer has returned, four months after he was declared "cancer free".

Earlier today (Tuesday, September 30),Lou released a short video message via the SICK OF IT ALL social media in which he said:  "Hey, everybody. What's up? It's Lou here. I don't know if you could tell it's me, with my new skeletal look that I have going on.

"Here's an update for you. It's not what I wanna make, but, unfortunately, the cancer's come back and he brought some friends with him.

"I was having a really hard time with my recovery. I was having a tough time gaining weight and keeping food down. So I had some scans done, and sure enough, he is back. But we're gonna take it day by day and see what happens.

"I wanna thank you all again for your moral support. The way you all reach out to me still is very — thank you very much. But I'll keep you updated and let you know how it goes. All right? We'll see you soon."

A benefit concert supporting Koller's battle with esophageal cancer was held on November 23, 2024 at Irving Plaza in New York City. The "I'm In The Fight With Lou" event featured performances by VISION OF DISORDER, LIFE OF AGONY and MUNICIPAL WASTE, as well as veteran New York hardcore acts KILLING TIME and CROWN OF THORNZ. Notably, it marked VISION OF DISORDER's first live appearance since 2018. It was also LIFE OF AGONY's first show since the band's singer Keith Caputo — who came out as transgender and assumed the name Mina Caputo in 2011 — announced that he had "cured" his gender dysphoria and was planning to "physically completely detransition" in 2025 before officially changing his name back to Keith Caputo.

After Lou went public in late June 2024 with the news that doctors discovered a cancerous tumor in his esophagus, his brother Pete, who plays guitar in SICK OF IT ALL — set up a GoFundMe campaign to help cover some of the costs of his cancer treatment and assist with living expenses while the group is off the road and unable to tour. That campaign has since raised more than $300,000, with fellow artists AFI, RANCID and DROPKICK MURPHYS contributing $5,000 apiece, and bands such as SNAPCASE and HOT WATER MUSIC also making generous donations.

The long-running New York Hardcore band subsequently canceled its previously announced European tour dates.

When Lou first posted about the diagnosis on social media, he said: "[Doctors] found a tumor in my esophagus that goes into my stomach, and I'll have to be getting treatment all summer — and of course, with full support of the band. As soon as they heard it, they were, like, 'Forget the tour. Just get healthy.' … They're all behind me staying home and us staying home."

Koller ended the message by saying: "I'll hopefully beat this thing and see you at the end of the summer … or maybe the winter."

SICK OF IT ALL's European tour was supposed to kick off in the Czech Republic on July 4, 2024.

SICK OF IT ALL's latest album, "Wake The Sleeping Dragon!", was released in November 2018 via Century Media.

In a new interview with Greg Prato of Ultimate Guitar, former SLAYER drummer Dave Lombardo was asked whom he would credit with setting the template for extreme metal and hardcore blast beats. He said: "I heard rumors of 'blast beat,' so that's double bass is going and the snare is, like, on top of the double bass, hitting at the same 32nd notes, or however you want to describe it. I heard it was jazz drummers, which I believe they probably did, because they did everything first before anybody. And then later I heard… It might have been Mick Harris from NAPALM DEATH. Back in the early days of NAPALM DEATH."

As for when he first incorporated the blast beat into his own playing, Dave said: "I started using a blast beat, I believe, during [SLAYER's] 'Christ Illusion'…No, no, actually FANTÔMAS. So, 2000 I believe I started using it."

A type of fast drum beat characteristic of extreme heavy metal styles such as black metal, death metal and grindcore, a blast beat is basically a single stroke roll broken up between the snare drum and the bass drum, with the hi-hat/ride hand playing unison strokes with the bass drum.

A year and a half ago, ANTHRAX drummer Charlie Benante once again said that his work with the 1980s hardcore/metal project STORMTROOPERS OF DEATH (S.O.D.) was instrumental in developing the blast beat. Benante told Drumeo at the time: "There was this one [STORMTROOPERS OF DEATH] song called 'Milk', and the riff was really fast and Danny Lilker, the [STORMTROOPERS OF DEATH] bass player, he said he wanted it to be more of a fast kind of paddling… So it's basically a one foot blast. And when we recorded it, we had so much fun doing it. And then when we would play it live, it would kind of evolve into — instead of a one-foot blast, it became [what is known as the blast beat today]."

Charlie continued: "The blast was something that — I think it's the first time it appears on a record. I think D.R.I. had something similar on the 'Dirty Rotten' EP. But I think this specific song and this specific band influenced a lot of bands to come. And I revisited the blast beat on [ANTHRAX's] 'State Of Euphoria' record in a song called 'Misery Loves Company'. And then on the ANTHRAX record 'We've Come For You All', there's a song called 'Black Dahlia' where the blast beat is in that, too. But I believe that the S.O.D. record was the first time it was ever recorded."

Asked where he started hearing the blast beat pop up in other bands and other records after the release of the STORMTROOPERS OF DEATH album, Charlie said: "I think the first time I heard it was maybe Pete Sandoval [of] MORBID ANGEL. And then CANNIBAL CORPSE, Paul [Mazurkiewicz] was doing it. And then, of course, the black metal band started to pick up on it. They did it a little differently — more of the two-foot, more independent. I think the best one for me was on the DIMMU BORGIR record with Nick Barker, the first one with Nick. I think that's when the blast beat became, like, 'What the fuck is that?' Especially for me, hearing that record for the first time, I was completely blown away by his playing and just the style and just the band itself. And then it started to become very popular. And then it started to get into the drumming, kind of the vernacular. And now you've got little kids and their mothers doing the blast beat."

Back in 2021, Benante was asked by "Drum For The Song" about his comment that he was "tired" of not being recognized as a pioneer of the blast beat. He said: "I have to clarify this. I didn't say I invented it. It was the first time that it appeared on a record; it was on the S.O.D. record. And other people had said that yes, of course, it's the first time it appeared on a record. And basically, what it was was the bass player in the band S.O.D., we had this song called 'Milk', and we basically collaborated on this drum beat, and it turned out to be called the blast beat. There was another band from New York, a hardcore band called NYC MAYHEM, and they would have these short bursts in their songs — kind of like D.R.I. or this other band called ADRENALINE OVERDOSE [A.O.D.] from New Jersey. And, yeah, they were doing something similar. And then on the first S.O.D. record, on the song 'Milk', is where that beat is. And it became very popular to this day. And that's it."

He continued: "But I never actually said that I was sitting in my room and I… We just kind of created this thing and we put it on the record, but other people were doing little bursts like that too. And it's funny — someone put a picture or they showed a video of a jazz drummer back in 1964 or something doing something similar, and it's, like, all right, dude, I get it. Do you think all of a sudden everybody was doing these blast beats because of this jazz drummer? No. A lot of it was because of that S.O.D. record. So, that's it. I just wanted to clarify it."

Benante previously discussed his role in developing the blast beat during an August 2019 interview with Drumtalk, the video podcast by German drummer and videographer Philipp Koch. At the time, he said: "There's this style of beat called 'blast beat,' and I will say that the first time ever that type of beat was recorded and played on a record was on this S.O.D. record that we did in 1985. And I'm tired of people not crediting that that was the first time. And, of course, people perfected it and play it way better, but that was the first time that a blast beat was on record. If you can prove me wrong, prove me wrong, but I believe that that was the first time. And, like I said, other people have mastered it and done it way better, and I never took it any further — that was it. It fit in that song 'Milk'. Like, when we would play it live, the more I played it, the more I started to develop a different way of playing it. Because I would always play it with a single kick drum, and I would either reverse it, which I think Paul [Mazurkiewicz] from CANNIBAL CORPSE played more of that style of blast beat. I would play it either with the ride or I would play it with the hat, reversing it. When S.O.D. would play more and more shows, I would always develop it and not just do a single kick — I would throw in a double. And then I discovered that some of the black metal bands, later on, were doing it [slightly differently]. So it was being developed even more. And then when I heard the DIMMU BORGIR record 'Puritanical Euphoric Misanthropia', Nick Barker's drumming on that record was, to me, one of those moments where another door opened and he took the blast beat style to a whole other level."

Asked if it felt like he was doing something new when he first came up with the drum beat for "Milk", Charlie told Drumtalk: "I remember when that song came out, 'Milk', with the blast beat in it, and many people were saying, 'What are you doing here? What are you doing?' And there was a part of me that was, like, 'I can't really tell you what I'm doing.' [Laughs] When we would play it, I would always see people watching me play it. And S.O.D. didn't play many shows, of course, but when we did play, we played the whole record. And it was never at the same speed that the record was recorded — it was live and it was just fast, so it was always moving forward."

Photo credit: Hannah Verbeuren

The official trailer for "Sharon & Ozzy Osbourne: Coming Home" can be seen below.

The one-hour film about the "last chapter" of Ozzy Osbourne's life, which was pulled from the BBC's schedule more than a month ago to respect his family's wishes, will now be shown on BBC One and iPlayer at 21:00 BST on October 2.

"Sharon & Ozzy Osbourne: Coming Home" had been due to air on BBC One and iPlayer at on August 18, but was removed from the schedule earlier in the day. It was replaced by an episode of "Fake Or Fortune".

The BBC later released the following statement: "Our sympathies are with the Osbourne family at this difficult time. We are respecting the family's wishes to wait a bit longer before airing this very special film."

Titled "Sharon & Ozzy Osbourne: Coming Home", the film was described as "the moving and inspirational account of the last chapter of Ozzy's life, told through unique and intimate access to the whole Osbourne family, including Sharon, Jack and Kelly."

Filmed over three years, "Sharon & Ozzy Osbourne: Coming Home" reportedly captures the extraordinary roller-coaster of their lives as Sharon and Ozzy attempt to complete their long-held dream of moving back to the U.K., Ozzy heroically battles to get fit enough to perform, and the family deal with the dramatic consequences of his ill health.

The film is full of love, laughter and tears and the kind of unforgettable family moments that we've come to expect from the Osbournes. It's a remarkably candid and uplifting tribute to one of the world's true icons, and documents the first family of rock as they are forced to accept, that, as Kelly says in the film, "Iron man wasn't really made of iron".

Clare Sillery, BBC head of commissioning, documentaries, previously said in a statement: "We are honored to have had the opportunity to film with Ozzy and his family. The film captures an intimate glimpse into their journey as they prepare to return to the U.K. It features family moments, humor, reflection and shows the enduring spirit that made Ozzy a global icon. We hope it brings comfort and joy to Ozzy's fans and viewers as they remember and celebrate his extraordinary life."

Ben Wicks and Colin Barr, executive producers at Expectation, added: "It was an incredible privilege to spend the last few years with Ozzy, as well as Sharon, Jack and Kelly. Ozzy wanted to make it back to the U.K. and appear on stage one last time — our film is an inspiring and poignant account of him fulfilling that dream. Ozzy was loved by millions around the world not just for his music, but for his sense of mischief and his honesty all of which we saw plenty of in the final years of his life. But one thing shone through even more brightly to us, and that was Ozzy's intense love for his exceptional family who were by his side through it all."

"Sharon & Ozzy Osbourne: Coming Home" is produced by Expectation in association with JOKS Productions Limited for BBC One and iPlayer. It was commissioned by Clare Sillery, BBC head of commissioning, documentaries. The BBC commissioning editor is Carl Callam. Executive producers for Expectation are Ben Wicks, Colin Barr, Rachael Barnes and Louisa McKay. The documentary is being distributed internationally by Banijay Rights.

Originally conceived as a series "Home To Roost", announced in 2022, the project evolved as Ozzy's health deteriorated into a one-hour film "Sharon & Ozzy Osbourne: Coming Home".

Ozzy died on July 22 of a heart attack, his death certificate revealed. The certificate also reportedly said the 76-year-old musician suffered from coronary artery disease and Parkinson's disease.

FOO FIGHTERS played a surprise show Tuesday night (September 23) at the 900-capacity Toad's Place in New Haven, Connecticut.

The band announced the pop-up performance on Monday, with fans rushing to get tickets, priced at $30, and some camping out so they could get the best spot inside when the doors opened.

"I can't believe we've never played this fucking joint," FOO FIGHTERS frontman Dave Grohl told the crowd during the show, which sold out in just a few hours.

Fan-filmed video of the concert can be seen in the YouTube playlist below, courtesy of the Steve's Concert Corner channel. (Note: After each song, the YouTube player automatically jumps to the next song in the playlist.)

FOO FIGHTERS' concert at Toad's Place was part of a string of pop-up shows that the band has played this month, most recently in Washington, D.C. and California.

This New Haven gig came roughly one year after the band canceled its appearance at Soundside Music Festival in Bridgeport, Connecticut.

FOO FIGHTERS played their first concert with new drummer Ilan Rubin on September 13 at the Fremont Theater in San Luis Obispo, California.

The Grohl-fronted outfit announced the surprise show the day before, revealing that it would play an all-ages gig at the 900-capacity venue, marking the band's first official performance with Rubin, the former NINE INCH NAILS drummer who joined the FOO FIGHTERS earlier this year.

At one point, Grohl introduced Rubin from the stage. "Everybody else has said it," Dave said. "I finally get the opportunity to say, 'Ladies and gentlemen, will you please welcome…' The most badass motherfucker, Ilan Rubin, is playing drums in the FOO FIGHTERS right now. It's official. You can stamp the passport."

Prior to the San Luis Obispo concert, FOO FIGHTERS had been off the road since September 2024.

FOO FIGHTERS will next play in Jakarta, Indonesia on October 2, followed by dates in Singapore, Tokyo and Osaka later that month. They will also play a show in Mexico City on November 14.

FOO FIGHTERS announced Rubin as their new drummer this past July.

Rubin was inducted into the Rock And Roll Hall Of Fame with NINE INCH NAILS in 2020.

Rubin stepped into the FOO FIGHTERS as the replacement for Josh Freese, who was fired from the group in May. Freese, meanwhile, who was the NAILS' touring drummer from 2005 to 2008, returned to the band earlier this summer.

Two years after he was recruited to fill the vacancy left by the late Taylor Hawkins, Freese shared a statement on Instagram on May 16 in which he said the FOO FIGHTERS called him earlier that week to let him know that they had decided "to go in a different direction with their drummer." Freese added, "No reason was given."

Rubin played with NINE INCH NAILS from 2008 to 2009, and again from 2013 until his latest exit. Rubin is also a member of Tom DeLonge's band ANGELS & AIRWAVES, and has played with Danny Elfman. He also recorded solo albums under the name THE NEW REGIME.

FOO FIGHTERS' 11th album, "But Here We Are", was released in June 2023 on Roswell/RCA.

Hawkins tragically passed away in March 2022 at the age of 50.

Hawkins was found dead in a hotel room in Colombia, shortly before FOO FIGHTERS were due to play a festival in Bogotá. No cause of death was ever announced.

Hawkins had been the FOO FIGHTERS drummer for 25 years, taking over from original drummer William Goldsmith in 1997.

FOO FIGHTERS staged two tribute concerts in honor of Hawkins. The first tribute concert took place September 3, 2022 at London's Wembley Stadium. A Los Angeles concert was held on September 27, 2022 and raised money for Musicares and Music Support charities and served as a farewell party for Hawkins's adopted hometown.

Other notable tributes to come in the months following Hawkins's death included a segment at the 2022 Grammy Awards, a drum circle in Taylor's hometown, and a live performance of the FOO FIGHTERS song "My Hero" by more than 1,000 musicians.

British metalcore icons ARCHITECTS have achieved a major career milestone, claiming their first No. 1 at U.S. Active Rock Radio with their single "Everything Ends" from their eleventh studio album, "The Sky, The Earth & All Between", released February 28 via Epitaph Records.

The single has already racked up over 25 million streams, underscoring the band's growing impact on both fans and radio alike. This accomplishment surpasses their previous top U.S. radio hit, "Animals", which reached No. 6 on MediaBase and No. 5 on Billboard Rock Airplay in 2021, marking a steady rise in ARCHITECTS' American presence. Meanwhile, "The Sky, The Earth & All Between" has sold over 80,000 album units, further solidifying the album's success.

Produced by Jordan Fish (BRING ME THE HORIZON, POPPY, HOUSE OF PROTECTION),the album has been widely praised for its ambitious soundscapes and dynamic songwriting. Alongside "Everything Ends", standout singles including "Seeing Red" (No. 13 Spotify Viral 50 US) and "Curse" (featured in WWE 2K25),have solidified ARCHITECTS as one of the most vital forces in modern metal.

ARCHITECTS revealed the first single from the album, "Seeing Red", in December 2023 and second single, "Curse", in April 2024.

From their early days playing pub shows in Brighton to sharing stages with legends like METALLICA and LINKIN PARK, ARCHITECTS have consistently pushed the boundaries of heavy music. "The Sky, The Earth & All Between" represents a bold evolution, fusing ferocious energy, intricate melodies, and emotional depth — a signature sound that has now earned them their first American radio chart-topper. After delivering a high-octane U.S. tour this past fall, the band is now preparing for upcoming dates across Europe and Australia.

Photo credit: Ed Mason

In a new interview with Fail Better With David Duchovny, the podcast hosted by actor David Duchovny, KISS bassist/vocalist Gene Simmons reflected on the recent passing of BLACK SABBATH legend Ozzy Osbourne. Gene said (as transcribed by BLABBERMOUTH.NET): "That was heartbreaking, 'cause I knew him for decades and decades. And there was a unique human being, a giant who, no matter what anybody said, was always Ozzy and treated you and the next door neighbor exactly the same. 'Hey, how are you? Nice to see you.' No airs about him. No anything. And it's a good lesson for idiots like me who sometimes — guilty as charged — get full of themselves and say, 'Wow, I'm Gene Simmons.' And if you would've met Ozzy, you're on your best behavior, because it was a big deal. 'Nice to see you. You know, I just bought Vermont,' those sorts of stupid things which you just meant to impress. [He was] not about that at all. Just, 'Hey, how are you? How are the kids?' So it is humbling for someone like me who based my life on creating armor around me so that I wouldn't be hurt — change my name, change my appearance, do whatever I have to do to survive and appear stronger and more successful than I am."

Gene continued: "People think I'm much richer than I actually am. I mean, I've done okay, but [they say], 'Oh, you must have billions.' No, I don't. It's just that thing. And I like that thing because it means you might not be hurt as much, 'cause there are a lot of people who are out to get you, because they have empty lives; I don't know why. But humbling — it's important for people like yours truly… It is important to meet somebody like Ozzy, who is just himself, whether — now, of course, when he gets up on stage, it's more like scream therapy. You get out there and it's just all energy coming, but strangely, the real Ozzy — he's supposed to be the Prince Of Darkness, and yet in the shows he blows kisses to the fans and goes, 'I love you.' If you were the Prince Of Darkness, that's like anti — that's kind of like a good guy. He was a giant."

Gene previously talked about Ozzy's death in late July during an appearance on Piers Morgan Uncensored. After host Piers Morgan noted that the debut SABBATH album was a "revolutionary" record when it came out in 1970, Gene concurred. "Well, when you first heard it… I mentioned this before elsewhere that I was reading Rolling Stone [magazine], and when you got to the back cover, there was an ad, a black ad with silhouettes of figures," he recalled. "You didn't quite know what it was. BLACK SABBATH. But the headline said 'BLACK SABBATH — louder than LED ZEPPELIN'. I went, 'Oh my God. I've gotta check this band out. What's this about?' And in the early days, we found ourselves playing with SABBATH — three or four shows, 1974 I think it was. And it was not a big hall — 3,000 seats maybe — and on the way off the stage, Geezer [Butler, SABBATH bassist] was off stage, the great bass player, and with the heels on and everything, I was about seven feet tall, and Geezer is not; Geezer is regular height. And Ozzy tells the story of how Geezer goes back to Ozzy and starts talking, 'What's this band blowing up bombs and all? What's that about?' But I'll tell you what happened is on the way off the stage, Ozzy was going on the stage and we were going by each other and I was aware, 'Oh, this is the lead singer of BLACK SABBATH.' And he walked over and he put his hand out. He says, 'Hello, I'm Ozzy. Nice to see you.' I was fully in my the stage thing. And he [went] just matter of fact, 'Hi, I'm Ozzy. Nice to see you.' I was so caught off guard. And then he went on stage and went crazy.

"What a giant," Gene continued. "People have called me, people in the industry, but there were two fans who were on the phone together that I happened to know, and they couldn't get the words out [because they were mourning Ozzy's death]. They were just bawling. They were just crying. Kept crying. One would start talking about, 'Remember when Ozzy…' And then they would get back to crying.

"He was a giant," Simmons repeated. "What a terrible, terrible loss."

Asked how good of a singer Ozzy was from a technical standpoint, Gene said: "He's never gotten the credit. Ozzy never tried to change his voice. When I sing in KISS or when [METALLICA's James] Hetfield or anybody gets up there, we put on the gruff [tone], we put on the meat grinder in our voice to try to do that. Ozzy was always Ozzy; he sang melody.

"It's funny," he continued. "Ozzy and I ran into each other at an event, and we were sitting with each other and talking. And he said this in public, but he said it to my face. I said, 'So what do you think? What kind of music you like?' 'Oh, I love THE BEATLES.' 'Oh, yeah. Me too. Me too.' 'Who else?' 'I love ABBA.' ABBA?

"The rest of us are all trying to pick the right things to say to bolster our public image. Ozzy didn't give a squat. He was Ozzy, and caution be damned. Take it or leave it.

"Maybe the Greeks were right after all," Gene added. "To thine own self be true. Ozzy was always Ozzy, and he was not a made-up thing. We created our stage personas, with the makeup and sticking my tongue out and all that stuff. Ozzy just walked out on stage… and just let it all hang out. And the love and admiration, not just of the industry but the fans is unequaled. I know right now there are millions of fans — I'm getting choked up myself — there are millions of fans who are just devastated and crying. What a giant."

On the day of Ozzy's death, Gene sat down with NBC News' Gadi Schwartz to discuss Osbourne's legacy and their longtime friendship and intertwined early careers in the music industry. Asked how he remembered the BLACK SABBATH singer, Gene said: "Well, I remember the man. In 1974, we were both trying to forge our paths and we actually played on the same bill. And I will tell you that the masses, the fans are grieving. What can you say? It's just broken hearts. And when I tell you my heart, my prayers and millions of others' to Sharon and the kids.

"People think of him as the Prince Of Darkness and on stage, of course, this huge persona, a giant, but at the same time, [he was] a loving father and a dedicated husband," Gene continued.

"You can say whatever you want about Ozzy. There never was an Ozzy before Ozzy," Simmons added. "You can't really point to anybody and say, 'Oh, yeah, that's where he came from.' Scientists call that a singularity, an anomaly. He was just kind of born Ozzy, and as far as I know, his entire life — to thine own self be true, the Greeks say. Ozzy was always Ozzy — through disco, through whatever musical genres there were, Ozzy was always Ozzy all the way to the end."

Reflecting on Ozzy's final performance, which took place on July 5 at the "Back To The Beginning" event in Birmingham, United Kingdom, Gene said: "It was shocking to see him on his throne, with everybody paying tribute — as well they should — to SABBATH. There wouldn't have been METALLICA and lots of other bands. And Ozzy was just giving it all. And you couldn't tell — you couldn't tell. And a week later, devastating [news about his death]. I mean, the fans, my social media and my phone's been off the hook. People are just crying. They're just devastated. What can you say?"

Gene also talked about his initial introduction to BLACK SABBATH's music, saying: "My first impression of SABBATH was a full-page ad in the back of Rolling Stone [magazine], and it said, 'BLACK SABBATH: Louder Than LED ZEPPELIN.' And I went, 'Oh, yeah. That's the coolest of the cool.' And media being what it is, it promotes everybody. But then when you see SABBATH, it just had, certainly at the time — there was nothing like that on stage. And. When you saw Ozzy running around on stage, you're thinking, 'This is somebody who should be committed,' just a crazy man.

"I've never read [a review] or saw a SABBATH show ever where you got the sense that Ozzy was just going through the paces and, 'Oh, boy. Here's the song. You want the greatest hits,'" Gene continued. "They never played the game, the 'I love you. You're the only one for me. You broke my heart,' you know, those lyrics, which are —let's face it — they're not true.

"People don't realize that Ozzy, though he didn't play an instrument, those are his melodies," Simmons added. "That's him writing melodies and lyrics and crafting that sound, that enormous guitar that [Tony] Iommi has that just shook the heavens, the guitar that ruled the world.

"Ozzy, there never was one like him and probably never will be."

Also paying tribute to Ozzy was Gene's bandmate, KISS co-founder Paul Stanley, who wrote in a post on X: "We have lost a legend. From SABBATH to 'Blizzard' and onward Ozzy has impacted countless bands and that will not end.

"KISS was humbled to be an opening band for SABBATH in the mid 70's.

"Through decades I've known him, Ozzy has always been a kind and very funny soul. Fly high now."

Ozzy died on July 22 of a heart attack, his death certificate revealed. The certificate also reportedly said the 76-year-old musician suffered from coronary artery disease and Parkinson's disease.

Experience Hendrix L.L.C. and Legacy Recordings are releasing Bold As Love by the Jimi Hendrix Experience on November 7.

Produced by Janie Hendrix, original Experience recording engineer Eddie Kramer, and John McDermott, this expansive collection is available as either a five vinyl LP plus Blu-ray, or four CD plus Blu-ray set. The deluxe box set includes the original stereo and mono mixes of Axis: Bold As Love remastered from the original mixes created by Hendrix, the album’s producer Chas Chandler and original engineer Eddie Kramer. Kramer and engineer Chandler Harrod recently created brand new immersive Dolby ATMOS mixes of the entire 13 song album. The box set presents an additional 40 alternative versions, unreleased studio takes, demos, live tracks and television appearances from the album’s gestation and recording period, 28 of which have never before seen the light of day. One of these tracks, a previously unreleased October 1967 studio demo of “Stone Free/Up From The Skies [Demo],” has been made available today.

Pre-order Bold As Love by the Jimi Hendrix Experience here.

By May 1967, the Jimi Hendrix Experience had finalized their groundbreaking debut album Are You Experienced at Olympic Studios in London, and immediately began work on their next album. Jimi Hendrix arrived in London in late September 1966 and soon amassed three top 10 singles in their UK homebase, followed quickly by success across Europe but were yet to conquer the US. In June 1967, the group left for the US to make their American debut at the Monterey International Pop Festival. Their stunning Monterey debut—complete with Hendrix setting his guitar alight at the close of his performance, propelled them across the US throughout the summer of 1967. Before returning to London, producer Chas Chandler recorded the group’s fourth single “Burning Of The Midnight Lamp” b/w “The Stars That Play With Laughing Dice” at sessions in New York and Los Angeles. Bold As Love showcases previously unreleased versions of both of these songs.

Starting on October 1, 1967, Chandler—the former Animals bassist who served the Experience as its producer—led the group back to Olympic Studios in London to resume work on what would become Axis: Bold As Love. Chandler was determined to help Hendrix make a critical leap forward creatively. He worked closely with Hendrix to prepare his new songs for recording and even took the unusual step of same day, double booking both Olympic and Regent Studios in London so that the group would have a firm handle upon the arrangements of Hendrix’s stock of exceptional new material. Surviving two-track demos from Regent include Hendrix’s unique hybrid “Stone Free,” which had been the b-side of his December 1966 debut single, together with an uptempo rendition of “Up From The Skies”.

Axis: Bold As Love was released in the UK and Europe in December 1967 to great acclaim and commercial success. In the US, where Are You Experienced had only just been issued in late August, Reprise issued the album in January 1968 where it too became a best seller. Evergreen favorites such as “Little Wing,” “Spanish Castle Magic” and “Castles Made of Sand” have been covered by countless artists throughout the world. The iconic “If 6 Was 9,” was used with dramatic effect as part of the soundtrack for the film Easy Rider.

Watch the video for “Stone Free/Up From The Skies” [Demo] below.

The Bold As Love box set encompasses Hendrix’s effort to craft his definitive follow up to Are You Experienced. In addition to the demos made at Regent Sound, the collection showcases Hendrix’s unique creative approach to recording, drawing upon previously unreleased takes of songs from the Axis: Bold As Love album. These include previously unreleased alternate takes recorded at Olympic (“Spanish Castle Magic,” “You Got Me Floatin’,” “One Rainy Wish,” “Up From the Skies,” “Wait Until Tomorrow” and others) as well as alternate versions of songs, most notably “Castles Made of Sand” with a backwards guitar track, are also represented on Bold As Love. The Experience’s performances on British tv programs Top of the Pops and Dee Time, Dutch tv program Hoepla, and eight songs from a September 1967 concert in Stockholm round off the bonus tracks. Music journalist David Fricke and Experience Hendrix’s John McDermott provide comprehensive liner notes that tell the complete history of this exciting period for the band.

Janie Hendrix, President and CEO of Experience Hendrix, L.L.C. commented, “Jimi was fearless in his artistic expression. Each song, each lyrical composition was and is an invitation for those listening to be free to feel. His music was an unapologetic statement of how he perceived the world and all the emotions it evoked. Bold As Love is the creative embodiment of those feelings. The Bold As Love set masterfully reintroduces the beauty of Jimi’s musical depth, highlighting a significant segment of not just his career, but his life.”

The cover art, a drawing done by Jimi when he was five years old, was hand selected by his sister Janie. It was kept by their father, giving it added special meaning. “I thought it was perfect for this project. It’s a colorful dragon that depicts exactly what the song ‘Bold As Love’ is talking about — the empowerment of each color of the rainbow. I don’t believe there could be a better reflection of the message in the song.”



Bold As Love vinyl tracklisting:

LP One (Axis: Bold As Love Original Stereo Mix)

Side A
“EXP”
“Up From The Skies”
“Spanish Castle Magic”
“Wait Until Tomorrow”
“Ain’t No Telling”
“Little Wing”
“If 6 Was 9”

Side B
“You Got Me Floatin’”
“Castles Made Of Sand”
“She’s So Fine”
“One Rainy Wish”
“Little Miss Lover”
“Bold As Love”

LP Two (Axis: Bold As Love Original Mono Mix)

Side A
“EXP”
“Up From The Skies”
“Spanish Castle Magic”
“Wait Until Tomorrow”
“Ain’t No Telling”
“Little Wing”
“If 6 Was 9”

Side B
“You Got Me Floatin’”
“Castles Made Of Sand”
“She’s So Fine”
“One Rainy Wish”
“Little Miss Lover”
“Bold As Love”

LP Three

Side A
“Mr. Bad Luck” [Take 6]*
“She’s So Fine” [Take 4]*
“Burning Of The Midnight Lamp” [Take 30]*
“The Stars That Play With Laughing Sam’s Dice” [Paramount Studios]*
“Burning Of The Midnight Lamp” [Instrumental]*
“The Stars That Play With Laughing Sam’s Dice” [Instrumental]*

Side B
“Stone Free/Up From The Skies” [Demo]*
“Up From The Skies” [Take 2]*
“Ain’t No Telling” [Demo]*
“Ain’t No Telling” [Take 12]*
“Little Miss Lover” [Demo]*
“One Rainy Wish” [Take 1]*
“You Got Me Floatin’” [Take 1]*
“Untitled Guitar Experiment”*
“Castles Made Of Sand” [Take 16]*

LP Four

Side A
“Bold As Love” [Take 19]*
“Wait Until Tomorrow” [Take 2]*
“Spanish Castle Magic” [Take 2]*
“Little Wing” [Take 2]*
“Untitled Instrumental #1” [Take 3]*
“Untitled Instrumental #2” [Take 1]*

Side B
“Little Miss Lover” [Alternate Version]*
“Spanish Castle Magic” [Take 4]*
“Wait Until Tomorrow” [Take 14]*
“Castles Made Of Sand” [Backwards Guitar]*
“One Rainy Wish” [Alternate Version]*
“Burning Of The Midnight Lamp” [Original Mono Mix]
“The Stars That Play With Laughing Sam’s Dice” [Original Mono Mix]

LP Five

Side A
“Sgt. Pepper’s Lonely Hearts Club Band” [Sweden]
“Fire” [Sweden]
“The Wind Cries Mary” [Sweden]
“Foxey Lady” [Sweden]
“Hey Joe” [Sweden]
“I Don’t Live Today” [Sweden]

Side B
“Burning Of The Midnight Lamp” [Sweden]
“Purple Haze” [Sweden]
“Burning Of The Midnight Lamp” [Dee Time]
“Purple Haze” [Hoepla]*
“Foxey Lady” [Hoepla]*
“Burning Of The Midnight Lamp” [Top Of The Pops]

* Previously Unreleased Recording

Bold As Love CD tracklisting:

CD One (Axis: Bold As Love Original Stereo Mix)
“EXP”
“Up From The Skies”
“Spanish Castle Magic”
“Wait Until Tomorrow”
“Ain’t No Telling”
“Little Wing”
“If 6 Was 9”
“You Got Me Floatin’”
“Castles Made Of Sand”
“She’s So Fine”
“One Rainy Wish”
“Little Miss Lover”
“Bold As Love”

CD Two (Axis: Bold As Love Original Mono Mix)
“EXP”
“Up From The Skies”
“Spanish Castle Magic”
“Wait Until Tomorrow”
“Ain’t No Telling”
“Little Wing”
“If 6 Was 9”
“You Got Me Floatin’”
“Castles Made Of Sand”
“She’s So Fine”
“One Rainy Wish”
“Little Miss Lover”
“Bold As Love”

CD Three
“Mr. Bad Luck” [Take 6]*
“She’s So Fine” [Take 4]*
“Burning Of The Midnight Lamp” [Take 30]*
“The Stars That Play With Laughing Sam’s Dice” [Paramount Studios]*
“Burning Of The Midnight Lamp” [Instrumental]*
“The Stars That Play With Laughing Sam’s Dice” [Instrumental]*
“Stone Free/Up From The Skies” [Demo]*
“Up From The Skies” [Take 2]*
“Ain’t No Telling” [Demo]*
“Ain’t No Telling” [Take 12]*
“Little Miss Lover” [Demo]*
“One Rainy Wish” [Take 1]*
“You Got Me Floatin’” [Take 1]*
“Untitled Guitar Experiment”*
“Bold As Love” [Take 19]*
“Castles Made Of Sand” [Take 16]*
“Wait Until Tomorrow” [Take 2]*
“Spanish Castle Magic” [Take 2]*
“Little Wing” [Take 2]*
“Untitled Instrumental #1” [Take 3]*
“Burning Of The Midnight Lamp” [Original Mono Mix]
“The Stars That Play With Laughing Sam’s Dice” [Original Mono Mix]

CD Four
“Little Miss Lover” [Alternate Version]*
“Spanish Castle Magic” [Take 4]*
“Wait Until Tomorrow” [Take 14]*
“Castles Made Of Sand” [Backwards Guitar]*
“One Rainy Wish” [Alternate Version]*
“Untitled Instrumental #2” [Take 1]*
“Burning Of The Midnight Lamp” [Dee Time]
“Sgt. Pepper’s Lonely Hearts Club Band” [Sweden]
“Fire” [Sweden]
“The Wind Cries Mary” [Sweden]
“Foxey Lady” [Sweden]
“Hey Joe” [Sweden]
“I Don’t Live Today” [Sweden]
“Burning Of The Midnight Lamp” [Sweden]
“Purple Haze” [Sweden]
“Burning Of The Midnight Lamp” [Top Of The Pops]
“Purple Haze” [Hoepla]*
“Foxey Lady” [Hoepla]*

* Previously Unreleased Recording

During an appearance on today's (Wednesday, September 24) episode of SiriusXM's "Trunk Nation With Eddie Trunk", MÖTLEY CRÜE frontman Vince Neil discussed his recent revelation that he had suffered a stroke last December. A couple of months after the health scare, the band announced that its residency at Sin City's Dolby Live at Park MGM — originally set to run March 28 through April 19 — had been delayed until September. At the time, MÖTLEY CRÜE's statement said only that the singer required a "medical procedure." The CRÜE also canceled May's planned performance at Maryland's Boardwalk Rock festival.

Regarding how he found out he had a stroke, Vince told "Trunk Nation" (as transcribed by BLABBERMOUTH.NET): "It was Christmas night, and I went to sleep. I woke up and I couldn't get out of bed. I'm, like, 'What's going on?' And my left leg wouldn't work, and my left arm wouldn't work. So I had to get help out of bed. I couldn't push myself up to get myself comfortable in bed. And I had to have help. And slowly but surely, the sensation came back in my legs. And I had to learn to walk again. I went from a wheelchair to a walker to a cane to — I can walk now, but for five months it was just off and on, not knowing what's gonna happen. And the doctor said that I probably wouldn't be on stage again. And I was, like, 'No, man. I can't do that.' And so I just tried. I worked my butt off to get back in shape to go on stage. And I was really sad to have to cancel those shows, but I just wasn't ready yet. I wasn't ready to be back on stage yet. It was really sad, but it's really worth it now, 'cause I can get on stage and sing and all that good stuff."

Asked by host Eddie Trunk if he knew right away that he had suffered a stroke, Vince said: "Well, Rain [Vince's then-girlfriend] has an aunt who's a nurse, and she called her aunt, and she said, 'This is what's going on with Vince,' and [her aunt] goes, 'He's had a stroke.' And by then it was just too late to go to the hospital because you have to get [there] within, like, 12 hours or something. And I was just kind of, like, 'Oh, it's gonna go away. It's gonna go away.' … I thought, 'Oh, well, it'll come back in a little bit.' But it didn't. Yeah, that was the hard part. Then I went to the hospital. They said I had a stroke, and they go, 'We can't do anything for you now because you've already had it and you've gone past that time' where they give you this drug — it makes it so you're not numb on the side."

Regarding what caused his stroke, Vince said: "Well, they said that I had a blood clot in my leg that ran up through to my brain. And they showed me — I had a neurologist come out and they took x-rays and stuff, and you see I had scars in my brain. [And they said], 'See that's where you had a stroke.'"

Neil went on to say that his father "died of a stroke" back in March 2021. "I moved him to Nashville, right down the street from my house," he explained. "And he was pretty bad. He couldn't talk. It was really sad. And he had to have a helper help him, and had to have a motorized wheelchair and stuff. He fought through it, but the stroke just took him out."

As for what Neil's post-stroke recovery entailed, Vince said: "Lots of physical therapy. At first I went to a place for 10 days in Nashville, and they worked with me at the very beginning to get back the memory stuff that I have. And then I just hired a physical therapist to go to my house every day. And he was a physical therapist that does football players and stuff like that. So he had me running and doing the things on the ladder, the ladder on the floor, running those back and forth, doing massages, my hand, my arm. But he brought all of it back. He got me through all this."

Vince revealed that he found out from the doctors that he had actually had "four strokes throughout the years. Two of 'em I didn't even know I had," he said. "One of 'em was a mini stroke that happened and I just lost feeling in my hand. And that was it. And I got over that pretty quickly. But then this last one, it was a big one."

Asked by Trunk how the doctors knew that Neil had the other strokes in the past, Vince said: "Because they could see it in your brain. It's scarred right around the same spot. I had four scars in my brain, and the neurologist said those are all strokes."

Vince added that he only learned now that he had some of the other strokes. "I can't remember any other time I felt weird or something," he said. "It must have happened and I got over it. I didn't even know it."

As for when he made the decision to return to the live stage, Vince said: "I had these concerts lined up, with the solo band too, which I canceled. And then I went back and tried to do three [solo] shows [in August]. And those were all right, but I should have canceled those too. But I wasn't a hundred percent ready to go back out on stage. It was a little too early for me, and I just thought, 'I've gotta get myself together more.' And I'm 95 percent good right now. I'd like to get that other 5 percent… I really wanted to get ready for [the MÖTLEY CRÜE residency]. There's things that I can't do on stage still. It's hard to run back and forth on that stage. That stage is so huge. But I'm getting used to it."

Neil also addressed the fact that MÖTLEY CRÜE didn't disclose the exact nature of his health setback until he told the Las Vegas Review-Journal that he had suffered a stroke while asleep on Christmas night, and woke up the next day unable to get up.

"I just said, 'Let's just say it's a medical thing happening and I had to cancel,' let people figure out what they wanted," Vince said of the decision to keep his condition under wraps. "But then I decided that it was probably time to tell people what it was. And so I had an interview with John [Katsilometes of the Las Vegas Review-Journal], and so I told him. And that went everywhere. It was crazy."

Prior to Vince's August 1, 2025 concert at the MGM Music Hall at Fenway in Boston, Massachusetts with his solo band, Neil hadn't performed live since hitting the stage with MÖTLEY CRÜE in October 2024 at the Aftershock festival in Sacramento, California.

The new show dates for MÖTLEY CRÜE's Las Vegas residency at Dolby Live at Park MGM will take run through October 3. Tickets from the original dates will remain valid for the newly announced dates.

The CRÜE's third Vegas residency is being billed as a "tell-all show [that] will immerse the audience in the band's history, leading all the say through their record-breaking 'Stadium Tour'." They previously set up shop in Vegas in 2012 for "Mötley Crüe Takes On Sin City" and in 2013 for "Evening In Hell".

In October 2024, MÖTLEY CRÜE released a new EP, "Cancelled". Produced by Bob Rock, the EP marked the band's first release with Big Machine and included three new tracks: Top 5 Rock Radio hit "Dogs Of War" a cover of the BEASTIE BOYS' "Fight For Your Right" and the title track, "Cancelled".

This past February, Neil's Learjet aircraft was involved in a collision in Scottsdale. Vince was not on his jet when it collided with another plane in the fatal incident, leaving one dead and several hospitalized.

John 5 joined MÖTLEY CRÜE in the fall of 2022 as the replacement for the band's co-founding guitarist Mick Mars. Mick announced his retirement from touring with MÖTLEY CRÜE in October 2022 as a result of worsening health issues.

During the Full Metal Cruise XII Part I, German thrashers KREATOR were joined by legendary German guitarist Uli Jon Roth for a performance of the band's song "Strongest Of The Strong". Fan-filmed video of Uli's appearance can be seen below.

The first part of Europe's loudest and hardest cruise set off from Kiel, Germany on September 20, 2025, heading through the Baltic Sea to the Lithuanian port of Klaipeda. From there, the ship traveled across the bay of Gdansk back to Kiel, where the metalheads were bid farewell on September 25, 2025, and new cruisers will be welcomed on board for the second route. Part II of the cruise will set sail for Visby on the Swedish island of Gotland, returning to Kiel via the Latvian capital Riga on September 30, 2025.

KREATOR will release its sixteenth studio album, "Krushers Of The World", on January 16, 2026 via Nuclear Blast Records.

KREATOR recorded "Krushers Of The World" at Fascination Street Studios in Örebro, Sweden with producer Jens Bogren. Bogren previously helmed KREATOR's "Phantom Antichrist" (2012) and "Gods Of Violence" (2017) LPs.

Following the recent releases of the KREATOR documentary film "Hate & Hope" as well as "Your Heaven, My Hell", the autobiography of KREATOR frontman Mille Petrozza, "Krushers Of The World" will be the next step in the evolution of KREATOR — a band that is still at its peak more than forty years into its career.

"Krushers Of The World" is not a shy title — it is a statement, an expression of pride and self-awareness knowing how long and hard the band's path has been and knowing what they still have to say and share with their ever-growing following. After the buzz around the movie and book, it is time for KREATOR to let the riffs, the roaring vocals and thunderous drums do the talking.

Alongside the album news, KREATOR revealed plans for a monumental European tour across 20 countries, joining forces with fellow metal powerhouses CARCASS, EXODUS and NAILS.

The tour kicks off on March 20, 2026 in Lisbon, Portugal, at MEO Arena and wraps up on April 25, 2026 in Copenhagen, Denmark, at Poolen. Highlights include shows in London, Manchester, Glasgow, Paris, Milan, Berlin, Stockholm, and more.

A new KREATOR single, "Seven Serpents", will arrive this Friday, September 26, alongside album pre-orders and a tour pre-sale, with general tickets going on sale Monday, September 29 at 10 a.m. local time.

KREATOR's upcoming effort will be the follow-up to 2022's "Hate Über Alles", which was recorded at Hansa Tonstudio in Berlin, Germany. Helming the sessions for that LP was Arthur Rizk, who has previously worked with CAVALERA CONSPIRACY, CODE ORANGE, POWER TRIP and SOULFLY, among others.

"Hate Über Alles" marked KREATOR's first album with bassist Frédéric Leclercq, who joined the group in 2019.

The official KREATOR documentary, "Hate & Hope", was shown on July 2 at the 42nd Munich International Film Festival and received a theatrical premiere on September 4. The 110-minute film was directed by Cordula Kablitz-Post.

As previously reported, Mille's official German-language autobiography, which he wrote with journalist, author and presenter Torsten Groß, "Your Heaven, My Hell - Mein Leben, Heavy Metal Und Wie Das Alles Passieren Konnte", was published on August 28 via Ullstein Verlag.

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Two giants of progressive rock have come together in a landmark collection of six stamps celebrating the legendary keyboard wizard Rick Wakeman, brought to life through the visionary artwork of Roger Dean.

From his spellbinding solos with YES to epic concept albums like "The Six Wives Of Henry VIII" and "Journey To The Centre Of The Earth", Rick has been pushing musical boundaries for over five decades. Now, fans can see his world re-imagined through the works of visionary artist Dean, whose fantasy landscapes have become synonymous with progressive rock and are heavily featured throughout this new range of collectables.

Across more than 100 solo albums, Wakeman has explored everything from classical piano interpretations to full symphonic rock, building a catalog as diverse as it is daring. His music has reached audiences worldwide, not only through records and concerts but also through his many appearances on television and radio, where his wit and storytelling make him as engaging off stage as on.

This unique collaboration brings together two cultural giants whose creative journeys have shaped the visual and sonic worlds of progressive music for more than five decades. Each of the six stamps features a carefully selected Dean illustration, capturing the otherworldly spirit and imagination that Wakeman's music evokes.

Rick moved to the Isle Of Man in 1987, writing, composing and performing from his converted coach house studio. He recorded prolifically there for more than a decade, including initial recordings of "Return To The Centre Of The Earth" and the new age "Aspirant Trilogy". His time on the Island also inspired a deeply personal work: "The Heritage Suite". This solo piano album celebrates local landmarks — from St Michael's Isle to Spanish Head — produced in association with Manx National Heritage.

Wakeman commented: "I am honored to have my career featured on these stamps having spent many years as a resident of the Isle Of Man. Roger Dean's artwork has always felt like a natural extension of the music I've created, and to see our worlds brought together on stamps is both surreal and wonderful."

If Rick Wakeman's music takes listeners to other worlds, Roger Dean's artwork shows them what those worlds look like. Since the early 1970s, Dean has been creating some of the most recognizable and influential album covers in rock history. His surreal landscapes, filled with floating islands, towering cliffs, fantastical creatures, and otherworldly colors, have become visual shorthand for the spirit of progressive rock.

Dean stated about the collection: "I first met YES in 1971 when I created the cover for 'Fragile'. Rick Wakeman had just joined the band, and from that moment I've always enjoyed working with him. Designing this new set of Isle Of Man stamps has been a joy and a tribute to that long collaboration."

Isle Of Man stamps and coins general manager Maxine Cannon commented: "We are immensely proud to celebrate Rick Wakeman with this collection of stamps, beautifully art worked by Roger Dean. Rick's connection to the Island, where he spent time living and working as a part of our community, makes this release especially meaningful for us. To be able to honor his extraordinary musical journey alongside Roger's art feels like a perfect meeting of sound, story and image — and we are delighted to share it with fans and collectors around the world."

Ben Glazier, managing director of Glazier Design, explained: "It was a privilege to be immersed in the work of two creative icons. Visiting Roger Dean's studio was like a journey to another Earth; maquettes and artworks surrounded us as we talked about how stamp issues are created. Two legends in one issue. Incredible."

Coinciding with Wakeman's imminent U.K. tour and the release of his solo album "Melancholia" on October 17, this range of limited release collectables are the perfect addition to any music and art lovers prized collections.

Released in very limited quantities worldwide, purchase the full product range while stocks last online at this location or order a signed set from Rick's Emporium.

This past May, FOREIGNER lead singer Kelly Hansen announced during the band's performance on the season finale of NBC singing competition "The Voice", that he would be leaving the group at the end of the legendary rockers' summer 2025 tour. In a moving segment that aired nationally, Hansen introduced FOREIGNER guitarist Luis Maldonado as his official successor — a moment that symbolized both an end and a bold new beginning for the powerhouse group.

Asked in a new interview with Rockbandreviews what it has meant to him personally to step into the role of FOREIGNER frontman, Luis said (as transcribed by BLABBERMOUTH.NET): "Wow. It's not an easy one to answer because there's so many dimensions to that. First of all, I never imagined that this was going to be the next step for me or even for FOREIGNER. But it was kind of one of these things that just — very organically, too; it was very organic, the way it all unfolded. And where I'm at with it now is I'm excited, because there's still so much work to do. And I'm excited for all the things that are opening up for this band, especially since [FOREIGNER's induction into] the Rock [And Roll] Hall [Of Fame]."

Luis continued: "There's this great new synergy between [original FOREIGNER singer] Lou Gramm and us [in the current lineup of FOREIGNER], and we're gonna be doing shows together. So there's a lot to be excited about. And one of the things that has been significant to me personally is the fan response.

"We started this summer tour where we made this announcement — I think it was back in May when we did 'The Voice' and Kelly and I both sang live, and we made the announcement live on TV. And the response has been overwhelmingly positive," Maldonado said. "And not only has it been positive, but we've also started really hitting a trajectory of younger audiences because of that. And there's this whole couple of new generations discovering FOREIGNER for the first time. So there's that. But the most significant thing for me is when I talk to fans personally, whether it's before a show or after a show, when you run into them or they send messages or whatever, and all of them are excited that FOREIGNER is gonna continue. And they've seen me sing, they've seen me sing all summer long, and they've seen footage and they've seen clips, and all of them overwhelmingly have said, 'This is fantastic. This is right.' And they're grateful for Kelly, they're grateful that the band's gonna keep going and they're grateful that there's this new energy with Lou. There's a lot to be grateful for, and honestly, it feels like there's this magic happening around the band right now, and I'm just kind of witnessing it. And I wanna just keep growing. I wanna keep growing with the band and I wanna keep growing as an artist, and I want to keep growing as a human being. So it's all great and positive. When you see things like that, you just kind of wanna reinforce it and work harder and do as much as you can to build. And I feel like we still have a lot of building to do, which is awesome."

After the interviewer noted that there has been something akin to a "resurgence" in popularity for FOREIGNER in the last couple of years, Luis said: "It's interesting that you say 'resurgence', and I agree with you. I don't think it's necessarily a resurgence. I do believe it's — like I said, there's a couple of younger generations, a discovery for them. So for them it's all kind of, like, 'Oh, wow. This band that has been around. Wow.' And they're buying the tickets now. They're not coming along as the teenage kid along with their parents; they're coming on their own. There are [people in their] 30s, 40-year-olds coming to these shows and they're discovering the band in a whole new way. So it's definitely a new discovery in many ways. And even for us, we're discovering how much people love the music, because really it's about the music. And I think, again, when kind of the band came back together with this current lineup at the Rock And Roll Hall Of Fame, and we all played on stage together, there was this realization that the music was stronger than any one part of it. And quite honestly, I don't think I ever would've really considered singing unless I had the belief of Mick [Jones, FOREIGNER's founding guitarist and main songwriter], which I do, and Lou and Kelly and the band and anybody else involved. I mean, if it was just one guy or somebody in management saying, 'Yeah, you could do this,' but it wasn't — it was never like that. I've been in the band, so it's coming from inside the band, but not only that, but the belief that this is the right decision to keep moving is shared by every single person within this organization. So it's really cool to see not just the belief on the inside of the band, but also on the outside with the fans.

"So, yeah, like I said, Lou coming out as a guest on these shows, and not only that, but — there's just a really great energy right now," Luis added. "And it's hard to pin down what exactly it is, but we all see it. I mean, every single person involved sees it, recognizes it, is grateful for it and moving forward with it. It's really awesome."

Known for their explosive live shows and era-defining anthems, FOREIGNER have sold over 80 million albums worldwide, cementing their place as one of the greatest rock bands of all time. Their catalogue includes timeless hits like "Hot Blooded", "Juke Box Hero", "Waiting For A Girl Like You", "Cold As Ice", "Urgent", "Feels Like The First Time" and the global No. 1 hit "I Want To Know What Love Is".

FOREIGNER released extensive super deluxe editions of its 1981 smash multi-platinum album "4" on September 12. Recorded at the famed Electric Lady Studios in New York City alongside respected music producer Robert John "Mutt" Lange (DEF LEPPARD, AC/DC),"Foreigner 4 Deluxe" was made available in black vinyl and various other formats via Rhino. The release encompassed newly remastered Stereo or Atmos versions, and a five-disc CD/Blu-ray package that includes a booklet containing over 60 exclusive photos, five previously unreleased songs, 14 early and alternate versions of various songs, 15 instrumentals, and 15 live performances from across the globe, spanning the band's 1981 and 1982 "4" world tour. The digital deluxe release also contains alternate versions, instrumentals, and live performances from the era.

Originally released July 2, 1981, "4" spent more weeks at No. 1 on the Billboard charts than any artist in the history of Atlantic Records, including AC/DC, THE ROLLING STONES and LED ZEPPELIN, and went on to sell more than ten million albums worldwide. "4" is certified six times platinum in the U.S. (RIAA),four times platinum in Canada (Music Canada),platinum in Australia (ARIA) and Germany (BVMI),and gold in seven additional countries. It spawned three Billboard Hot 100 singles: "Waiting For A Girl Like You", "Urgent" and "Juke Box Hero". "Foreigner 4", as it's often referred to, is the fourth studio album by the legendary British-American rock band released during a time of transition as they famously went from six members to four.

To coincide with the deluxe package release, FOREIGNER — Luis Maldonado (lead vocals/guitar),Jeff Pilson (bass),Michael Bluestein (keyboards),Bruce Watson (guitars),Chris Frazier (drums) — will celebrate half a century of music with a new round of headlining tour dates which will include Gramm guesting on some of the songs he helped create almost 45 years ago. The upcoming "Foreigner 4 Deluxe Tour" signals yet another important transition for the band as these new dates will be the first major U.S. shows featuring Maldonado on lead vocals.

Of the transition, Maldonado had this to say: "Earlier this year, we toured Mexico and South America with the incredible Lou Gramm. We all had such a fantastic time performing and being together, and it's with that same excitement I look forward to working with Lou again. He was an integral part of the writing and recording of the 'Foreigner 4' album and his presence will add a historic dimension to our forthcoming tour."

Released in 1977, FOREIGNER's debut album produced the hits "Feels Like The First Time", "Cold As Ice" and "Long, Long Way From Home". The albums "Double Vision" and "Head Games" followed with more hits including "Hot Blooded", "Blue Morning, Blue Day" and "Dirty White Boy". Then came "Urgent", "Juke Box Hero" and "Waiting For A Girl Like You". Those songs helped give FOREIGNER's next album, "4", its impressive 10-week run at No. 1 on the Billboard chart. At the zenith of 1980s sound, FOREIGNER's fifth album, "Agent Provocateur", gave the world the incredible No. 1 global hit "I Want To Know What Love Is". This musical milestone followed the record-breaking song "Waiting For A Girl Like You".

Frontiers Music Srl is thrilled to announce the signing of melodic rock powerhouse, Mattador, to the label’s roster.

To coincide with the announcement, Frontiers is pleased to reveal the reissue of the band’s album, Save Us From Ourselves, digitally available now on all platforms. Originally released in 1994 by Osama Records and distributed independently in Europe, the record marked a standout moment in the melodic hard rock scene of the early ’90s.

Watch the official video for the title track “Save Us From Ourselves” below, and stream/download the reissue here.

Drummer Carlos Benitez expressed his excitement, by saying: “We’re thrilled to join the Frontiers family and you can expect new music from us soon. We are ready to move forward with this new era, this is one you don’t want to miss! We want to extend our thanks to Mario and everyone at the label for their support and warm welcome to this new partnership.”

“As part of this return, we will also be releasing a special digital reissue of the album that opened doors for us in Europe back in ’94, our classic album, “Save Us From Ourselves”, he added. “Stay tuned! There’s more on the way!”

Mario de Riso, A&R and Business Affairs VP of Frontiers, commented: “It’s awesome to have those guys back in action. In the darkest period for melodic rock and classic hard rock, they came out with a fabulous record mixing the pomp approach of Styx and Kansas with the best of the US metal sound of the late 80’s. If you don’t know Mattador, indulge now in their cult classic Save Us From Ourselves and get ready for a threat!”

Hailing from Puerto Rico, Mattador combined the slick, hook-driven sound of bands like Dokken and Firehouse with the more elaborate, symphonic touches reminiscent of Kansas at their heaviest, and cult AOR heroes Prophet. They are known for blending soaring vocals, razor-sharp guitar work, and a rhythm section as tight as it is thunderous.

Now available digitally for the first time, this reissue brings the original release back to life -complete with its soaring vocals, polished guitar work, and unmistakable ‘90s production flair. A hidden gem for fans of high-quality melodic rock, finally back where it belongs.

During their initial run from 1988 to 1995, Mattador built a loyal following on the island and beyond, thanks to their electrifying live shows and emotionally charged songwriting. Their music resonated with fans of both melodic hard rock and Latin rock, creating a cross-cultural bridge that set them apart from their contemporaries and earned them the privilege of working with world-class acts such as Aerosmith and Iron Maiden, among others.

During this run, Mattador also caught the attention of the European rock scene, which led to their feature in various rock music charts and music magazines across Italy, France, Belgium, the UK, and beyond.

After a decades-long hiatus, the original members of Mattador reunited in 2022, reigniting the creative fire that launched them all those years ago. What began as a nostalgic reconnection quickly blossomed into a full-fledged artistic rebirth.

Their triumphant return caught the attention of Frontiers Music, the renowned Italian-based multinational rock label known for its roster of elite melodic and hard rock acts. With their support, Mattador are poised to reach a new generation, while reigniting the passion of long-time fans.

Today, the band’s lineup features original members Michael Villegas on lead vocals, Carlos Benitez on drums, percussion, and vocals, Miguel “Tito” Rodriguez on lead guitar and violin, and the new addition of Abraham Millet on bass and keys. Together, they forge a unique sound that combines the melodic sensibilities of classic Rock with an undercurrent of hard rock with a hint of prog and a modern edge.

Today, Mattador stands as a testament to the enduring power of melody, musicianship, and brotherhood. With their roots firmly planted in Puerto Rico and their eyes on the global stage, Mattador is back – and louder, tighter, and more inspired than ever.



Tracklisting:

Intro
“Fear (HIV)”
“Lost Souls”
“If You’re Gone”
“All Behind Me”
“Trend”
“Live Your Life Not Mine”
“Save Us From Ourselves”
“I Don’t Know Why”
“Hear Me Calling”
“Lying Eyes”
“In And Out Of Trouble”

“Save Us From Ourselves”

Former EXODUS singer Steve "Zetro" Souza played his second solo concert ever this past Saturday night (September 27) at the Piper's in Pompano Beach, Florida. Fan-filmed video of the entire show can be seen below.

As was the case the night before at the Brass Mug in Tampa, Florida, backing Souza on stage at the Pompano Beach gig — billed simply as ZETRO — were the following musicians:

* Zakk Frye (SLIKK WIKKED) - Rythm Guitar/Backup Vocals
* Kyle Smith (SLIKK WIKKED) - Lead Guitar
* Andrew Dewar (VICIOUS INTENT) - Drums
* Donny "Death" Weissinger (NASTY TRAST, HATE GRENADE) – Bass

Souza will next embark on a three-date tour of Australia in early February 2026.

Regarding the setlist for his solo concerts, Zetro said in a video via his Zetro's Toxic Vault channel on YouTube: "I'll be playing a lot of EXODUS, a lot of deep cuts, a lot of songs that I've seen you guys, over the years through social media, chime in about wanting to hear. So that's what you will see. Actually, some of you guys [on social media] are nailing some of the songs, some of them, but some of them I'm going to get to, 'cause I've actually answered on some of them about getting to 'em. So this will be an old-school evening of Bay Area thrash metal. I've even got a couple of very obscure [ones] because I think the LEGACY [pre-]TESTAMENT songs that I'm playing don't necessarily get played all the time anymore. I know one does, but I know the other three don't. And then I would have to say, out of the EXODUS songs that I have chosen, you've probably heard me — and I'm only gonna go on the last 10 years since I was back from 2014 until just six months, seven months ago — I would say there's maybe only three or four that you have heard me sing in the set in the past. Everything else has not been played for a long time. Some songs probably when the albums came out initially. I know one song I can't even remember playing ever. So that's gonna be kind of cool for the fans. But songs that I've seen that you guys have all chimed in on and said, 'Hey, when are you guys gonna play this?' 'When are you gonna play that?', which I think is gonna absolutely differentiate my set from, say, if you go see EXODUS, because I'm not necessarily gonna play the same songs. Am I gonna play 'Toxic Waltz' and 'Blacklist'? Definitely, of course. I'm not going to hold you back. But that's the thing — I'm picking the setlist. Absolutely. And I think you'll like what I've chosen. I think it's 16 or 17 songs total, so it'll be a good evening."

Regarding the possibility of making new music and including fresh material in his setlist, Zetro said: "I'm gonna be honest with you: right now I'm not really into writing or doing a new solo Zetro project with new songs. I feel that there's so much, or so many songs, that have not been played in years or have never been played that I think I'd like to make shows of that first. And maybe in a year or two down the road, if it seems right to do, I'll venture [into writing and recording new music]."

He continued: "You guys don't want to hear [new solo] Zetro songs [at these shows]. You're gonna be yelling out the stuff from EXODUS or the stuff that you know that I performed with LEGACY. And I do [the AC/DC tribute band] AC/DZ, so you might even hear some AC/DC songs. So there's a lot that I can do. There's songs in the EXODUS catalog that have never been played live. 'Architect Of Pain' has never been played live. It's 11 fucking minutes — probably why [it has never been performed live] — but, hey, [IRON] MAIDEN plays 'Rime Of The Ancient Mariner' and some of those other ones that are, like, 12, 13 minutes, so I'm not opposed to doing it. So, I'm implementing those songs, and I want to play all of those songs. And everybody I've heard forever [asking for] 'Cajun Hell', 'Verbal Razors', 'Chemi-Kill', 'Seeds Of Hate', all these songs that have not been played in years, and I wanna play them. And then obviously the demo songs that I did with LEGACY. I pretty much wrote the whole first [TESTAMENT] record, so I'll bring those songs too. 'Curse Of The Legions Of Death', I wrote that. 'The Haunting', I wrote that."

Souza's previously announced 10-date solo tour of Latin America, which was scheduled to take place in September 2025, was canceled by the promoter. The trek was slated to kick off on September 4 in San José, Costa Rica and end on September 14 in São Paulo, Brazil. At all the shows, Souza was expected to perform classic songs from his former bands EXODUS, TESTAMENT (Zetro was the lead vocalist for LEGACY, an early incarnation of TESTAMENT) and HATRIOT, as well as the Bon Scott era of AC/DC.

Eight months ago, it was announced that EXODUS had parted ways with Souza and had welcomed back Rob Dukes.

Souza joined EXODUS in 1986 after previously fronting the band LEGACY (which, as stated above, later became TESTAMENT). He remained in EXODUS until their hiatus in 1993, but rejoined them for two years from 2002 to 2004. Dukes became the singer of EXODUS in 2005 (following Souza's departure) and stayed until 2014, when Souza returned.

EXODUS played its first concert with Dukes in nearly 11 years on April 5 at the Decibel Magazine Metal & Beer Fest: Philly at the Fillmore in Philadelphia, Pennsylvania.

Dukes previously joined EXODUS in January 2005 and appeared on four of the band's studio albums — "Shovel Headed Kill Machine" (2005),"The Atrocity Exhibition... Exhibit A" (2007),"Let There Be Blood" (2008, a re-recording of EXODUS's classic 1985 LP, "Bonded By Blood") and "Exhibit B: The Human Condition" (2010).

Souza discussed his most recent split with EXODUS during a previous episode of Zetro's Toxic Vault. Addressing the reasons for his departure, Zetro said in part: "I've been doing this since 1986 —1986, in June, I joined EXODUS for the very first time. I was 22 years old. I'm now 61. So to have kind of a rollercoaster ride in music has actually been kind of exciting,. It kept my life going. Certain things happen and certain things go on, and you kind of have to deal with them as they happen, like anything."

Clarifying that he "did not quit" EXODUS and "was let go", Souza continued: "I don't read much of what goes on the Internet. With no disrespect to anybody, I don't give a fuck what anybody thinks about me or what you say… But I was made privy by my son of something Gary [Holt, EXODUS guitarist and main songwriter] had responded to me saying that I didn't quit; I was let go. And I have to agree with his analogy. Being in a band is like a marriage — it truly is — and the marriage was over. And it was. Now, I was never gonna quit, meaning maybe I guess I would never leave the marriage, for whatever reason. But I truly think that it was probably the right thing for me especially, and I hope it's the right thing for them as well."

Regarding his mindset after his latest departure from EXODUS, Souza said: "People were calling me — my friends and my family — asking me if I was okay. And I was fine. I was, like, 'I'm great.' I'm really, really happy and more content. And again, we're in April now, and this went down in January. And actually, I knew in December — I knew before anybody knew, before it was announced. And I was cool with it."

Speaking directly to the EXODUS fans, Zetro said: "I'm gonna miss you guys. I really am. But for me, my life has changed a lot. What I liked when I was younger in my twenties and my thirties are not necessarily what I'm into anymore. I love my family. I mean, I came home and got married to Vickie, who I've been with for 17 years, and she is the love of my life. And you know how hard it is to go away from the love of my life at this point, at 61 years old for five weeks, six weeks at a time? It wasn't easy for me, even though it may not have shown on stage, and it definitely didn't show when I was with you guys, with you fans, and anybody that approached me because I would never want anyone to have an awful experience with me. But I think it was time, honestly.

"I had told Gary, and I told them that I would like to do this till I was 70 and probably not much more than that, but I think in the back of my mind I think I was kind of already done with the rigorous life of touring, 'cause it's very demanding," Souza admitted. "And the business doesn't care about what you have going on. [I'll] give you an example — in 2016, my mother died and I was in El Salvador on tour. I should have been at her bedside, but I wasn't, because I had to do this. I've had dogs pass. I've missed graduations from my children. Any musician that has been in my position can absolutely relate with this, because it is part of it. And a lot of times people don't necessarily think of that. And then there's the guys, there's the musicians that really like to do this, and they'll go out and they'll hit it hard. They'll go from one thing to another."

Elaborating on his reasons for wanting to spend less time on the road, Zetro said: "I've changed over the past few years, even in the last 10 years since I've been back. And I think I'm more interested in what's going on in my house and around what I'm doing here. I like to see my dogs every day. I have three pugs that absolutely love. I have a grandson now. I never get to see them. I wanna see my wife every day. I wanna sleep in my bed every day. It's been something that mentally has gone on and changed. But again, I would've never quit because I'm not a quitter in that type of respect. Everybody's, 'Oh, well, you quit in 2004.' No, I had to leave the band because I had a union job, three little kids and a wife, and I was trying to balance working as a foreman, as a union job, being a father, coaching baseball and soccer, and being a husband and playing in EXODUS, and I couldn't balance all three. The thing that I loved the most was playing in EXODUS, but, unfortunately, it could not take care of my wife and my kids and ballerina signups, baseball signups. The business wasn't paying that much at the time, so I needed to go and take care of my family… So coming back into the band in 2014, kids are grown, I'm set in my job. I was very, very excited. And again, I had a really good time over the last 10 years playing in the band. And it was one of those things that I have to say I'm kind of glad that I've ended up where I'm at right now, I don't like airports anymore. I don't like sleeping on the tour bus anymore… So I'm not saying that this was a decision that I would've made, but I'm saying for myself and to have a few months to look at it, it was definitely the right decision."

Souza went on to say that EXODUS fans should continue to support the band now that Dukes has returned to the group.

"I look at it now as, what about all you guys that are big fans of Rob's era? Just think — now you get to come back and see Rob maybe for the next 10 years and see him continue on," Zetro said. "So if you were fans of his era, like you were fans of my era, or both eras — I know there's some of you [that are] 'I'm [Team] Zetro' or 'I'm [Team] Rob', or whatever, 'I'm cool with whatever EXODUS does,' I get it. And I totally understand that, and I respect every one of you for those things. But now maybe for the last part of the band they get to enjoy Rob and Rob's era of the band. I mean, Gary's gonna continue to write music and record music. And Gary Holt doesn't know how to write a shitty riff. Okay? So you EXODUS fans know what you're gonna get from that, and that's what I have to say."

Souza also addressed the possibility of another reunion with EXODUS down the line, saying: "Will I ever grace the stage with them? No, definitely not. I think it's been done. This was the third time that I had joined the band, so I think it would be a bit redundant to try to do this or do this again. So just so you guys wanna know, I have no desire to do that ever again. It's been done. If you saw my last concert in Los Angeles at the Regent [in December 2024], then you truly saw the last concert that Zetro will ever sing with EXODUS."

Zetro added that he went out on top, both in term of his live performance with EXODUS and his relationship with the band's fans.

"If you saw us on the last tour with HAVOK, then, honestly, I was singing better than I've ever sung through the years," Souza said. "So I don't feel that it was something that, vocally… I did my job — I did my job quite well — and even they'll tell you that. And the fans, you guys know that I bring it. Every time I come, I bring it. And that's just the way it is. And if you walked up to me for a picture or an autograph, I never would say no and I've never pushed you guys away. I would hang out and talk to you about stuff. How many of you fans have spent time after the show talking to me about whatever? Horror, movies, metal sports, whatever. I'll sit out there and talk to you guys 'cause I've never considered myself above anybody."

Asked what specifically he didn't enjoy about the touring lifestyle, Zetro said: "Too much time in the day. Waiting to wait. It's a lot of waiting. Going to an airport, waiting four hours for the flight, getting on the flight for five hours, getting to where you've gotta go. Then you have another six-hour layover before you have another five-hour flight. And line one, line two, security this, security that. I don't have the patience for that anymore. The bus — I know this sounds very pompous. I was very fortunate to get to tour in a bus. I know bands that do not tour in buses… But for me, the bunk started to be very, very uncomfortable. And the only time I could get in there was when I truly had to sleep. But as soon as I woke up, I got up. So there's too much time in a day for you to go to museums or comic bookstores or me to go buy toys and whatever I do on the road. It is just a lot of downtime, and I feel as now 61 years old, I wanna do other things in that downtime. And I don't wanna be doing this, and all of a sudden I end up getting sick or my wife end up getting sick and one of my children, and I have to come home and I've got six months to live, or they've got six months to live and I've missed all of this with them and I missed it all. I don't want to do that anymore. I've missed too much over the years, and it's just kind of where I've been mentally — especially the last few years I've been thinking about that."

Florida I’m Coming To See You in September!

Posted by Steve Zetro Souza on Thursday, August 14, 2025

At this past weekend's Guitar Summit in Mannheim, Germany, legendary bassist Billy Sheehan spoke about his new modern rock supergroup THE FELL, in which he is joined by multi-platinum American producer, songwriter, and guitar player Mike "K." Krompass (SMASH MOUTH, NELLY FURTADO, EVERYBODY LOVES AN OUTLAW, DEAD ROMANTIC) and Australian vocal powerhouse Toby Rand (ROCKSTAR: SUPERNOVA, JUKE KARTEL, ASHEN MOON). Asked how the project came together, Billy said (as transcribed by BLABBERMOUTH.NET): "Years ago, Mike Krompass found me on Facebook. I didn't know him, really. And he got in touch with me [and said], 'Hey, I got some songs I need bass on. Will you come on over and play bass?' I said, 'Sure.' I lived in L.A. I drove out to his studio and we laid some bass down. I said, 'These songs are great. Who's the singer?' Toby Rand. I think he won some huge televised nationwide, like 'American Idol' [in] Australia, I think he won that contest at one point. And he also was in line to be the INXS singer, and I think he was the number two guy. So he missed it by one. But he's got a great voice and great lyrics and really cool. And Mike's guitar playing is amazing. So at the end of the session, he says, 'Well, I can pay you for the session, or do you wanna maybe start something with this?' And I go, 'Let's do that.' And that was a long time ago."

Sheehan continued: "Unfortunately, Toby had a contractual agreement with this manager and he couldn't go off and do anything else. So it got put away for a while. We tried to do a couple shows with other singers, but it was never the same. Toby is awesome. So, just recently he's out of his deal and out of his contract and he's ready to go again. So Mike called me and said, 'Let's do it.' We wrote a few more new songs, remixed some of the old ones. I redid some bass a little — after you listen to it for a while, you wanna make some changes — and I just really love the way everything sounds. Mike is also great in the studio as a producer and mixer, so he's got it dialed in very nicely."

Regarding THE FELL's future plans, Billy said: "We'll put out the EP at the end of October. Then the whole record will come out the beginning of the year, and then we hope to be touring by the summer. And it's heavy, but it's up and it's alive, and the vocals are great. And I'm really excited about it."

Asked if he still gets anxious before releasing an EP or an album, Sheehan said: "No. It's just you gotta do the things you must do. You gotta do a million interviews and photo sessions, once you get out there on the road. I've done it for a long time. I'm over 6,000 gigs, and been playing for almost 60 years; I think 60 years is about right. So I was nervous a long time ago, but I'm okay now. [Laughs]"

THE FELL has released two singles so far: "Killswitch" and "Face Out". A third single, "Trippin'", will follow on October 24, plus a new version of THE FELL's past hit "Footprints" (with Toby on vocals) on November 28.

Sheehan delivers his signature low-end firepower with acrobatic flair, while Krompass's massive guitar tones and razor-sharp production elevate the track to arena-sized proportions. Rounding out the lineup is elite session drummer Nick Chiarore (DEAD ROMANTIC),whose explosive drumming brings relentless precision and raw intensity. Chiarore's chops can be heard on recordings with Slash and Steve Vai.

In a recent interview with Rockin' 101's "The Johnny Rock Show", Steve Morse — a certified legend of the guitar world, having founded the DIXIE DREGS and gone on to become DEEP PURPLE's longest-serving guitarist prior to his departure in 2022, was asked if he gets tired of the "gunslinger on the axe" moniker or if it's still an honor when he hears praise like that. The 71-year-old musician responded (as transcribed by BLABBERMOUTH.NET): "Oh, it's an honor. But when you're doing instrumental music, you have to just keep your chops up and it just means training more and a little bit more thought has to go into everything you do to, to be able to play the tunes live. And my big thing is writing the music in order to perform it, so you've gotta have a lot of rehearsal and training, practice, whatever you wanna call it. You've gotta keep your technique up, so that's something that's, as I get older… I've been playing for 60 years, which is odd since I'm 29 years old [laughs], so it gives you a different perspective on technique. and it's something I like to share with people, ways to improve their technique and work around the difficult parts and to concentrate on the weak links in your technique. So, I have to put all that to good use myself to get ready for a tour like [the upcoming tour with THE STEVE MORSE BAND]."

Asked if he still enjoys going on the road and playing for the people, Morse said: "Yes. That's the bottom line, is that when you practice hard and you can relax and play on stage, you're able to just let the energy that you had in your soul when you wrote the music come out and connect to the people in the audience. And that means, especially when you're doing instrumental music like we're doing, instrumental rock, basically, is you can play anywhere in the world and connect with people. But this tour is in the United States, and it's always a pleasure. It's something we've looked forward to. And I can't say I've done too much of this. I think it's really, really cathartic, because the preparation process is really good for you, and connecting with people is always really good. We're at our best when we connect with each other. We're herd animals, so we naturally want to do that, instinctively. And music is a great way to gather people together."

The STEVE MORSE BAND has announced details of their brand-new album, "Triangulation", which will be released on November 14 via Music Theories Recordings. To celebrate, they also unveiled the official video for their new track, "Break Through".

"Break Through" is the first new music since the release of 2009's "Out Standing In Their Field". Talking about the track, Morse shared, "This may start with a guitar riff, but the bass carries the melody. It's just a great feel to play over, and a positive vibe to start the album."

Whenever we think of the greatest guitar players of all time, Steve Morse is a name that's always in the conversation. This album sees Morse teaming up once again with THE DIXIE DREGS, STEVE MORSE BAND and FLYING COLORS bassist Dave LaRue, with Van Romaine (Enrique Iglesias) joining on drums.

Steve beamed: "Dave and Van have been the bedrock of this trio, and this recording shows why. These guys are unique and incredible musicians on their own, and together, our chemistry is magical. While making the album, we played together, working through parts, riffing off each other, and collaborating on arrangements. I'd bring an idea, and hear it instantly — and then hear it improved. We made this album together, and you can hear it."

There are also some stellar guest features, from Eric Johnson's majestic contributions to "TexUS" and DREAM THEATER's John Petrucci bringing his inimitable progressive metal thunder and, of course, Kevin Morse joining his father on "Taken By An Angel".

Executive producer Bill Evans noted: "The compositions are among Steve's best. And audiences can finally hear every detail of Van and Dave's performance…the band's collaborative musicality." Steve added, "Brian captured me brilliantly, and Carl Roa created more sonic and performance clarity than we've ever had."

Morse started his career in the mid-1970s, playing mind-melting jazz-rock with THE DIXIE DREGS, which earned him multiple Grammy nominations in the process. The following decade, he formed the STEVE MORSE BAND, grabbing an additional Grammy nod, and joined arena heavyweights KANSAS, before being recruited by rock and roll originals DEEP PURPLE in 1994. And despite being in one of the world's biggest bands, he continued to innovate in other projects like LIVING LOUD, ANGELFIRE and FLYING COLORS — as well as guitar supergroup G3 — showing the world just how much versatility there was in those magic fingers. He announced his departure from DEEP PURPLE in 2022, choosing to care for his wife, who passed away in 2024, by that point having become their longest-serving guitarist.

Naturally, the last few years have been the most personally traumatic of his life, which is perhaps why this year's creative comeback with the new STEVE MORSE BAND album "Triangulation" embodies the spirit of a master returning to do what he does best. Its nine tracks are a thrilling ride through the mind of a musician who seemingly knows no bounds, crossing over into a cornucopia of sounds and styles from funk and blues to classical and metal.

"The album title 'Triangulation' comes from the concept of aviators, navigators, and sailors looking at two points to pinpoint their exact location at a specific moment in time," says Steve. It's a geographical concept that also applies to human life on a broader level, and given the journey Morse has been on in recent years, it's only natural that he's been on a path of self-discovery and reflection.

Perhaps the most poignant of the nine tracks is "Taken By An Angel" — a tribute to Steve's beloved wife Janine. Steve left the music world behind to care for her, remaining by her side until her final days. "That song is new territory for me," explained Morse. "It was put together for my late wife's memorial service, with my son Kevin playing along. It brought tears to many folks' eyes because Janine was a huge part of my life and career. People knew her from the STEVE MORSE BAND tours. She was the smiling face opening CDs for me to sign, selling t-shirts, listening to people's stories in the crowd, and taking photos for VIP visits."

After all the heartache and anguish of the last few years, you can't help but feel grateful Morse is once again ready to share his creative genius with the world around him. Given his stature among the guitar community — often lauded as "your hero's hero" in the same way people spoke about Jeff Beck — his creative return marks a new phase of inspiration and brilliance. In that sense, you can tell the release of this record means a lot to him.

The band hits the road in October bringing the new repertoire to the stage. Steve Morse shared: "Every generation or so, we put out a new album, and the time is now! We'll be doing new material on stage, and have enlisted a special guest, Angel Vivaldi, to allow us to better perform some of the layered tunes in concert. Excited to have a bigger sound and new material! See you on tour!" Van Romaine offered: "I am so thrilled for this brand new major STEVE MORSE BAND chapter with new tour dates and an album that was so much fun to record with Steve and Dave LaRue, and a couple special guests. While music is always subjective this 'Triangulation' album is such a gem to me on many levels."

Upcoming appearances are:

Oct. 09 - Louisville, KY @ Headliner's
Oct. 10 - Nashville, TN @ CMA Theater
Oct. 12 - Charleston, SC @ Charleston Music Hall
Oct. 13 - Atlanta, GA @ Variety Playhouse
Oct. 14 - Charlotte, NC @ The Neighborhood Theatre
Oct. 15 - Raleigh, NC @ The Rialto Theatre
Oct. 16 - Annapolis, MD @ Rams Head On Stage
Oct. 18 - Elkton, MD @ Elkton Music Hall
Oct. 19 - Lititz, PA @ Mickey's Black Box
Oct. 20 - Red Bank, NJ @ The Vogel
Oct. 21 - Sellersville, PA @ Sellersville Theater
Oct. 23 - Somerville, MA @ Somerville Theatre
Oct. 25 - Cohoes, NY @ Cohoes Music Hall
Oct. 26 - Ridgefield, CT @ Ridgefield Playhouse

In episode 113 of "The Metallica Report", the podcast offering weekly insider updates on all things METALLICA, EXODUS guitarist Gary Holt reflected on his chemistry with Kirk Hammett, who was part of the original lineup of EXODUS alongside guitarist Tim Agnello, drummer Tom Hunting and vocalist Keith Stewart. Holt joined the band in 1981, while Kirk left to join METALLICA two years before EXODUS's debut album, 1985's "Bonded By Blood", saw the light of day. Holt said (as transcribed by BLABBERMOUTH.NET):  "I started coming up with some riffs. Kirk wrote everything when I joined the band. And for all intents and purposes, he is one of the founders of thrash metal. I think people leave Kirk out of that discussion a lot, and I think it's bullshit, 'cause he played in two of [the pioneering thrash metal bands]. He deserves double fucking credit. But EXODUS was, like, super thrashy and we were starting to get a little more away from the early IRON MAIDEN influences and stuff. My brother Charles — and Kirk admits this too — my brother Charles was a super punk rocker, British hardcore punk, and he introduced us to tons of stuff that would later be instrumental in my influence [when it comes] to writing in EXODUS, especially DISCHARGE above all others. And I was writing riffs and coming up with killer shit, but when Kirk left, it was kind of he handed the baton off to me, and myself and my bandmates, especially [then-EXODUS vocalist Paul] Baloff, we were able to craft the band in our image, take it where we wanted to. Not that we weren't already, not that we wouldn't have ended up there in the end, but it became kind of like a musical passing of the torch. And the first two songs I finished after Kirk left, and we hadn't found [bassist] Rob McKillop yet, was 'No Love' and 'Strike Of The Beast'."

Asked if he wishes he could have played more shows with Kirk in a band and whether he would like to do a few gigs with Kirk in a band now, Holt replied: "Yeah, absolutely. When we jam, it's totally fun and we have a good time. And I don't know — maybe one of these days we'll do a side project. I've been talking about doing side projects with a select group of friends for fucking 25 years, and it's never happened because I never have the time. I'm busy. He's busy. Who knows? But, yeah, we've jammed at Fear FestEvil a couple of times. EXODUS had played, and we'd get up and jam, and it's a blast. We have fun. And we're transported back to being kids, playing parties. You pay $5 and there's 15 kegs, and EXODUS was notorious for throwing the best parties."

This past April, Holt reflected, during an appearance on "The David Ellefson Show", co-hosted by former MEGADETH bassist David Ellefson, on how he first reacted when Hammett was asked to join METALLICA 42 years ago. He said: "Yeah, it's a whole incestuous relationship, for sure. Kirk's in EXODUS, Kirk joins METALLICA. I'm friends with both, and there's a lot of sniping and stuff, and a lot of bad blood. But I stayed out of that. But, yeah, it kind of put me in the driver's seat [when it came to EXODUS]. I was starting to write a lot of riffs. When I joined [EXODUS], Kirk wrote everything. And at the time when he left, I was happy for him."

Asked by co-host Joshua Toomey if he would have joined METALLICA had he gotten the call instead of Kirk, Gary said: "Probably not. 'Cause at that time in my life, change was scary to me. I was always happy where I was comfortable. I would've probably said no. At the time, [before they recorded] 'Kill 'Em All'… If you joined, you were joining a great band, but you were joining a band that [was about to] put out an independent album and were playing clubs. You didn't know they were gonna be [what they eventually became]. If I had been asked and knew now in the future of what they'd become, I would've traveled back in time and kicked my own ass to take that job."

Asked if there was any thought of asking ex-METALLICA guitarist Dave Mustaine to join EXODUS after Kirk's exit from the latter group, Gary said: "No, no. It was, like, 'Congratulations, Kirk. I love you, bro. And thanks for getting me started on this journey and teaching me my first licks and chords. And now it's my band. Let's go.'"

Three years ago, Holt was asked by RadioactiveMike Z, host of the 96.7 KCAL-FM radio program "Wired In The Empire", how he first met Hammett. He said: "The first time I met Kirk was in my high school music room, Richmond High, and EXODUS came and played. [Original EXODUS drummer] Tom Hunting grew up, like, 50 yards from my house, across from a park, but he went to a different school — he went to De Anza High, where Kirk did. I knew Tom, I'd see him around, but I didn't know him that well. But I was really good friends with the other guitar player in EXODUS, Tim Agnello, who I did know. And they came in and played in the music room, and it was awesome. Even though Kirk sang [SCORPIONS'] 'Another Piece Of Meat', and it was just really awful, as you can imagine — Kirk Hammett trying to sing Klaus Meine at his greatest; it was bad. But there was something about… Even though I'd been to many concerts, being in a room and hearing an electric guitar that up close and personal, it was kind of like a special moment for me, 'cause I'd never experienced it. I'd only seen guys onstage; I'd never stood five feet away. And it was killer. I totally [knew] that's what I wanted to do. And then we went to see Ted Nugent and the SCORPONS together, and we became best of friends from that first time we hung out. And then he said, 'You wanna learn to play guitar?' And I said, 'Yeah.' And he taught me the basics and some chords. I think the first thing he ever taught me was some ROLLING STONES song and a couple of licks and all that, and six months later I was in the band."

Asked if he had a favorite METALLICA song, Gary said: "I'd have to go… I've got a lot of favorites — that's one of those tough questions — but one that's always near and dear to my heart is 'Damage, Inc.'"

Three months earlier, Holt was asked during an appearance on "Put Up Your Dukes", the podcast hosted by EXODUS singer Rob Dukes, if Hammett was involved in the songwriting for any of the material that ended up on EXODUS's classic debut album, 1985's "Bonded By Blood". "There were riffs that I had written while Kirk was still in the band, and he tried to adapt them, tried to change 'em a little bit — the old, 'I changed it a little bit. I'm a co-writer on this riff,'" Holt recalled. "And that was, like, two riffs, I think. And the rest of 'em were written after he left. We never used a Kirk Hammett riff, ever, until [2004's] 'Tempo Of The Damned' [album] when we recorded [the early EXODUS song] 'Impaler'."

Explaining that "the first two [EXODUS] songs finished post-Kirk Hammett were 'Strike Of The Beast' and 'No Love'," Holt continued: "The biggest talent I have, if you wanna call it a talent, is my fucking memory. I can remember fucking everything. I remember showing him… I can picture it as a film, showing Kirk the riff to 'Strike Of The Beast', and I can picture it as if I'm watching it on a film — in the jam room, me in my spot where I played him [the riff] and him wanting to change the higher note to a lower note; I remember it all as if I'm watching a movie of it. I remember all of it — every last minute of it. I remember details from fucking most meaningless shit."

Although EXODUS rarely gets mentioned alongside the so-called "Big Four" of 1980s thrash metal — METALLICA, MEGADETH, SLAYER and ANTHRAX — "Bonded By Blood" inspired the likes of TESTAMENT, DEATH ANGEL, VIO-LENCE and many others to launch their careers and is considered one of the most influential thrash metal albums of all time.

Back in 2018, Kirk spoke about the fact that riffs from songs by EXODUS, "Die By His Hand" and "Impaler", found their way into "Creeping Death" and "Trapped Under Ice", from METALLICA's "Ride The Lightning" album. "What I think happened was when Lars [Ulrich, METALLICA drummer] and James [Hetfield, METALLICA frontman] were thinking about getting rid of Dave [Mustaine], our sound guy, Mark Whitaker — who was EXODUS' manager — gave them EXODUS' demos," Kirk said. "I think 'Die By His Hand' might have caught their ears. So when they were writing 'Creeping Death', they went, 'Great. 'Die By His Hand'. Put it right there.' It was definitely not me going, 'I have a riff here in this EXODUS song, and it needs to be here in this METALLICA song.' By the way, I wrote that 'Die By His Hand' riff when I was, like, 16 years old."

Fan-filmed video of former ANTHRAX singer Neil Turbin, who sang on the band's debut album, 1984's "Fistful Of Metal", performing with his solo group on September 21 at Manifesto Bar in São Paulo, Brazil during his "Armed And Dangerous 40" Latin American tour can be seen below.

Turbin performed and recorded with ANTHRAX on the original demo recordings and "Fistful Of Metal". He wrote the lyrics to all songs on that LP with exception of the cover of Alice Cooper's "I'm Eighteen", and also has writing credits on five of the seven songs on the band's "Armed And Dangerous" EP, as well as two songs on "Spreading The Disease".

Regarding his decision to celebrate the 40th anniversary of "Armed And Dangerous", Turbin told Almost Human:  "We're here in this timeframe, and it's 'Armed And Dangerous''s 40th anniversary. I don't know if anybody else is celebrating the 40th anniversary of 'Armed And Dangerous', but these are my songs and I was part of the band, writing the song. I guess they liked my song so much that they had another singer sing it after I left, and also they named the album after my song."

As for his approach to performing the early ANTHRAX material, Turbin told Metal Musikast: "All I can say is that I'm gonna play 'Armed And Dangerous', I'm gonna play these songs the way that I wrote them and the way that I wanna present them. So some of the songs are in a heavier direction and more double bass, more screaming, more ripping and tearing on the guitars. So I don't think that's a bad thing for the fans. 'Cause there's some songs that, the tempos are a little slow, it's a little sluggish. You might get up and have a beer, go to the bathroom during some of those songs 'cause they're kind of sleepy at times. So I wanted to make sure that no songs are sleepy, nothing is dragging. And I went through every single song to bring it to a level where, how do we make this song the best song? I went to every song, broke it down. There's a software called Moises app, and you can isolate every track. So I went back and listened to, what are the guys playing on every track? What are we playing on bass guitar on this song? Just to hear what's going on. And it's, like, 'Really? That's what they're playing?' Because I'm re-recording all the songs. So I wanted to understand, kind of reverse-engineer and do it and keep it true to the originals. So we didn't wanna change anything just for the sake of changing it — only where it needed to be changed, where it was necessary. So that's the level of detail that I'm putting into recording the songs and reworking them. But also this goes into the live show as well. So it's very important to know that, because what you're getting is something even better than what was recorded. And the band really interprets it well and understands that. And on an energy level, it's really that kind of energy."

After the interviewer noted that Turbin sometimes doesn't get the recognition he deserves for helping establish ANTHRAX in the band's early years, Neil said:  "I wrote 'Armed And Dangerous'. That was something that I created. I wrote 'Metal Thrashing Mad'. That was my lyrics and melody and idea. I wrote 'Deathrider'. I wrote 'Gung-Ho'. I copywrote [sic] it with the Library Of Congress, with the government of the United States, because I wrote the songs and I wrote them while I was in ANTHRAX. So that was representative of my writing and what I contributed to the band, part of it. And because of 'Fistful Of Metal', that helped launch the career of ANTHRAX into the 'Big Four' [of 1980s thrash metal]. So regardless of what opinions of the band might be, and they wanna play rap music or they wanna play hip-hop or whatever they're doing, playing other people's music, that's fine. Whatever direction they take, that's fine too. I mean, that's their prerogative and their option."

ANTHRAX has had a number of vocalists — including Turbin, Joey Belladonna, Dan Nelson and John Bush — over the last 44 years, with guitarist Scott Ian and drummer Charlie Benante remaining the sole bandmembers who have appeared on every one of the group's studio albums.

Turbin sang on ANTHRAX's debut LP, 1984's "Fistful Of Metal", before getting booted and being replaced by Belladonna. Belladonna performed on four ANTHRAX albums, including the fan favorite "Among The Living" (1987) before he himself was fired over creative and stylistic differences. Bush fronted ANTHRAX between 1992 and 2005 but was sidelined when the band reunited with Belladonna for a 20th-anniversary tour. When that collapsed, and relationships disintegrated with next frontman Nelson, Bush returned for a time before Belladonna took the job back in 2010.

In a 2009 interview with VoltageMedia.com.au, Turbin stated about his departure from ANTHRAX: "I was a member of ANTHRAX from August 1982 up until August 1984. I was a member of ANTHRAX for exactly two years. The reason I left… well, there were a number of things, actually. The whole relationship started to deteriorate after a while, there was definitely backstabbing from certain people who chose to hang around with other people instead of focusing in the band. I was into metal… focused on music while Scott Ian [guitar] and Charlie Benante [drums] formed an alliance, and Dan Spitz [guitar] just followed. In a matter of months, it was simply a case of them versus me. It was very difficult to deal with them, because it was obvious that we wouldn't get along and they were also more interested in other things than music… at least back then. We didn't establish a trusted friendship within the band, that's for sure."

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