In a new interview with Tone-Talk, TESTAMENT guitarist Alex Skolnick was asked about the "vibe between thrash bands in the mid-to-late '80s" and whether there was "major rivalry and competition among the bands or more camaraderie and encouragement". He responded (as transcribed by BLABBERMOUTH.NET): "Interesting question. I think overall more camaraderie and encouragement, because I don't think any of the bands ever sounded the same. I grew up listening to EXODUS and early METALLICA. I discovered METALLICA. They were already touring for the first record. By the time I played on my first record, METALLICA was off to the races; they were already on 'Master Of Puppets'. SLAYER had a few records out; I think 'Reign In Blood' came out the same year. ANTHRAX had a few records out; they'd already been through a couple singers. So all those bands — even MEGADETH had a couple records out — they were already off and running, so I never really saw them as competition."

Alex continued: "I think the only time where I did feel a sense of competition was after I'd been in my band for about a year — yeah, I think it was just over a year — EXODUS parted ways with their singer [Paul Baloff], and they poached our singer [Steve 'Zetro' Souza, from the pre-TESTAMENT band LEGACY]. Gary Holt is a great friend — SLAYER [and] EXODUS guitarist Gary Holt — I'm actually reading his book ['A Fabulous Disaster: From The Garage To Madison Square Garden, The Hard Way'] now, and I just got to the part where he's talking about that. And I didn't know this. Apparently they had split from their singer, Paul Baloff — may he rest in peace — either way. We didn't know that at the time, but at the time we thought, 'Oh, they're coming after our guy. They're trying to be more like us.' And so there was a little sense of competition. But then we found a new guy — his name's Chuck Billy, and he's still in the band today. And it kind of made us sound really different, and we couldn't have sounded like EXODUS. And then they found a different sound once they had their singer, Steve 'Zetro' Souza, who had been in our band. So only for that time period, suddenly it felt, like, 'Okay…' It's like a team. 'Oh, they took our guy.' But other than that, no — I think everybody that got along surprisingly well, especially for how crazy everybody was. It was kind of a hard-partying scene. [We were] young and wild… And everybody's great friends now."

Skolnick was also asked about his experiences of working in a two-guitar band TESTAMENT and how he and fellow TESTAMENT guitarist Eric Peterson split guitar leads. He responded: "Yeah, I think it's different for everybody. There's different types of two-guitar situations. I think for the genre that I came up in, which became known as thrash heavy metal, yeah, you had to have two guitars; it's two-guitar music. So all the essential thrash bands — I mean, METALLICA is not really a thrash band now; they're mega supergroup, but they started out kind of leading this thrash movement with two guitars. MEGADETH, two guitars, SLAYER, two guitars, and it was modeled after groups like IRON MAIDEN and JUDAS PRIEST. And there's different types of situations. There's some groups where you have — SCORPIONS, for example. You have one guy who's just the rhythm guy, main songwriter, Rudolf Schenker. AC/DC [is] the same model. And then you have other groups where you have somebody who's, they're the same ability [and] they play similar solo styles — IRON MAIDEN, JUDAS PRIEST — and it's always different. And then you have somewhere — MEGADETH is a good example where there's a guy that's very dedicated and more of a virtuoso player, but another guy that also plays solos — Dave Mustaine — and he's got his own personality. And you have to figure out what type of group it is."

Skolnick continued: "When we started out, Eric Peterson didn't play many solos. He was more of influenced by groups like MOTÖRHEAD and VENOM and just sort of more raw, heavy stuff. And I was coming from [Eddie] Van Halen, Randy Rhoads; I'd studied with [Joe] Satriani. But over the years he's developed a style. So I think nowadays it's a little more like MEGADETH, where he's kind of like the raw player, but he's got his sound and he's like the Mustaine and I'm the Marty [Friedman] or the Kiko [Loureiro]. [Laughs] And every song is different too. There's certain songs where it fits to have one guy or to have another. If it's a solo like 'Practice What You Preach', where it goes through a number of different keys and tempos and modes, that's probably for me. But then we've got some newer stuff, a song like one of the new singles, 'Shadow People', where it's just this raw vamp, and he plays great over that. So, you have to evolve and you have to work it out. You have to figure out, what kind of band are you? Are you the AC/DC type or the SCORPIONS type where it's rhythm and lead guy, or is it two lead guys or is it somewhere in the middle? So it's different for every band."

One of the elite breed of guitar shredders from the 1980s, Skolnick was famously a student of Joe Satriani, along with Steve Vai and METALLICA's Kirk Hammett, and was even sought out by Ozzy Osbourne, playing a gig with the BLACK SABBATH legend in the U.K. in 1995.

Skolnick joined TESTAMENT in 1985 at the age of 16 and stayed with the band for eight years before leaving in 1993 and going on to study at the New School for Jazz and Contemporary Music.

Skolnick's long-running Brooklyn, New York-based jazz-rock band ALEX SKOLNICK TRIO (AST) recently released its sixth album, "Prove You're Not A Robot", via Flatiron Recordings. Alongside Skolnick's inventive guitar work, bassist Nathan Peck and drummer Matt Zebroski bring rhythmic complexity and emotional depth, with odd-time signatures and genre twists that have become AST hallmarks.

Since forming in the early 2000s, AST has reimagined the jazz guitar trio, melding influences as far-reaching as Wes Montgomery, BLACK SABBATH, Prince, tango, calypso and Western swing. Known for their adventurous covers of rock and metal classics, they've earned praise from outlets like Billboard, Downbeat, Jazziz, The Village Voice and NPR, and have toured internationally, captivating audiences from Norway's Larvik Guitar Festival to Paris's The Olympia and New York's Radio City Music Hall.

In addition to playing with ALEX SKOLNICK TRIO and TESTAMENT, he has worked as a sideman with such artists as vocalist Ishtar of the French band ALABINA and Jewish folk singer Debbie Friedman. He has also guested on an album from RODRIGO Y GABRIELA.

Last summer, Australian thrash metal pioneers MORTAL SIN announced that they will return to the stage in 2026, 15 years since their last tour on the 2011 "Thrashfest Classics" European run. MORTAL SIN's 2026 lineup will see original members Mat Maurer (vocals) and Andy Eftichiou (bass) joined by Nathan Shea (guitar) and Ryan Huthnance (guitar),along with the band's latest addition, Sydney drummer George Delinicolis of LIVEWIRE and BASTARDIZER.

2026 signifies MORTAL SIN's place in thrash metal history celebrating 40 years of "Mayhemic Destruction", 20 years of "An Absence Of Faith" and 15 years since the release of "Psychology Of Death".

MORTAL SIN fans can expect to hear classics spanning the band's full catalog on dates throughout 2026, with the first show seeing MORTAL SIN appearing at Australia's Froth & Fury festival in on January 31 in Adelaide.

Asked in a new interview with Metal Roos about the chances of MORTAL SIN writing and recording fresh music in the not-too-distant future, Mat said: "Yeah. It's been discussed. No one's agreed to anything yet. We will. I mean, yeah, we might. [Laughs] The thing is that let's get all of these shows out of the way. Let's see what the feeling is. Let's see what the vibe is. I'm sure they're all gonna say, 'Look, let's just fucking write.' I mean, I've already asked them, 'You guys got any material? Have you got anything? Have you got anything? Throw something at me.' I need to start now. If I'm gonna write something, even if it's like in two years' time, I need to remember how to write again. It's always a problem with me."

MORTAL SIN will embark on an Australian tour in March, to be followed by an appearance at Germany's Keep it True festival in April. A couple of more Australian shows will take place in May and June before MORTAL SIN returns to Europe in August to play at Czech Republic's Brutal Assault and Belgium's Alcatraz festivals.

Last August, Maurer was asked by the Heavy Metal Mayhem radio show if the Keep it True festival appearance was the main motivation in bringing MORTAL SIN back. Mat said: "No, that came afterwards. Although Oliver from Keep It True has been trying to get us for the last — I don't know how many years. Every year I seem to get an e-mail from him saying, 'Oh, will you do this?' And I go, 'I can't, I can't, I can't, can't.' Because I don't know if you know, my wife was quite ill and passed away in January this year. That sort of took up a big part of my life and that was the priority. When she passed away in January, I kind of needed a bit of purpose and I saw Andy and Nathan. We all sort of went to the same concert together, and I said, 'Look, I know that it's been me that's held us up for all these years, and I appreciate that you waited and everything, but if you guys wanna do something, next year's our 40th anniversary, if you're up for it, I'm up for it.' And they all just said — straight away they said yes. And then so we sat with those three, with us three for probably two months while we were sort of getting into the sort of sense that we're gonna do it. And then we sat there and thought, 'Well, who are we gonna get on guitars?' And Andy suggested getting Paul [Carwana], the original guitarist, but I was a little more inclined to use Ryan from the last lineup that we did with in 2011, just to keep some kind of — I can't say continuity, 'cause it's been — what? — 14 years since then. But I liked Ryan. Ryan was a pretty superior player. And, yeah, because we were losing Luke [Cook], our drummer, I didn't wanna have too much change. Changing one member's okay, changing two members kind of gets — everyone sort of [thinks], 'Yeah, you bloody change your members all the time,' that sort of vibe. So we've got four of the members who were basically together — I don't know what — since 2005 till 2011. And then George has joined us this year. Because he is a drummer, he plays in about 37 bands. But the two notable ones are LIVEWIRE and BASTARDIZER. You may have heard of BASTARDIZER. You may have heard of LIVEWIRE."

Regarding how far he and his MORTAL SIN bandmates are planning to take the reunion and if there is a chance of new music being released in the not-too-distant future, Mat said: "Well, look — one step at a time. When we said we'd start this, we said, 'Let's just do something for the 40th anniversary.' We feel we deserve to do that. And then let's just see. If the reaction is good, if we get shows out of it and all that sort of thing, if there's enough there to push us into doing more, then we'll do more. But we'll get past the first hurdle first, and then we'll see how we all feel together. Also having a new drummer on board… Yeah, it's basically a look-see for now. It's not a full commitment to writing a new album, but we have discussed it, and it's sort of not out of the question, but it's also not a hundred percent, 'Yes, we'll do it.'"

Asked if there are MORTAL SIN songs that are left over from different eras of the band that he and his bandmates could work on to create a new album, Mat said: "I wouldn't do it. I feel that's cheating. When METALLICA brought their 'Death Magnetic' [album] out, to me it sounded like they just went through and found all these old songs and [said], 'Let's redo these.' I don't know. That was my opinion.

"Look, we've already put out — on various bootleg CDs — we've put old tracks, stuff that we never released," he explained. "So we've already done all of that, and I think it's such a long time between now and when we were playing and did release an album that I think you've gotta come at it with fresh ears, fresh eyes, fresh head, all new, because it might be better. Sometimes old is not better. Sometimes new is better… It's kind of like looking at photos. A photo is a snapshot in time. An album is a snapshot in time as well. It's what you did at that time. It's what creativity you had at that time. And everybody changes. In 14 years, so much happens in your life. You've got a whole new bunch of material that's in your head of all your experiences and all the things that happened in your life. So why would you go back? Let's just draw on those experiences."

When the MORTAL SIN reunion was announced in July 2025, Eftichiou said in a statement: "Picking up the bass again for MORTAL SIN after all these years feels like coming home — loud, chaotic, and a hell of a lot of fun. We've still got something to say, and I can't wait to hit the stage with the boys and bring that energy back to the fans."

In July 2025, the Australian thrashers dropped a new lyric video for "Mayhemic Destruction", the title track of the debut album they started recording at Sydney's Studio 301 on Friday, July 25, 1986.

MORTAL SIN's latest album, "Psychology Of Death", was released in Europe in November 2011 via NoiseArt Records. The effort included the group's classic debut LP, "Mayhemic Destruction", as a bonus disc in the limited digipak version. The follow-up to 2007's "An Absence Of Faith" was mixed with producer/engineer Darren "jENK" Jenkins and marked the recording debut of guitarist Ryan Huthnance, who replaced Mick Sultana.

MORTAL SIN in 2009 released a live album, "Into The Inferno (Live In Oslo)" , via Riot! Entertainment. The CD, which contained the group's March 2008 performance in Oslo, Norway, was described by the band as "possibly the best live show MORTAL SIN have ever had recorded."

Once hailed as the next METALLICA, MORTAL SIN have become legends in their home country Australia, having been inducted into the Kerrang! Heavy Metal Hall Of Fame in 2005 and being the only Australian band to have played with the big five of thrash — METALLICA, SLAYER, ANTHRAX, MEGADETH and TESTAMENT — on tours in Australia and overseas.

LORDS OF NWOBHM, the new supergroup featuring members of PRAYING MANTIS, DIAMOND HEAD, RAVEN, TANK and PERSIAN RISK, performed its first show last night (Thursday, January 8) at Cart & Horses in London, United Kingdom. Fan-filmed video of the concert — courtesy of Gary Bowers — can be seen below.

With the ever-growing interest and respect around the world for the rock music genre known as the New Wave Of British Heavy Metal (NWOBHM) — the monumental British metal and European metal movement from 1979 through 1982 — there has never been a better time to celebrate the music of those pioneering bands from the era.

Several musicians who were key members of some of the biggest bands of that time have come together as LORDS OF NWOBHM to faithfully perform many of those classic songs that are now a major part of rock music history.

LORDS OF NWOBHM's setlist features classic tracks from the above bands plus a carefully curated selection of songs from several of the other iconic artists from the era to make this the ultimate NWOBHM show.

The official LORDS OF NWOBHM lineup comprises:

Tino Troy (PRAYING MANTIS) - Guitar
John Gallagher (RAVEN) - Bass
Karl Wilcox (DIAMOND HEAD) - Drums
Cliff Evans (TANK) - Guitar
Carl Sentance (PERSIAN RISK) - Vocals

Gallagher says: "The cream of British metal playing the best of the NWOBHM!"

Adds Evans: "This music is in our blood!"

Wilcox states: "A hefty salute to the genre that spawned some of metal's biggest bands!"

Sentance says: "NWOBHM never dies!"

Troy comments: "The second wave is imminent!"

In an April 2023 interview with Japanese music critic and radio personality Masa Ito of TVK's "Rock City", Lars Ulrich spoke about METALLICA's enduring appreciation for New Wave Of British Heavy Metal and how it continues to influence METALLICA's music to this day. He said: "[New Wave Of British Heavy Metal is] a big part of the reason that METALLICA exists and it's a big part of the reason that, obviously, we're still sitting here.

"My playlists in my iPhone and the playlists in my car and the music that I listen to… Yesterday — I kid you not — I was listening to DEF LEPPARD's 'Good Morning Freedom', I was listening to HOLLOW GROUND, the single by this band HOLLOW GROUND, one of the lesser-known bands of British heavy metal, on one of my playlists in my car as I was driving to take my son to and from school and to his sports practices.

"New Wave Of British Heavy Metal is a big part of me, it's a big part of METALLICA," Lars continued. "New Wave Of British Heavy Metal is for us in METALLICA a gift that keeps on giving. And it's something that we circle and have circled in and out of forever.

"I know there's a lot of people that connect [METALLICA's recent single] 'Lux Æterna' to the New Wave Of British Heavy Metal. And I can tell you and look everybody in the eye and go, that wasn't necessarily the battle cry. When we sat down, we didn't say, 'Let's write a New Wave Of British Heavy Metal type of song.' But, obviously, I can hear those connections in the song when I disconnect myself from the recording and the writing process. And, like I said, I'm always proud to fly the flag for New Wave Of British Heavy Metal at any level that I can."

A self-proclaimed NWOBHM fanatic, Ulrich spent much of his time in the early 1980s tracking down obscure recordings from his favorite groups of the era. Ten years after the NWOBHM's glory days of 1982, Ulrich took time out to put together a multi-band compilation, "'79 Revisited: New Wave Of British Heavy Metal", along with journalist Geoff Barton, whose work in the now-defunct weekly U.K. rock paper Sounds had kept Ulrich posted while he was in the States.

At METALLICA's first-ever concert, which took place on March 14, 1982 at Radio City in Anaheim, California, Ulrich, James Hetfield, Dave Mustaine and Ron McGovney ran through a nine-song set, including no less than seven NWOBHM covers: four tracks by DIAMOND HEAD and one each from BLITZKRIEG, SWEET SAVAGE and SAVAGE.

Back in 2010, Lars was asked by Australia's long-running rock station Triple M about the band that was responsible for inspiring him to launch METALLICA. Ulrich said: "It was the summer of '81 and I'd been trying to get a band off the ground in California, but not much happened, so I sort of got fed up with the whole thing.

"DIAMOND HEAD were my favorite band, and I landed at Heathrow Airport (in London) and I went down to Woolwich Odeon, it was called, which was sort of a baby Odeon; it was about the size of this room we're in here. And there they were — DIAMOND HEAD. And I brown-nosed my way backstage and got a chance to meet them afterwards. I had actually written them a couple of fan letters. I was stunned to find out that they actually knew who I was. Maybe they didn't get as much fan mail as I expected, because the letter that I had sent them were actually on their radar. But then I ended up staying with them for the better part of the rest of the summer and ended up sleeping in the singer's front room.

"A lot of these bands that came out of that period, everything about the New Wave Of British Heavy Metal that I really liked was that all these bands were really grounded. There was a relaxed atmosphere around them, it wasn't sort of... Everything that had been going on in the '70s with bands like QUEEN and PINK FLOYD and DEEP PURPLE and LED ZEPPELIN, it was all about this larger-than-life type of thing and all these bands that were so grand and so majestic and so kind of out there. And a lot of these new bands — IRON MAIDEN and DIAMOND HEAD and all these bands — they were just kids, and they had their feet very firmly planted on the ground. So, in some way, the spirit of that whole movement was about keeping it real and all those attitudes just kind of rubbed off on us and rubbed off on me and made me want to start a band and really have the fans involved and give the fans as much access as possible."

Start your New Year with some Classic British Heavy Metal! Only UK Show! Tickets on sale Now! https://wegottickets.com/event/674388

Posted by Lords of nwobhm on Monday, December 29, 2025

Jay Buchanan — frontman of American rock band RIVAL SONS — will release his debut solo album, "Weapons Of Beauty", on February 6 through Sacred Tongue Records via Thirty Tigers.

The official visualizer for Jay's latest single, "True Black", can be seen below.

With "Weapons Of Beauty", Buchanan — the hard-eyed, preacher-voiced frontman of Grammy-nominated RIVAL SONS — steps fully into his own. A debut solo record that trades the thunder of the stage for something slower and more cinematic: a high-and-lonesome desert song from a man unsteady under the weight of his past, carrying it like a heavy sack of gold into his future.

Buchanan stands tall among the breakthrough vocalists of the last two decades — just as comfortable singing with Jason Isbell, THE BEE GEES, Miranda Lambert, MASSIVE ATTACK, THE BLOODY BEETROOTS or Brandi Carlile as with the arena-rock band he's best known for. His voice remains his signature instrument: powerful, earthen, and impossibly expressive — a gritty echo of the California mountains themselves.

In preparation for "Weapons Of Beauty", Jay disappeared into the Mojave Desert for three months, holed up writing in an underground, windowless bunker. His goal wasn't escape so much as renewal: living simply in the tiny space, powered by a gas generator, writing by firelight at the foot of abandoned gold mines.

"The silence," he says, "was both terrifying and liberating. A caterpillar knows when it's time to get into the cocoon."

Out there, surrounded by heat and horizon, Buchanan began shaping songs about longing, endurance, and an almost romantic celebration of the hard-worn miles living by prospect across the American landscape.

Spanning ten tracks, "Weapons Of Beauty" traces Buchanan through the sun-bleached dust of an American-gothic wilderness. The album opens with "Caroline", a spare, aching letter to a lost home or lover, introducing a recurring theme of return and forgiveness — a song that promises to bring a tear to the eye, a classic wounded tale of loss told in a way that is wholly his own.

"I suppose that writing about unquenchable grief allows you a kind of permission to pay respect to those deep chasms in your life without wallowing in them," Buchanan states. "Putting it in a song lets you buy the ticket and take the ride — and then move on."

Filmed in the same gold mines Jay frequented while sequestered in the Mojave Desert, the video illustrates the journey of a couple in sickness and in health. Buchanan performs to the camera as their memories play out through projections on the cave walls behind him.

"I can see a parallel here," Buchanan adds, "spending twelve hours deep in the earth, trying to mine our own treasure, knowing full well so many have perished in those same caves chasing a future cut dangerously short. That's a hell of a way to spend a Sunday!"

Most recently, Buchanan delivered an explosive performance as the frontman of the Stone Pony house band in the Bruce Springsteen biopic "Deliver Me From Nowhere". Talking about his involvement, Buchanan states: "More than anything, it was just a really good hang. I played a band leader, so no acting there. Being on stage together playing music was about bringing Jeremy [Allen White] into my world, and being on camera in a film was about him bringing me into his. It was amazing. Jeremy and Scott [Cooper] made me feel like I belonged there — and that was just what I needed."

"Weapons Of Beauty" displays nearly fifty minutes of masterful storytelling and heart-breaking lyricism. If it feels cinematic, there's a reason: Buchanan entrusted acclaimed filmmaker Scott Cooper (who directed him in the Springsteen film) to sequence the album — a task Cooper generously took on.

"On the flight home after the film wrapped, Scott and I had a conversation that stayed with me as I went directly to the desert," Buchanan says. "I don't want to get too personal, but we were kind of living on opposite sides of the same coin that day, and he was the last person I spoke to before my desert exile. Months later, the night the record was finished, when I listened to the playback for the first time, I immediately thought of him sequencing it. The whole undertaking had left me so raw that the pan was just too hot for me to pick up. I knew I could trust him — if he'd help me."

Cooper wasn't the only friend to lend a creative hand. Buchanan enlisted lauded American realist painter Jeremy Lipking to create the album's rich, romantic cover painting — a perfect companion to its vision of the American landscape.

"Jeremy Lipking is an old friend and family on my wife's side," Buchanan explains. "We've been wanting to work together forever. He was the only person to hear some of my demos direct from the desert. I told him I was writing a Jeremy Lipking painting. It was important to me that the music have a scenic quality — the America I've seen over decades of touring: lonesome sunsets, big-clouded skies, silhouetted by our dreams and failures."

"Weapons Of Beauty" track listing:

01. Caroline
02. High And Lonesome
03. True Black
04. Tumbleweeds
05. Shower Of Roses
06. Deep Swimming
07. Sway
08. The Great Divide
09. Dance Me To The End Of Love
10. Weapons Of Beauty

"As music continues to be choked out by technology, I wanted to draw pictures in the dirt," states Buchanan. "This approach is right with me, and I've just come to a point where there is no longer a choice. 'Weapons Of Beauty' is the sound of these plates shifting within me, too loud to ignore. Surprisingly, I've never known a vulnerability to feel so empowering."

Born in San Bernardino, California, Buchanan began writing songs as soon as he could hold a guitar, honing his craft through busking, home recordings and constant artistic reinvention. Widely respected by his peers, Buchanan has collaborated with artists such as Jason Isbell, THE BEE GEES, Miranda Lambert, MASSIVE ATTACK, THE BLOODY BEETROOTS and Brandi Carlile, in addition to his work as frontman of the two-times-Grammy-nominated rock band RIVAL SONS — Buchanan (vocals, acoustic guitar),Scott Holiday (lead guitar),Mike Miley (drums) and Dave Beste (bass). Hailed as "one of the best live acts around" (Glide),the group has released eight studio albums to date, toured extensively across the globe, including sharing stages with BLACK SABBATH, THE ROLLING STONES, AC/DC, AEROSMITH and Lenny Kravitz, and performed on "The Late Show With David Letterman", "Jimmy Kimmel Live!", "The Late Late Show With James Corden", George Lopez's "Lopez Tonight" and "Later… With Jools Holland".

Photo by Matthew Wignall

Legendary rock icons and 2025 Rock And Roll Hall Of Fame nominees THE BLACK CROWES today announce the release date of their highly anticipated new studio album, "A Pound Of Feathers", due out March 13 via Silver Arrow Records. Produced by Jay Joyce, the new album pushes THE BLACK CROWES' iconic blend of blues, soul and rock into electrifying new terrain. With a career spanning four decades, the band's upcoming release stands as a towering testament to their enduring artistic fire and significance in rock and roll.

The first two singles from the album, "Profane Prophecy" and "Pharmacy Chronicles", can be heard below.

"We made this record in eight to ten days," says THE BLACK CROWES singer Chris Robinson. "Bringing the high and inspiration from 'Happiness Bastards' into this album, it was a natural progression. We experimented more, we wrote on instinct and how we were feeling in the moment. [THE BLACK CROWES guitarist] Rich [Robinson] brought a spontaneity to the record that I can't describe, but it's the best shit he's ever done."

Rich adds: "This album feels transformative to us. Going back to our roots, we felt that spark in the studio and how we work together. Lighting a fire that hits harder, more jagged but is still true to our musical essence."

"A Pound Of Feathers" marks a bold creative evolution — marrying the rugged swagger of their early classics with fresh perspectives and dynamic, hard-hitting rhythmic textures. Recorded in Nashville with Grammy-winning producer Jay Joyce and curated with visionary energy and deep musical empathy, the record showcases a fearless band operating at the height of their powers.

Drawing from a legacy of emotive songwriting, formidable musicianship, and true rock 'n' roll grit, the project — solely written by the brothers — moves effortlessly between the weightless beauty of "A Pound Of Feathers" and the heavy truth of "a pound of lead," infusing all 11 tracks with an ambivalent depth and honest purity.

Released today, the spiked opener "Profane Prophecy" sets the trajectory for the whole album, packing the track with cheeky, fun and funky lyricism only Chris and Rich could bring to life, while the cynical slow-burning "Pharmacy Chronicles" sings of reckoning rather than retreat, urging people to face their vices, as freedom comes with recognition.

Affirming THE BLACK CROWES as one of today's most compelling and influential rock bands ever, "A Pound Of Feathers" follows their critically acclaimed 2024 effort "Happiness Bastards" — which was nominated for "Best Rock Album" at the 2025 Grammy Awards.

"A Pound Of Feathers" track listing:

01. Profane Prophecy
02. Cruel Streak
03. Pharmacy Chronicles
04. Do The Parasite!
05. High And Lonesome
06. Queen Of The B-Sides
07. It's Like That
08. Blood Red Regrets
09. You Call This A Good Time
10. Eros Blues
11. Doomsday Doggerel

JUDAS PRIEST's Rob Halford is celebrating the fortieth anniversary of his getting sober.

Earlier today (Tuesday, January 6),the 74-year-old singer shared a video message in which he said (as transcribed by BLABBERMOUTH.NET): " Hi, everyone. Today I stand here with deep gratitude and thankfulness as I celebrate 40 years of sobriety.

"Four decades ago, I made a decision to change the entire course of my life, stepping out of darkness into the light, toward the future I couldn't see. As I've said before, it wasn't easy, and still isn't.

"Recovery asks for complete honesty, humility and a willingness to grow one day at a time. With the love and support from my higher power, my family, friends and fans helping me guiding the way, I kept moving forward.

"Over these years, I've learned that sobriety isn't just about staying clean, it's the presence of clarity, purpose and connectivity — a gift of showing up for my life each day for the people I love.

"I'm grateful for the person I became and every challenge I've faced that made me stronger.

"To those of you who may be considering that first step on to the journey with me, I hope that my own journey proves that recovery is possible. Hope is real, and each day at a time is a chance to begin again.

"I love you."

During a question-and-answer session with former MEGADETH bassist David Ellefson at last November's Rock 'N' Roll Fantasy Camp in Scottsdale, Arizona, Halford spoke about how he became clean and sober four decades ago. He said:  "My first sober show [with PRIEST] was at the Tingley Coliseum in [May] 1986 in New Mexico, Albuquerque. That was my first sober show, and I was absolutely terrified. I was terrified. And the first time I sang clean and sober was just something so remarkable. [I was] so elevated, just to feel the music for the first time in its purest sense, uncluttered, in reality. And to hear yourself and your voice, what it can do, your bandmates. I didn't need this stuff — I didn't need any of that to get me where I am."

Rob continued: "Our business used to have a horrible trail of losing people and people getting into really bad ways. A lot of us have recovered. Nowadays when the tour bus pulls up [to a venue], the guys [from the bands] jump off the bus and they pull out weights and are skipping rope by the luggage racks, and that's great. It's less of a thing now, 'cause it was peer pressure. You'd read these rock and roll stories about rockers doing crazy stuff, dangerous stuff. You felt like it was a rite of passage, that you had to go through that, for some extraordinary reason. 'Oh, I do that because so-and-so did that.' And then you're giving your life away for some other purpose, which you should never do."

Halford added: "So anyway, by the grace of God go I, and one day at a time. And I never wanna wake up feeling sick and tired, which is what I used to do."

Asked if there was "a particular moment, a moment of clarity" that changed him, Rob said: "Um, yeah. Yes. It's difficult to express that moment, but when you've had your stomach pumped, because you were so sick of feeling sick and everything around you was so black and dark that you just wanted to leave all of that, that was part of the first major mental crisis that I went through. And then shortly afterwards, after punching the wall for the umpteenth time… I would need my walls fixed, 'cause I was a puncher. After so many drinks, I'd become angry at myself and start punching walls.

Rob continued: "Anybody in recovery will tell you that there's a point where they're just sick and tired of feeling sick and tired anymore, and then you make a change. And you think it's gonna be easy from that point on. No. Every day — for me every day, when a beer commercial comes on, or a hard liquor commercial comes on, I'm [feeling an emotional effect]. It's amazing. It never, ever leaves you. That's why it's called an addiction. I'm an addict. I'm a recovering alcoholic and drug addict. So it never, ever leaves your body. The strength and power that you pull on from your higher power, from the tools that you have from staying clean and sober is a reference right now. It's always ticking in the back of your mind. So, I'm just so happy and grateful that I'm at this place and living in the moment."

Back in 2022, Halford spoke to Spain's Mariskal Rock about how he managed and avoided the urge to relapse since 1986. "I think about it all the time," he said about drinking alcohol. "It's an addiction. When I'm watching the Phoenix Cardinals play on TV the other day, there's constantly adverts for beer and for alcohol and stuff. And I know it's there. And it's a temptation. So you have to have all of the mental tools ready to get you through that instance. 'Cause it's all about instances. And I live one day at a time. I've lived one day at a time for [more than] 35 years now. And that's all that matters. It's the moment. You live in the moment — not yesterday, not tomorrow; it's now. And you have to be ready for when that little beer devil comes on your shoulder and goes, 'Come on, Rob. Have a little drink of beer.' 'Fuck off.' [Laughs] Because I don't wanna feel that way again, man. I don't want to be that person. I was miserable. I wasn't happy. I was bad to people. I don't wanna go through that again. So that's also part of my finding a balance in my day-to-day life."

Rob previously spoke about how he manages to stay clean on the road in a 2020 interview with the "Across The Board" podcast. "It's not easy," he said at the time. "It's very much a day at a time. You're given all the tools and resources from your rehab experience. I use 'em every day. A lot of it is just like mental notes — talking things through. Sometimes I speak 'em out; a lot of it is internal. So that's really vital on a day-to-day level of sobriety.

"When I was in rehab [in 1986], there's anonymity in rehab, but at the same time, you have to tell everybody your life story, so everybody knew what I did. And I remember we talked about the fact that I'm gonna go back to this world of sex and drugs and rock and roll and booze. I don't know how I'm gonna be able to cope, because it won't be a gradual reimmersion into society, so to speak. I won't be able to go tiny steps; I'm just gonna go straight into the deep end. I cannot go to work and say to my bandmates, 'You can't drink. You can't do this. You can't do that,' because it's control. Accept your powerlessness.

"I don't think we ever in the band had a sit-down conversation about this, but I think that there was caring and understanding — as there still is," Halford continued. "But I'd be the last person to say that I have to set a set of rules, because then this whole business of living my life on my terms [turns into something] you push on to other people: 'Well, now, you can't do this,' 'You can't do that.' That's just hypocrisy on the highest level.

"Even now, when we're flying after a show, and the guys are having a beer or a cocktail or whatever, man, I would love that cold beer. I would love a slug of Jack and Coke. I can smell it, 'cause we're in a plane together. It's like this little angel on one side and the devil on the other side. My instant thought is I never wanna be sick again. I never, ever wanna feel that bad ever again. I never want to be in that terrible, dark, lonely place ever again. So it's fleeting. But, again, it's always there.

"When I'm home, especially [during] this COVID thing, [my longtime partner] Thomas doesn't drink. When I first met Thomas, he quit drinking. So that's a support to me. I'm never really around alcohol that much, or drugs, when I'm not working. But, yeah, when my fans, or when PRIEST fans come to see us, yeah, they're gonna have some drinks; they might have a couple of spliffs [and] do whatever else recreationally. They're entitled to. And they are living their lives and they are partying and they are having the time of their lives, as they should. They don't have an alcohol problem; they don't have a drug addiction. There are people that can enjoy these things in life and it [has] no effect on them, in a physical sense and in a mental sense.

"So, it's an absolute miracle," Halford added. "I can only say it's a miracle that I've got that far from January the 6th, 1986 to December the 1st, 2020 without slipping once. And I'm not boasting, because it's all the past — that's the past; it's gone. I live in the moment. I don't think about yesterday or tomorrow; I'm living now. But I'm grateful that I've been able to get this far without failing. Not failing — that's the wrong word. Without a slip off the wagon — whatever the term is. I'm grateful that I've been able to get this far and stay clean and sober. Because if I didn't, who knows where I would have gone and where I would have ended up?"

Halford credited his belief in a higher power for helping him in his recovery. "When I got clean and sober, that was a major change in my life," he said during an appearance on HATEBREED frontman Jamey Jasta's official podcast, "The Jasta Show". "And part of my recovery is just having this higher-power belief. And it works. It works, man. It really, really is important."

Halford added: "There probably will be people listening to [this] podcast who don't have anything like that in their life, and that's great; it's all about acceptance. But I always say to people, if you're thinking about it, the simplest thing I do is I pray. I pray quite a bit, actually. And even if you don't believe in prayer, just have a go. Pray for a good day, or just pray for your friend, or whatever it might be. And it's amazing, man, 'cause it absolutely works. I guarantee, it genuinely does work. And now I'm sounding like [American evangelical Christian evangelist] Billy Graham, but I'm just trying to express some of the things that are important to me on a day-to-day basis that make me able to walk out on that stage each night and do my work."

In an interview with Classic Rock Revisited, Halford said that he quit using substances because he "was sick and tired of feeling sick and tired. I will always remember the first show I did clean and sober… It was in New Mexico, in Albuquerque," he recalled. "I literally felt elevated, as everything was coming with such clarity. I was able to really… enjoy the performance of JUDAS PRIEST without having all of the other things in front of it. Since that day, it has been a miracle."

Halford added, "Everybody has to face things in their lives at some point. It [doesn't have to] be booze and drugs. You can eat too much, or you can not exercise, or whatever… It is not easy staying clean and sober in rock and roll. There are temptations galore from the moment you wake up to the moment you go to sleep, especially when you're on the road. [But] I think we're some of the strongest people, my friends and my sober brothers in metal."

Rob's autobiography, "Confess", in which he discusses his journey to sobriety, arrived in September 2020 via Hachette Books. It was written with Ian Gittins, co-writer of "The Heroin Diaries" by Nikki Sixx.

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A freshly re-recorded version of the CRO-MAGS classic track "Hard Times" can be streamed below. The song arrives just in time for the 40th anniversary of the hardcore legends' "The Age Of Quarrel" debut album. This version, dubbed the "Wired for Chaos Session", also celebrates the recently released documentary film of the same name based on the life and career of CRO-MAGS founder/frontman Harley Flanagan.

During a December 13, 2025 question-and-answer session at Generation Records in New York City, Flanagan spoke about the decision to re-record some of the band's music for inclusion in "Harley Flanagan: Wired For Chaos", which charts his tumultuous life and survival. He said: "That's why you'll see in a lot of films, you'll hear re-recordings of songs. And you'll be, like, 'Why did they do that shit?' … And more often than not, it's because it was too fucking complicated to get the rights or too expensive. So we wound up in a situation. Obviously most people here don't know and don't care, so I'm not gonna bore you with the history of the CRO-MAGS madness and legal drama over the first two albums, which we've never still gotten paid for. But the one thing I will say is this: we did have the opportunity to get the shit back, and it just would've required me and some of the other bandmembers coming to the table and saying, 'Yo, guys, let's get this shit back and just do something with it and all get paid.' And the other guys were just too — I don't know, man. They wouldn't come to the table and have that conversation. So, more or less because of that, I was left with no choice but re-recording some of the songs."

Although Harley's initial plan was to re-record a few of the songs from CRO-MAGS' debut album, 1986's "The Age Of Quarrel", as instrumental covers, the sessions with producer Arthur Rizk progressed to the point where he ended up re-recording the whole thing.

"I wound up going in, and 'cause I was having such a good time and the session was going so well, I said, 'Fuck it.' The 40-year anniversary of the album's coming out next year, so I tracked the whole fucking album," Harley said. "So y'all be able to hear that next year. And I gotta say it sounds kind of like 'Age Of Quarrel' meets [CRO-MAGS' second album, 1989's] 'Best Wishes' in the sense that it's played like 'Age Of Quarrel', but it's got me on vocals, so it just has a deeper voice, let's just say."

"Wired For Chaos" arrived in theaters last June. A trailer for the film can be seen below.

Flanagan burst on to the punk music scene at the age of 11 in the late 1970s as drummer for his aunt's New York-based band THE STIMULATORS, later founding the seminal hardcore act CRO-MAGS. Flanagan tells his inconceivable story through gritty footage of NYC's downtown 1970s and '80s music scene as the backdrop, alongside stories from friends and peers like Flea, Ice-T, Henry Rollins, Michael Imperioli, members of BAD BRAINS, BEASTIE BOYS, CIRCLE JERKS, ANTHRAX and many others.

While Harley's journey as a musician is certainly explored, "Wired For Chaos" centers on the lasting effects of trauma and its integration into his present-day life. Harley Flanagan was a child prodigy musician, who raised himself in the very adult world of rock 'n' roll. He was born to a Warhol Factory "it" girl, enmeshed in the Lower East Side artist sub-culture of the late '70s and '80s, surrounded by copious amount of sex, drugs and violence (as victim and later perpetrator),simultaneously achieving punk rock legend status.

In addition to touring with his band CRO-MAGS all over the world, today Harley Flanagan is also a jiu-jitsu professor (under the tutelage of Master Renzo Gracie),devoted husband (having married a Park Avenue attorney),the father of two sons and a deeply introspective human. He confronts his past, hoping that it can bring him some peace, and pass what he's learned forward to others struggling. Though he has moved on from the violence of his youth, it is never far away as he works through his very pronounced PTSD. His primal instincts to survive remain sharp. The film is built around a vast archive of material, scenes with Harley and his friends, several intimate interviews with Harley and his wife, and abstract imagery and animation.

Harley's childhood with iconic artists (Andy Warhol, Debbie Harry, Joe Strummer, Alan Ginsburg) looks enviable on the surface, but ultimately his DNA is riddled with the trauma of abuse and sexual violence, laying the groundwork for an unstable adolescence and rocky young adulthood.

The career of filmmaker Rex Miller, who directed "Wired For Chaos", spans more than 25 years and has yielded two Peabody Awards, several Emmys and two Oscar shortlists. He recently directed (with Sam Pollard) the film "Citizen Ashe" (CNN Films),which won "Best Documentary" at both the 2022 Critics Choice and Grierson Awards and was nominated for a Sports Emmy for "Best Feature Documentary".

In a new interview with SLAM: Music Survival Guide, OVERKILL singer Bobby "Blitz" Ellsworth spoke about the progress of the songwriting sessions for the band's follow-up to their latest album, "Scorched", which came out in April 2023 via Nuclear Blast. "We're 10 songs deep at this point… It's gonna be a full year. We've gotta, make sure D.D.'s happening to get all this stuff together," he said, referencing OVERKILL bassist D.D. Verni's recent shoulder surgery and ongoing recovery (as transcribed by BLABBERMOUTH.NET). "If not, I'm sure we'll make it, and the studio will be fine."

He continued: "When [D.D.] does his other band [DD VERNI & THE CADILLAC BAND], it's totally different than punching holes in the floor because he plays that bass as low as anyone ever in the history of metal. I mean, that shit sits right on shoe tops, and I think it's probably one of the reasons he has a bad shoulder. But it's gonna be business as usual. [There'll] be a ton of new news coming out pretty soon. We're 10 songs deep. I expect to be recording by January, and let's see — let's see what happens from there."

As previously reported, OVERKILL will support San Francisco Bay Area thrashers TESTAMENT on the U.S. leg of their "Thrash Of The Titans" world tour. The trek, which will launch in March, will feature additional support from German thrashers DESTRUCTION.

Last October, Ellsworth told the Metal Mayhem ROC podcast that he and his OVERKILL bandmates had "demoed out" the material for the group's upcoming album. "Jeramie Kling's playing drums for us now," he said. "[Former OVERKILL drummer] Jason Bittner moved on to other things… So we're just moving along as if there is no issue with D.D.."

Last September, Verni, who is the main songwriter in OVERKILL, told Jeff Gaudiosi of MisplacedStraws.com about OVERKILL's upcoming LP:  "We are demoing stuff right now. We probably have maybe nine or 10 songs kind of scratched out that I gave to Blitz a little while ago. Usually the process is I'll demo everything up musically [and] then I'll give it to Blitz. He'll spend some time with it and kind of do his thing with them. Then we get everybody together, kind of that. So I gave it to Blitz maybe not too long ago."

As for a possible release date for the new OVERKILL album, Verni said: "I would think next year, for sure. Just when will it be — spring? Will it be fall? Somewhere in there. But [in] '26 [there] will definitely be a new OVERKILL record."

In August 2024, OVERKILL confirmed Kling as the group's new drummer. Kling joined the veteran New Jersey thrash metal outfit as the replacement for Bittner, who announced his exit from OVERKILL earlier that month.

A founding member of THE ABSENCE, Kling appeared on VENOM INC.'s second album, 2022's "There's Only Black", and has played with such acts as FORE, RIBSPREADER, GOREGÄNG and NECROMANCING THE STONE. He was also briefly affiliated with the reunited Florida death metal band MASSACRE, which led to the formation of INHUMAN CONDITION, alongside Terry Butler (OBITUARY, ex-DEATH) and Taylor Nordberg (DEICIDE). In addition to being a drummer, Kling is a recording engineer, producer and live sound engineer.

Bittner joined OVERKILL in 2017 and played drums on the band's last two studio albums, 2019's "The Wings Of War" and the aforementioned "Scorched".

In November 2024, Jason admitted to "Reckless" Rexx Ruger of Pod Scum that he "hadn't been happy" in OVERKILL "for, like, two fucking years. It wasn't a surprise that I quit. I'd been dissatisfied for a long time, but I'm a team player. I don't like to leave things. I love the guys personally. So I just kind of just hung in there, but I was not happy where I was career-wise, let's say, within the confines of that band. I wasn't a bandmember. And that's the main thing for me to keep doing this at this point in my lifetime." He added that he felt he wasn't "being paid fairly" for his time" but clarified that there was "no animosity" and called his decision to leave "just a business thing." He explained: "I can play five shows with SHADOWS FALL and make more money than playing 30 with OVERKILL."

In September 2024, Verni told Capital Chaos TV about Bittner's departure: "We kind of knew that that was coming. He had told us a while ago that he was just kind of burned out on too many things and had his hands in too many pots. So I think we kind of knew that was coming."

OVERKILL played its first concert with Kling on August 30, 2024 at the Posada Rock festival in Câmpulung Muscel, Romania.

Due to a "minor health issue" that requires his attention over the upcoming months, Glenn Hughes, the legendary former bassist and singer of DEEP PURPLE, Rock And Roll Hall Of Fame inductee and current frontman of rock supergroup BLACK COUNTRY COMMUNION, has made the difficult decision to cancel his previously announced 2026 USA tour. The trek was scheduled to kick off on March 27 at The Coach House in San Juan Capistrano, California and wrap up on May 10 at The Marquee in Tempe, Arizona.

Glenn comments: "I'm taking advice from my medical team, who I am working closely with. Hoping to see you on the road of happy destiny."

Ticket and VIP upgrade refunds will be available from your point of purchase.

When it was announced last October, "The Chosen Years" show promised to be a dynamic, turn-back-the-clocks, two-hour live extravaganza paying homage to Glenn's illustrious career spanning five decades in music — featuring songs from TRAPEZE, DEEP PURPLE, HUGHES/THRALL, IOMMI/HUGHES and BLACK COUNTRY COMMUNION, some of music history's most seminal and influential rock and roll groups. Not only that, the shows was also supposed to feature brand new music from Glenn's latest solo album, "Chosen". Joining Glenn on lead vocals and bass guitar were supposed to be Søren Andersen on guitar and Ash Sheehan on drums.

"Chosen" came out on September 5, 2025 via Frontiers Music Srl.

In early June 2025, Hughes released the official music video for the "Chosen" title track. It was followed by the "Voice In My Head" video a month later. In August, Glenn shared "Into The Fade".

2025 saw Hughes busy touring across Europe and South America, with "The Chosen Years" tour starting in Zoetermeer, Netherlands, on September 2 and ending on November 29 in Bogota, Colombia.

Glenn, a native of Cannock, England, absorbed all kinds of influences, including early British hard rock, THE BEATLES and, most importantly, American soul and R&B. The sleek Motown sound from Detroit and the gritty Stax/Volt sound from Memphis left their mark on him.

Hughes first found success in the early '70s with the band TRAPEZE before joining DEEP PURPLE in 1973 during a pivotal lineup change that introduced him and David Coverdale to the group. Despite initial skepticism, the revamped band silenced critics with the release of "Burn" (1974),a powerful album that revitalized PURPLE's sound and remains a classic. During this era, the band headlined the iconic California Jam in front of over 300,000 fans, toured the world aboard their private jet The Starship, and released two more studio albums, "Stormbringer" and "Come Taste The Band", before disbanding in 1976.

Glenn's first solo album "Play Me Out" was released in 1977. He joined former Pat Travers guitarist Pat Thrall to form HUGHES/THRALL, which released an acclaimed self-titled album in 1982. Throughout the '80s and '90s, Glenn Hughes made countless guest appearances (both credited and un-credited) as a vocalist, bass guitarist or songwriter on other artists' albums. The endless list includes — among others — Gary Moore, John Norum and Tony Iommi of BLACK SABBATH.

Since 1992, Glenn has started a prolific solo career with a dozen studio albums where he explored all the different sides of his songwriting and influences: from hard rock to funk and more contemporary sounds. He collaborated — among others — with such musicians as Chad Smith (RED HOT CHILI PEPPERS),Dave Navarro, John Frusciante and many others. He also founded or took part in some amazing musical alliances such as CALIFORNIA BREED (with Jason Bonham and Andrew Watt),BLACK COUNTRY COMMUNION (with Joe Bonamassa and Jason Bonham) and THE DEAD DAISIES.

Glenn has collaborated with Robbie Williams on his new single "Rocket", which was released on May 22, 2025. The track also features a collaboration from Iommi and will be the first time Glenn has been featured on a record with Tony since 2005, when they released "Fused" together.

Glenn also recently joined forces with SATCHVAI, a new collaboration by legendary guitar icons Joe Satriani and Steve Vai, by writing and singing on their new single "I Wanna Play My Guitar".

Posted by Glenn Hughes on Friday, January 9, 2026

Finnish hard rockers THE 69 EYES have signed to BLKIIBLK, the heavy metal imprint of Frontiers Label Group.

Starting a brand new chapter in their career, they proudly unveil their new track, "I Survive", along with an official music video, available below.

The song features American guitarist Steve Stevens, best known as Billy Idol's guitarist and songwriting collaborator, and for his lead guitar work on the theme to "Top Gun" ("Top Gun Anthem"),for which he won the Grammy for "Best Pop Instrumental Performance" in 1987.

THE 69 EYES comments: "Our new single 'I Survive', written by guitar legend Steve Stevens and Jyrki 69, is THE 69 EYES at our best: simply rocking! The track is mixed by Barry Pointer (OZZY OSBOURNE, MÖTLEY CRÜE, etc) to bring the extra Hollywood magic in."

Once you've survived the 1980s rock scene, you become unstoppable — and THE 69 EYES are living proof. Formed in Helsinki in 1989 and still going strong with the same line-up some four decades later, the Helsinki Vampires have earned their legendary status.

In a world with fewer and fewer true believers in leather jackets, midnight sunglasses and low-slung guitars, THE 69 EYES keep the Johnny Thunders's flame burning like an endless sleazy club night back in the day.

Their biggest hit, "Lost Boys" from 2005, was made into an iconic music video by MTV's "Jackass" star and skater Bam Margera and the song still remains on annual Halloween rock playlists.

One foot on glam, another one on goth, THE 69 EYES have released thirteen albums, reaching gold and platinum and a mainstream status in their native Finland. They have been touring without any notable breaks all over the world the last twenty years.

Vocals, a lead and a rhythm guitar, a bass and drums are the classic rock band lineup. THE 69 EYES have the magic on stage that is needed for these elements to carry on beyond the rock 'n' roll dreams, both theirs and those of their cult following.

THE 69 EYES is:

Jyrki 69 - Vocals
Bazie - Guitar, Backing Vocals
Timo-Timo - Guitar
Archzie - Bass, Backing Vocals
Jussi 69 – Drums

Photo credit: Marek Sabogal

During an appearance on the latest episode of Gabbing With Girlfriends, the podcast hosted by Geezer Butler's wife and manager Gloria Butler, the legendary BLACK SABBATH bassist was asked if he and his bandmates ever made a proper studio recording of "Scary Dreams", the slow and bluesy number they performed during the Ozzfest tour in 2001. He responded (as transcribed by BLABBERMOUTH.NET): "Yeah, I think we had about eight [new] songs written [during those sessions]. We did them in Monmouth, down in Wales. And we had at least six [tracks] completed and I think a couple of more in the works. That's when [producer] Rick Rubin first got in touch with us. He wanted to do that album back in — I think it was 2002. And we went to his house to play him what we had, and as we were playing them, I was thinking, 'What a load of crap.' [Laughs] I just didn't like them at all. I just completely went off them. I don't know if it was 'cause I was playing them to somebody else. And I just went, 'Nah, after all these years to come out with this, I don't think it's right.' So we knocked it on the head."

Butler previously touched upon "Scary Dreams" during a 2023 interview with Ultimate Classic Rock. Asked how much material there was in the vaults from SABBATH's later years that fans haven't heard, Geezer said: "Well, if you haven't heard [the songs], then they're not good enough to go on the record. I mean, 'Scary Dreams', you know, it wasn't great. That was when we were trying to throw an album together; I think it was in 2001. It just wasn't working. It just felt really forced. 'Scary Dreams' is probably the best we came out with. I was so disinterested in it that I didn't want to write the lyrics or anything. Geoff Nichols, the keyboard player, came out with the vocal line and the lyrics. [Laughs] That's how disinterested everybody was. It was just too forced. We had about five or six songs and I didn't really like them, but I just went along with it for Tony [Iommi, SABBATH guitarist] and Ozzy's [Osbourne, SABBATH singer] sake. We went to play them to Rick Rubin and I just thought, 'God, these are really crap.' I think Tony and Ozzy might have liked them, but they just weren't up to scratch. I didn't think so. The four of us have to like something for it to be good. It can't just be two of us, so that's as far as it went."

A founding member of BLACK SABBATH, Butler is also the lyricist of such SABBATH classics as "War Pigs", "Iron Man", "Paranoid" and others.

Geezer's autobiography, "Into The Void: From Birth To Black Sabbath - And Beyond", arrived in June 2023 in North America via HarperCollins imprint Dey Street Books.

1995 saw the release of Geezer's first solo album, "Plastic Planet", followed in 1997 by "Black Science", with "Ohmwork" completing the trilogy in 2005. In October 2020, all three albums were made available for the first time ever on vinyl via BMG, with both CD and LP using newly updated cover artwork.

At last year's "Back To The Beginning" concert, Geezer and the other original SABBATH members performed four songs for more than 40,000 people at Villa Park in the band's original hometown of Birmingham, United Kingdom and 5.8 million more on a livestream. Ozzy also played a five-song solo set while seated in a bat-adorned throne.

Los Angeles-based hard rock band STITCHED UP HEART will release a new full-length album, "Medusa", on June 12 via Judge & Jury Records, the powerhouse record label founded by esteemed producer Howard Benson and THREE DAYS GRACE drummer Neil Sanderson.

The official music video for the LP's latest single, "Glitch Bitch", featuring CONQUER DIVIDE, can be seen below.

"Glitch Bitch" is a tribute to Internet-era confidence, where online identity becomes a space for fearless self-expression. Driven by heavy guitar and a bold attitude, the song captures emotions of navigating the digital world.

Singing "This is for the twisted e-girl misfits", STITCHED UP HEART leans into its known audiences, even in the music video. Featuring Kiarely and Kristen from CONQUER DIVIDE and several popular goth/emo influencers, the music video follows the band as the night unfolds at a house party, with tattoo artist Miao inking guests amid the chaos.

"'Glitch Bitch' is a love letter to every fierce e-girl baddie out there shattering expectations, and leaving a trail of broken hearts in your digital wake," STITCHED UP HEART shares, and continues, "You're the queens of turning pixels into power, and making the Internet pretty. Reminding us all that code is confidence and beauty's a weapon."

Benson adds: "When I heard the amazing forward-thinking record Mixi recorded with Cameron Mizell, I immediately loved the track 'Glitch Bitch'! The video was fun to shoot and having Kiarely and Kristen from CONQUER DIVIDE on it just ramps up the excitement."

Formed in 2010 by powerhouse vocalist Alecia "Mixi" Demner, STITCHED UP HEART is known for blending heavy riffs, anthemic choruses, and introspective lyrics.

The loaded "Glitch Bitch" video cast brings a combined 10 million followers across all platforms and includes Dani Divine, Annie Miao, Miss Merder, Ashley Pagliuso, ALYXX, Lyric Noel, Eve vice, StayMaced, Black Widow, Stef w/ an F, Kat Coats, Farrah Fix, Rebecca Reed, Bibi, Michael Starr, Kitty LA, Julia Sallee and Darrin "Mayhem Jesus" Perry.

"Medusa" track listing:

01. Love & Death
02. Sick Sick Sick
03. Glitch Bitch
04. Cannibal
05. Meet Me After Life
06. Medusa
07. Beast
08. Dead To Me
09. Devilicious
10. Ex-Termination

STITCHED UP HEART wrapped its tour with EYES SET TO KILL, Lauren Babic and LYLVC in December 2025, but will return to the road this spring with Sebastian Bach.

During a recent appearance on the "Mohr Stories" podcast, hosted by comedian and actor Jay Mohr, ZZ TOP legend Billy Gibbons confirmed that the ad wizards at the Gillette razor company offered him and then-ZZ TOP bassist Dusty Hill $1 million each to shave off their famously thick, long beards for a commercial. "It's true," he said (as transcribed by BLABBERMOUTH.NET). "[Gillette] deny it. It was a million dollars per man. But we called Mr. Merlis [music industry veteran Bob Merlis]. I said, 'Bob, we got this offer.' 'What?' I said, 'We've been offered a million dollars each to shave on TV.' He said, 'Well,' he said, 'The money's good.' He said, 'You might as well consider doing it, but I'm not so sure you guys — any of you guys — know what's under there.' So we passed. We passed, and our fans loved it. Word got out."

When adjusted for inflation, one million dollars in 1984 is equivalent to approximately $3.1 million today.

Gibbons previously shared his reaction to the Gillette offer in a 2012 interview, saying that he never seriously entertained it. "No dice," Gibbons said. "Even adjusted for inflation, this isn't going to fly. The prospect of seeing oneself in the mirror clean-shaven is too close to a Vincent Price film — a prospect not to be contemplated, no matter the compensation."

Billy also aired sentiments about the Gillette offer during an interview with KLRU Public Television in Austin, Texas, saying, with his tongue firmly planted in his cheek: "We're too ugly. We don't even know what's under here. Not at this point."

A few years ago, Gibbons was asked by award-winning journalist Dan Rather how ZZ TOP's "beard" look was conceived. Billy responded: " One word: lazy." He went on to explain: "We started ZZ TOP in 1969. We carried on without stop up until the bicentennial year of '76. And at that time, we were looking at an invitation to join the ranks of the Warner Brothers Group. And it was the decision by management to take a brief break after literally seven years of nonstop touring. Maybe a 90-day hiatus would give us a little breathing room, which turned into 120 days later. It was one year, and we all kind of scattered, keeping in touch only by telephone. Now it's two years running and all the machinations to join the ranks of Warner Brothers were still underway. In the meantime, as I mentioned, the word 'lazy' came in. Now there's one telltale photograph. Our first official release for Warner Brothers contained a photograph on the little sleeve inside the 12-inch long-playing album — actually, the only evidence of [ZZ TOP drummer] Frank Beard with a beard is hiding inside of that 'Degüello' record. He quickly grabbed the razor and went to town. But Dusty and I — what started out as a disguise turned into a trademark."

The 72-year-old Hill died on July 28, 2021 in his sleep at his Houston, Texas home.

ZZ TOP played its first show following Hill's death on July 30, 2021 in Tuscaloosa, Alabama.

ZZ TOP's longtime guitar tech Elwood Francis, who had worked with the group for more than two decades, made his live debut as ZZ TOP's new bassist on July 23, 2021 at the Village Commons in New Lenox, Illinois after Hill was forced to return to Texas to address a hip issue.

Hill joined ZZ TOP a year after its formation in 1969.

The Swedishstokie channel on YouTube has uploaded video of Lor Productions' concert marking the 40th anniversary of THIN LIZZY legend Phil Lynott's passing. Check out the clips below.

The event, which took place this past Sunday, January 4, 2026 at Dublin, Ireland's at 3Arena, saw a plethora of artist performing, including ex-THIN LIZZY members Eric Bell and Darren Wharton.

The night kicked off with Lawrence Archer and GRAND SLAM bringing the house down. Next up, there was an all-star lineup featuring Ricky Warwick from BLACK STAR RIDERS, THE ALMIGHTY and THIN LIZZY, Marco Mendoza from THE DEAD DAISIES, WHITESNAKE and THIN LIZZY and Richard Fortus from GUNS N' ROSES.

After a short video, the 45-piece powerhouse RTÉ Orchestra added a whole new dimension to the classic LIZZY tracks. Also appearing was a talented selection of Irish singers, including Peter Smith from the hit musical production "Moonlight - The Phil Lynott Enigma".

To wrap up the night, it was Wharton and his incredible band RENEGADE playing all the big LIZZY hits, with a few special guests joining in, including Bell.

Phil died in 1986 at the age of 36 after years of drug abuse.

THIN LIZZY are unquestionably one of the true icons of British rock. Nobody has ever sounded like them, yet they have influenced countless others.

Lynott's poetic lyricism, the unmatchable dual guitar precision, the ability to joust with epic melodies and make them memorably intense, all of this is part of the LIZZY heritage. And what they have left behind is peerless, powerful and influential. The invocation of an era, the evocation of timeless music.

It all began in 1970 when Lynott (bass/vocals),Eric Bell (guitar),Brian Downey (drums) and Eric Wrixon (organ) got together in Dublin. Wrixon left shortly after the band had recorded their first single "The Farmer". By the end of 1970 they'd signed to Decca Records, and released their self-titled, debut album in 1971. This record was swiftly followed the next year by second album "Shades of A Blue Orphanage". Neither record charted but did showcase a band that were finding their own style.

However, early in 1973, LIZZY had their first hit single, when their version of the traditional Irish song "Whiskey In The Jar" reached No. 6 in the U.K., as well as topping the chart in Ireland. Later the same year, "Vagabonds Of The Western World" came out as their third album. Although it failed to chart nonetheless, it proved there was something unique about what they were doing. Much to everyone's surprise, Bell quit on New Year's Eve 1973 and Gary Moore temporarily rejoined to help the band finish their tour, which ran into '74.

There was to be a further shake-up, though. The band portentously decided to expand the lineup to a four-piece, with Scottish teenager Brian Robertson and American Scott Gorham both coming in on guitar. They also changed labels, signing to Vertigo. Their fourth album, "Nightlife", came out in late 1974; it also featured Moore playing lead guitar on "Still In Love With You".

While the much-needed album commercial breakthrough still eluded them, it was finally achieved in 1975 when "Fighting" made it to No. 60 in the U.K. And more importantly, the unmistakable sound that we now associate so closely with LIZZY was beginning to take shape. And we headed the second half of the '70s, the band were poised for their big break.

Sure enough, their 1976 album "Jailbreak" proved to be the moment that THIN LIZZY arrived as a magical, unstoppable force. All the ingredients were now in place and the album stormed to No. 10 in the U.K. and No. 18 in America. Moreover, the supreme anthem "The Boys Are Back In Town" was a transatlantic hit single. It got to No. 8 in Britain and No. 12 in the States. The album's title song was also successful as a single, reaching No. 31 in the U.K.

Unfortunately, an American tour in June '76 with RAINBOW had to be cancelled when Lynott contracted hepatitis, but they were soon back on track when the album "Johnny The Fox" came out in late '76. It peaked at No. 11 in Britain and made it to No. 52 Stateside. And the single "Don't Believe A Word" put them back in the U.K. Top, as it reached No. 12.

A planned U.S. tour in December 1976 had to be cancelled when Robertson suffered a hand injury. Moore was brought back for a subsequent American tour early in 1977, as LIZZY opened for QUEEN. And the band recorded their next album "Bad Reputation" with Gorham commandingly handling the guitar parts. But Robertson did return in time to contribute lead and rhythm guitar parts as well as keyboards.

LIZZY headlined the Reading Festival in August '77, and a month later the new album was released. It reached No. 4 in the U.K. and No. 39 in the States, with the single "Dancing in The Moonlight (It's Caught Me In The Spotlight)" again making the Top 20 in Britain, reaching number 14.

In 1978, the band released "Live And Dangerous" which is rightly regarded as one of the all-time great live albums. The album reached number two in the U.K. but Downey had to miss tours later in the year due to illness, with Mark Nauseef being temporarily brought in. More importantly, Robertson was replaced by Moore, and this time the latter stayed for the recording of the next album "Black Rose: A Rock Legend". This was released in 1979, making it to No. 2 in Britain and No. 81 in the States. There were three U.K. hit singles from it as well, namely "Waiting For An Alibi" (No. 9),"Do Anything You Want To" (No. 14) and "Sarah" (No. 24).

Moore left the band once again after they played in Oakland at the Day On The Green festival in July 1979 and with only a couple of days notice ULTRAVOX's Midge Ure filled in for the remaining tour commitments. Dave Flett was added as another guitarist later in the year, to allow Ure to play keyboards when required.

Snowy White, who had played live with PINK FLOYD, was chosen as the band's new permanent guitarist, with teenager Darren Wharton drafted in on keyboards. The new lineup released the album "Chinatown" in late 1980, which got to No. 7 in Britain and No. 120 in the U.S. The title track peaked at number 21 in the U.K., with "Killer On The Loose" doing even better, reaching No. 10.

A year later, "Renegade" made it to No. 38 in the British album charts, with the U.K. single "Hollywood (Down On Your Luck)" reaching No. 53. Three months earlier, the band had created history by being the first to headline the first ever show at Slane Castle in Ireland on August 16.

In August 1982, White left LIZZY, and former TYGERS OF PAN TANG man John Sykes was brought in for the next album, "Thunder And Lightning". This record had a heavier sound than was usually associated with LIZZY, but when put out in March 1983, it had a massive impact, reaching number four in Britain. The single "Cold Sweat" made it to No. 27 in the U.K., while the title track reached No. 39 and "The Sun Goes Down" peaked at No. 52.

A live album, "Life", came out in October 1983 and reached No. 29 in the U.K. but the band had already split up the previous month after playing at the Monsters Of Rock festival in Nuremburg on September 4; their final British performance was a headline slot at the Reading Festival on August 28.

On January 4, 1986, Lynott tragically died, at the age of 36. It shattered any chance for a full LIZZY reformation. However, in 1996, the band were reactivated as a formidable live concern. Since then, they've delivered a stunning celebration of the THIN LIZZY heritage. Not only have former members Gorham, Downey, Sykes and Wharton been involved, but a rich cavalcade of rock luminaries has also been keen to add their talents. Ricky Warwick has done a magnificent job on vocals, while among others to perform with them over the past two decades are bassists Tom Hamilton (AEROSMITH),Troy Sanders (MASTODON) and Marco Mendoza (TED NUGENT, WHITESNAKE),drummers Tommy Aldridge (WHITESNAKE, OZZY OSBOURNE),Scott Travis (JUDAS PRIEST) and Ian Haugland (EUROPE),plus guitarists Vivian Campbell (DEF LEPPARD) and Richard Fortus (GUNS N' ROSES). The fact such high-profile names have been delighted to play a role in commemorating the history of THIN LIZZY underlines the indelible impact it's had on succeeding generations.

What this band have left behind is remarkable. They have inspired the likes of METALLICA, Jon Bon Jovi, ALICE IN CHAINS and countless others, and their legacy has become more vital with each passing year.

An unforgettable show to mark the 40th anniversary of Phil Lynott's passing is coming to 3Arena, Dublin on 4 January...

Posted by Ticketmaster Ireland on Friday, August 15, 2025

In a new interview with Tom Power, host of "Q" on Canada's CBC Radio One, lead singer Burton Cummings and guitarist Randy Bachman spoke about their upcoming tour together as THE GUESS WHO for the first time in 23 years.

After settling a trademark lawsuit with two other members of the band in 2024, the pair will tour their native Canada starting on May 26 at the Avenir Centre in Moncton, New Brunswick. The tour will visit Halifax, Laval, Toronto, Hamilton, London, Winnipeg, Saskatoon, Calgary and Edmonton and wrap with festival appearances in Ottawa and Vancouver. Prior to this tour, THE GUESS WHO will perform on January 31 at the OLG Stage at Fallsview Casino in Niagara Falls, Ontario.

As principal songwriters of THE GUESS WHO's early hits, Bachman and Cummings helped propel the band to international success with songs such as "These Eyes", "Laughing", "Undun", "American Woman", "No Sugar Tonight/New Mother Nature" and "No Time". Their 1970 album "American Woman" reached No. 1 in Canada, and the title track became the first Billboard number one hit by a Canadian group.

Three years ago, Bachman and Cummings filed a lawsuit accusing a band calling itself THE GUESS WHO — led by original drummer Garry Peterson — of falsely advertising "a group of hired musicians who have been touring and recording using the band's name." In September 2024, it was announced that Bachman and Cummings had settled their long-running dispute with former bandmates Peterson and Jim Kale.

Asked by Power how it felt for them to finally reclaim THE GUESS WHO name, Burton said (as transcribed by BLABBERMOUTH.NET): "Well, first of all, Randy and I were both very upset with what the fake band had done. At first, it didn't bother me so much, but it went on and on. We kept thinking it would end, and the fake band went on and on and on. And Garry Peterson, I think, was sanctioning a lot of that. And it was just — enough was enough already. So Randy and I, we got together and we decided, 'Look, this has to stop.' He has kids and grandkids and they were seeing online THE GUESS WHO, and they were kind of wondering, 'Well, is Randy gonna be there tonight? Is my grandfather gonna be there?' And this fake band, they used to actually take our albums to meet-and-greets after the shows and sign their names on our pictures. So we had — for me, anyway, and I can't speak for him, but I know he feels a lot of the same things — I had just had enough. I said, 'Whatever it costs, let's get the best lawyers. Let's stop this.'"

Randy chimed in: "We would get fan mail but after the fact. But because of COVID and everybody getting their own phones, we would get things like, 'We just drove 300 miles with our family and our grandkids to hear this song they've been hearing all their life, and here are these guys on stage saying how they wrote 'These Eyes' and 'American Woman'. They weren't even alive when you had to hit songs.' And they would send us the clips… They did own the name. They had copywritten [sic] and trademarked the name. We couldn't do that, but we got them on false impersonation, fraud — they're fraudulating [sic] the fans, using [Burton's] voice and songs we wrote to promote the show."

Burton added: "See, that's another thing. They used our real records to promote their fake shows. And that singer, whatever his name was, the blonde, he was walking around like it was his band. You know what he said in an interview one time? They were talking to that singer, and he said, 'Well, what's the matter? I've been in THE GUESS WHO longer than Burton was.' No, you've been in a GUESS WHO cover band longer than Burton was in the real GUESS WHO. See, they got to the point where they believed it was their stuff."

Circling back to how he felt when they were able to reach an agreement with the two other members of THE GUESS WHO about who would carry on with the name, Randy said: "Well, it was, like, 'Finally it's over.' It wasn't over. It took months and months. We had to go to the web site and shut down web sites and get passwords. And you had to go and find all the trademarks and all the filings, which had changed over the years, and null and void them. And then us started over again as the team was BACHMAN-CUMMINGS. So there was an over. But I've gone through a couple of divorces — I hope you never have to go through that — but it's never over until it's over. It's like Yogi Berra said, 'It ain't over until it's over.' We decided to finally go to mediation in L.A. and not leave the room until it was decided. 'Cause I'd go to divorce, you can do an agreement and so-and-so is supposed to provide something, the next day they don't, and you don't have a divorce. And then six months go by and it costs you more money. The lawyers make a lot of money doing this stuff."

Burton added: "Let me say one thing about what he mentioned — the mediation. This is unbelievable. A lot of people have a hard time believing this is true. We went and started mediation one morning at 9:00 a.m. We were in the same room. You know what time we left that same room? 6:00 a.m. the next morning. We were arguing and fighting that whole time, with two sets of lawyers — from nine in the morning till 6:00 a.m. the next morning.

Randy continued: "And we would take a break and say, 'Let's pass out,' and we'd sleep for 10 minutes, like on an airplane. 'Let's take a bathroom break' and we'd go back in and hammer and hammer and hammer and hammer away."

Kale reportedly registered THE GUESS WHO as a trademark in the United States in 1986, without Bachman and Cummings's knowledge or consent.

In their original suit, Bachman and Cummings argued that Kale's iteration of THE GUESS WHO was engaging in false advertising, attempting to boost ticket sales by giving the impression that Cummings and Bachman were still part of the band. They also noted that Kale had not performed publicly with the band since 2016, while Peterson appeared "infrequently."

In 2023, at the height of his legal battle with Kale and Peterson, over THE GUESS WHO name, Cummings — who owns his publishing rights — took the extreme and unprecedented step of terminating his performance license agreements with his performing rights organization, which meant sacrificing royalties but effectively preventing Kale's GUESS WHO from performing the band's hits at concert venues. (The vast majority of concert venues in the U.S. have licensing agreements with performing rights organizations which allow them to host live performances of any music in the catalogue of those performing rights organizations.)

Mark Farner, a founding member of GRAND FUNK RAILROAD, has announced the official companion release to his audio rollout of "Same Game". Originally Farner wrote the lyrics and infused his creation with his signature lead guitar work. He took the new song to James Romeo of J Romeo Media and laid out his vision. James took it from there and presented Mark with a cinematic video presentation that matched his vision. Never one to shy from backing the people of the world the new video drives home the message "lies, lies, lies" with its rock funk presence and over-the-top charismatic visual architecture.

Farner will begin his 2026 tour in Florida in February and cap off the first six months with his just-announced "Six Cities In Six Days" in Brazil.

Having written more than 90 percent of the GRAND FUNK RAILROAD music catalog, Farner has always been known as the energetic driving force on stage, the engine that pulled the original GRAND FUNK RAILROAD to the top of the charts. From his soulful voice and power rock riffs, to fueling the FUNK with his atomic stage presence. His story and his imprint on music starts with Flint and since 1969 from his humble beginnings and a blue-collar outlook, Farner has captained a global crusade for love, peace and freedom and became a rock 'n' roll icon.

More than 60 years later, he commands the stage with the same intensity performing epic hits that defined a generation: "I'm Your Captain (Closer To Home)", "Bad Time", "Some Kind Of Wonderful", "Foot Stompin' Music", "Heartbreaker", "Rock & Roll Soul", "Locomotion", "Mean Mistreater" and "We're An American Band". MARK FARNER'S AMERICAN BAND continues to tour, celebrating the 55th anniversary of the ground-breaking hit "I'm Your Captain (Closer To Home)" .

Farner's first years in music were with the bands TERRY KNIGHT AND THE PACK and THE BOSSMEN. When GRAND FUNK RAILROAD formed in 1969, they named the group after the Grand Trunk & Western Railroad that runs through Flint. Like a Spartan, Farner was intent on bringing rock destined for arenas. What began as rehearsals at Flint's Federation of Musicians Union Hall led to some of rock music's watershed moments. At the 1969 Atlanta International Pop Festival, they shared the stage with rock luminaries such as LED ZEPPELIN, Janis Joplin and CREEDENCE CLEARWATER REVIVAL. The same year they formed — 1969 — the band further defied expectations by releasing two albums (via Capitol Records) in a four-month period. Farner wrote all but two songs from "On Time" and the platinum-selling "Grand Funk". He said they wanted to take advantage of the meteoric rise that was building in terms of the band's popularity.

"It wasn't much pressure because the songs were coming fast," Farner said. "I had nothing but time for songs."

By 1970, Farner's songs were pivotal to the band's success. The epic composition "I'm Your Captain (Closer to Home)" became an anthem for Vietnam War veterans and audiences alike. Farner would later perform the iconic song at the Vietnam Memorial Wall, on the 25th Anniversary of the Vietnam Memorial Wall. Farner also received the Vietnam Veterans of American Presidents Award for Excellence in the Arts.

In July 1971, the trio sold out Shea Stadium in New York; 55,000 tickets were sold in a record 72 hours — besting THE BEATLES' previous record.

The Farner-penned composition "Bad Time" was GRAND FUNK's last Top 10 single, reaching No. 4 on the Billboard Hot 100 in June 1975. Although it never topped the charts, the song was the most played tune on radio that year due to demand.

Farner is a three-time Michigan Rock And Roll Legends Hall Of Fame member — inducted as a solo member in 2015 and an inductee as part of GRAND FUNK RAILROAD and TERRY KNIGHT AND THE PACK.

GRAND FUNK laid the groundwork for such bands as FOREIGNER, JOURNEY, VAN HALEN and BON JOVI with its signature hard driving sound, soulful vocals, muscular instrumentation and forceful pop melodies. The fact that GRAND FUNK's legacy still reigns over the classic rock landscape fifty years after its 1969 birth in Flint, Michigan is a testament to the group's influence and staying power. Mega-hits "We're An American Band", "I'm Your Captain/Closer To Home", "Locomotion" and "Some Kind Of Wonderful" still receive continuous airplay on classic rock radio. "We're An American Band" has received notoriety in recent years being used in movie soundtracks and in television/radio advertising. The huge hit was featured in a General Motors national TV ad campaign and in Disney's animated feature film "The Country Bears". "We're An American Band" was featured in the Cuba Gooding Jr. film "Radio", and in the swash buckler "Sahara" starring Matthew McConaughey.