American dark metal stalwarts, Novembers Doom, reveal “Mercy” as the second single from their twelfth studio album Major Arcana, out on September 19 via Prophecy Productions. Stream the single here, and find a lyric video below.

“For me, ‘Mercy’ stands out as the most personal song on this record”, vocalist Paul Kuhr reveals. “We also felt that a visual concept with emphasis on the lyrics was the right concept for this song. From my perspective, ‘Mercy’ explores the paralyzing fear associated with confronting mortality. This is juxtaposed with the time and age disparity between my wife and myself. This song delves deep into personal guilt for knowing that quite likely I’ll be leaving her alone one day. The lyrics therefore embody abandonment, and they are deeply rooted in loss, sadness, and pure emotion. Larry’s solo performance is arguably my favorite of all that he has ever recorded, as it perfectly captures the intended feelings and simply ‘sings’ all the words I couldn’t write down.”



Additionally, Novembers Doom will also reissue a 20th Anniversary Edition of their cult album The Pale Haunt Departure (2005) on October 3. This collectors’ edition full-length will be released on vinyl for the first time and as a lavish artbook including 7 exclusive bonus track, rare images, and liner notes. Mailorder customers, who order both albums, will receive The Pale Haunt Departure early and together with Major Arcana on September 19.

Novembers Doom return with their twelfth full-length album, Major Arcana. Following six long years after their acclaimed latest opus Nephilim Grove (2019), the American dark metal stalwarts have raised the stakes even higher by creating a conceptual album that thematically draws inspiration from tarot and divination.

This overarching theme reflects in the artwork and design of Major Arcana as well as in the lyrical storytelling throughout the album. Novembers Doom are pushing forward with renewed vigor and a burning desire to expand their artistic boundaries even further.

Founded in 1989 in Chicago, Illinois by vocalist Paul Kuhr, Novembers Doom have continued to grow and evolve over more than three decades. Initially emerging as one of the leaders of American death doom, their debut album Amid Its Hallowed Mirth in early 1995 set the band firmly on a dark musical course. Over the following years, they have gradually refined and developed a style that they have coined “dark metal”.

Their distinct sound encompasses many different elements and musical influences that make Novembers Doom a unique band that is hard to categorize and pigeonhole. This evolution of their signature style has garnered much praise and reverence from the metal underground and beyond. Albums such as The Knowing (2000), 2005’s The Pale Haunt Departure, and Bled White (2014) have received high praise and acknowledgements from critics, fans, and their peers alike.

Novembers Doom’s mastery of seamlessly blending their death metal and doom roots with progressive, folk, and classic rock influences has allowed the band to grow and change in fresh and surprising ways, while always retaining their signature feel and atmospheres that have remained a constant throughout the band’s career.

After enduring the various trials and tribulations presented by the world in recent years, Novembers Doom enter their 36th year of existence with renewed focus and excitement about their new album, Major Arcana.

From the hauntingly ethereal vibes of the opening track, “June”, through brutally crushing songs like “Ravenous”, as well as the epic sadness and yearning of tracks like “Mercy” and “Bleed Static” to the frenetically energetic hooks found on “The Fool” and “Dusking Day”, their twelfth opus witnesses Novembers Doom covering a wide range of sounds and emotions. Once again, with the production team of engineer Chris Djuricic at Belle Sound Studio and the legendary Dan Swanö (Edge Of Sanity, Nightingale, et al.) handling the mixing and mastering duties, Major Arcana boldly underscores the band’s reputation for delivering exceptional albums that sound dark, heavy, epic, and emotionally stirring all at once.

While no divination may accurately predict where Novembers Doom will go from here or how the deck might be stacked against or in favour of them, rest assured that they have poured their souls into the creation of this new album. Get ready to hear Major Arcana and to see it unleashed onto an eagerly anticipating world!

Major Arcana is available as a 36-page hardcover CD-artbook, as a Digipak CD, as a marbled gold & black vinyl LP, and as black vinyl LP.

All formats are also available as premium editions that include a complete 79 card Tarot deck & an exclusive ‘Fan Bonus Card’ that will grant access to future meet & greets, VIP merchandise, and other items.

Pre-order here.



Major Arcana tracklisting:

“June”
“Major Arcana”
“Ravenous”
“Mercy”
“The Dance”
“The Fool”
“Bleed Static”
“Chatter”
“Dusking Day”
“XXII”

Legendary guitarist George Lynch played the first two shows with his new project dubbed GEORGE LYNCH & THE MOB on Friday, July 25 at the Angel City Music Hall - Manchester, New Hampshire and on Saturday, July 26 at the Jam At The Dam in Monroe, Connecticut.

Joining Lynch on stage at these shows were vocalist Andrew Freeman (LAST IN LINE),drummer Brian Tichy (WHITESNAKE, FOREIGNER, OZZY OSBOURNE) and bassist Jaron Gulino.

Fan-filmed video of the Jam At The Dam concert can be seen below (courtesy of John Mauceri).

Tichy was previously a touring member of George's long-running band LYNCH MOB in 2010, 2012–2013, 2015, 2020 and 2025; Gulino was in LYNCH MOB from 2022 to 2025; and Freeman played with LYNCH MOB in 2003, 2010 and 2019.

In a recent interview with Talking With Cars, legendary guitarist Lynch spoke about his upcoming touring activities following the completion of LYNCH MOB's "The Final Ride" farewell tour celebrating the band's 35-year legacy. He said: "Well, LYNCH MOB did its last show March 22nd, earlier this year. And so that's it for touring for LYNCH MOB. So I have another entity partially put together, which will probably be a revolving door of different people. But right now I'm just tentatively calling it GEORGE LYNCH & THE MOB, so people can identify with my name and the fact that there's still the LYNCH MOB aspect to that name without the bad connotations."

Asked if GEORGE LYNCH & THE MOB will feature a "rotating" lineup of musicians, George said: "Most likely, yeah. Because we aren't gonna be touring solidly enough to really keep a band together. So it'll just be probably a basket of different people that'll rotate in and out on a need-to basis or whenever they're available."

He continued: "The interesting thing is I've played with so many people in LYNCH MOB that a lot of those people are still friends of mine. They're familiar with me and the material and what people wanna hear. So it's easy. So we've got a couple shows coming up in the summer here. And it is Jaron [Gulino] still on bass from LYNCH MOB. And, we've got Brian Tichy on drums for the next couple shows, and then a vocalist to be determined. We don't know who yet. But we do have a LYNCH MOB record coming out. So, it's being mixed right now. It's all done. It's been done for a second, and it's gonna be a double album — it's gonna be, well, actually two albums. Two separate albums but packaged together. So it's a live album — full live show — and then also a studio album. And that's it. It's mixed right now. So, [it will be out] later in the year."

LYNCH MOB, the band formed by George in 1989 after his exit from DOKKEN, played its "final" concert on March 22 at the Medina Entertainment Center in Medina, Minnesota.

In February, George was asked by the Iron City Rocks podcast how he felt about completing one final trek with LYNCH MOB. George said: "Well, it's a mixed bag. I thought that it would make sense to go out with a band that, or a version of the band, which this is, that has remained intact for a while. LYNCH MOB has a history of having a revolving door, so that's been frustrating for me because when I first put the band together in '89, I was hoping for the exact opposite… And, of course, that did not happen. But we have a great time, and when we spend time together and tour, it's just really a dream, fun band. We joke around a lot. We work hard and the band — we bring it when we get on stage and we get in the studio. I thought, 'Well, that's the way to go out.' And also, on the other side of the coin, I'm not getting any younger. I didn't want to be that guy up there on crutches, having to sit down. I wanted people to remember it with some sense of vitality. Yeah, so I think we're kind of ending on a positive note, I would say. And we gave ourselves quite a long window. We decided this last year, and it gave us an eight-month, nine-month window. So it's a long, slow kind of fade into the sunset… And we've got, actually, two records [in the works] — we've got a live album and a live DVD and a studio record."

Asked if he was planning on getting involved in more recording projects in the future once the LYNCH MOB tour was done, George said: "Well, I love being in the studio, and I have a pretty nice studio situation, both in California, where I have my own studio, and in New Mexico, where I have found a home out there and a really wonderful venue, where I'm working now, actually. So, as long as I have something to say, I'll try to say it musically. But I will say that I've sort of spent my — I've done a lot of recording, I've written a lot of songs in the last group of years, since COVID and so forth, so I find myself kind of treading over old ground and saying the same thing, and I don't like that. And I think on occasion I've gotta slow down in my output a little bit. So, as I mentioned, we are working on a LYNCH MOB 'Final Ride' studio record. And beyond that, I've got other records in the pipeline that I am obligated — well, I can do, let's say; I don't know how obligated I am. If I don't wanna do 'em, I don't have to do 'em. One is a fourth THE END MACHINE record for Frontiers. And the other one is a third 'Heavy Hitters' album, which is a series of records that [ex-DOKKEN bassist] Jeff Pilson and I have been doing for Cleopatra Records, which are covers, and that's always really fun to do. I enjoy working with Jeff. I'll be working with Jeff Pilson on both those records. So that might be something that I decide to finish up. But, having said that, those are obligations consistent with my past work, doing THE END MACHINE records and 'Heavy Hitters' records and LYNCH MOB records and various other projects, with KXM and so forth, that I have been doing. But what I'm thinking is I would really like to — not to be super self-indulgent, but do something different. And that requires kind of banking a bunch of experiences and exposure, different kinds of music and styles and saying something unique. Or doing a master guitar record, what I consider would be my magnum opus guitar record. That's easier said than done, but maybe I need [to do something like that]. I don't know. I'm not sure what I wanna do yet. But I'm gonna let this touring schedule ride out and then I'm gonna sort of collect my thoughts [about what my next step will be]."

LYNCH MOB was formed in 1989 after Lynch parted ways with his former band DOKKEN. Their debut release, "Wicked Sensation", was met with critical and fan acclaim and went on to be certified gold in sales by the RIAA. The band would continue on through the years with a cast of talented players joining Lynch throughout their musical journey over the course of six more studio albums.

LYNCH MOB's eighth studio album, "Babylon", came out in October 2023. Joining revered guitarist and band founder for the LP were vocalist Gabriel Colón, bassist Jaron Gulino (TANTRIC, HEAVENS EDGE) and drummer Jimmy D'Anda (ex-BULLETBOYS).

In August 2020, Lynch announced that he was ending LYNCH MOB due to the racial insensitivity of the moniker, saying he would no longer record or perform under that name. Two years later, George had a change of heart, explaining that he had to "live with the fact that [the name LYNCH MOB] has some negative connotations that I probably have to continue explaining for the rest of my life, and I don't mind doing that. But it is a brand that I built, and I'm just gonna stick with it. As far as a marketing thing and a brand thing and a business thing and a working thing, and it keeps my band guys working and it keeps the fans happy, it makes sense."

George Lynch Fan Page🎸🎸🤘

Buy tickets today here: https://www.eventbrite.com/e/jam-at-the-dam-2025-tickets-1338765837659

Posted by Jam At The Dam on Wednesday, July 23, 2025

🎸 CT Ready to Rock! 🎶 The wait is over—here's your 2025 lineup! 🎤We can’t wait to Jam at the Dam with everyone this...

Posted by Jam At The Dam on Friday, May 2, 2025

After years away from the spotlight, AC/DC's iconic drummer Phil Rudd made his triumphant return to the stage. On July 26, 2025, Rudd appeared at Spark Arena in Auckland, New Zealand, performing live as part of the "Full Metal Orchestra" — a massive rock-meets-classical show featuring members of the Auckland Philharmonic, conducted by Sarah-Grace Williams. Together with Jon Toogood (SHIHAD) and a stellar lineup of rock vocalists, Phil delivered versions of AC/DC classics like "Thunderstruck", "Back In Black" and the anthemic "It's A Long Way To The Top (If You Want To Rock 'N' Roll)". Video of his appearance can be seen below.

"Full Metal Orchestra", which brings together the "raw power" of rock and metal music with the "sheer might" of a 29-piece classical orchestra, was powered by award-winning producer Jol Mulholland.

"Think METALLICA meets Mahler, AC/DC a deux, and [BLACK] SABBATH with strings — this is a symphonic experience like no other," organizers Duco Touring and Liberty Stage said when they announced the concert back in April.

"You'll witness massive metal anthems from the likes of METALLICA, IRON MAIDEN, BLACK SABBATH and AC/DC and more — amplified by soaring orchestral arrangements, searing guitars, powerhouse vocals, and epic visuals."

Duco Touring founder David Higgins told Stuff about Rudd's participation in the event: "Phil Rudd was always in my mind as the dream 'get' as one of the world's best known rock stars, living right here in New Zealand."

The now-71-year-old Rudd told Stuff three months ago: "It's going to be massive, fueled, we'll take off the roof…you wait. It's going to be thumping, boom boom, bang. It's exciting, like nothing else I've ever done, putting the best raw banging rock songs with a classical orchestra."

"Full Metal Orchestra" marked Rudd's first public performance since last November when he played AC/DC's classic song "T.N.T." with a local party act in New Zealand.

In a November 2023 interview with New Zealand's Stuff, Rudd said that he was unable to join his AC/DC bandmates at the Power Trip festival in California that year, but that he was "look[ing] forward to playing with them again in the future."

Sitting behind the drum kit for AC/DC's appearance at Power Trip in October 2023, on the spring/summer 2024 European tour, the spring 2025 North American tour and the summer 2025 European tour is Matt Laug. The 57-year-old Laug is an American drummer who has played with many bands/artists such as Alanis Morissette, Alice Cooper, SLASH'S SNAKEPIT and Vasco Rossi. Matt moved to Los Angeles after graduating from South Florence High School in 1986 and after attending college in L.A., Matt became a sought-after studio drummer. In 2001, Laug supported AC/DC as part of SLASH'S SNAKEPIT on the North American and European legs of the "Stiff Upper Lip" tour.

When AC/DC announced in September 2023 that Laug would play drums for the band at Power Trip, it offered no explanation for the absence of Rudd, who rejoined AC/DC for the recording of the group's comeback album, "Power Up", which came out in November 2020.

Rudd was ousted from AC/DC when he was sentenced to eight months of home detention by a New Zealand court in 2015 after pleading guilty to charges of threatening to kill and drug possession. He was replaced on the band's "Rock Or Bust" tour by Chris Slade, who had previously served as AC/DC's drummer between 1989 and 1994, playing on the album "The Razor's Edge".

Rudd, who appeared on all but three of AC/DC's 18 previous studio albums, toured in support of his 2014 solo debut, "Head Job". It was the release of that album that led indirectly to Rudd's arrest, with the drummer allegedly so angry at a personal assistant over the way the record was promoted that he threatened to have the man and his daughter killed.

During an appearance on a November 2020 episode of Dean Delray's "Let There Be Talk" podcast, Rudd confirmed that the seed for his return to AC/DC was planted at the funeral of AC/DC rhythm guitarist Malcolm Young in 2017. Rudd, singer Brian Johnson and bassist Cliff Williams all attended the ceremony. At the time, the three musicians were considered former members of AC/DC, with Johnson and Williams both having left in 2016 for health reasons, while Rudd was sidelined in 2015 with various legal issues.

"Angus and I had a good chat at Mal's funeral and caught up," Rudd recalled. "[After I played on the 'Rock Or Bust' record] there was crazy shit going on, but since then, I'd got my shit together and put a little band together, I went to Europe and was doing a bit of playing and stuff and did [a solo] album. The guys knew I was still playing, so when I caught up with Angus at the funeral, we were sort of chatting away and somehow, he just sort of [asked me] if I was up for [doing a new AC/DC] album. And he started writing the next day. He went in the studio and started writing straight away."

Angus told Rolling Stone that it was indeed Malcolm's funeral that helped heal old wounds.

"[Phil] was there and in good shape," the guitarist said. "He was keeping himself well together. He was getting therapy and sorting himself out. It was really good."

Johnson added that he and the rest of AC/DC welcomed Rudd with open arms. "I speak for all the boys with Phil," he said. "We defend Phil to the hilt. What happened up there, that's not the Phil we know. That was just something else. He's really looking brilliant now and doing everything great."

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In a new interview with Fox 13 Seattle's "Good Day Seattle", DEF LEPPARD singer Joe Elliott reflected on his friendship with Ozzy Osbourne who died last week at the age of 76. He said (as transcribed by BLABBERMOUTH.NET): "Well, we toured with Ozzy in '81. He was touring the U.S. the whole summer of '81, and we were the opening act. And I have to say that Ozzy [and his] band, which was Randy Rhoads [on guitar], Rudy [Sarzo on bass] and Tommy Aldridge on drums, they were great with us. [Ozzy's wife and manager] Sharon was fantastic with us. We got full lights, full sound, the whole stage — none of that shenanigans that headline acts can pull on a support band. They were really nurturing towards us. They wanted us to succeed. So there's always been a lot of love between both camps. And, of course, over the years since then, we've met [Ozzy] many times. I think we've had more Indian meals with Ozzy than we ever did shows with him. [Laughs] If we were in the same town, it was always we'd go out and eat together."

Joe continued: "We crossed paths [with Ozzy] many times. But we were also kids that grew up with BLACK SABBATH and watching them play, and then all of a sudden you're touring with an ex-member of BLACK SABBATH who's got his own career. And then he becomes somebody that you see at award shows or just in a restaurant or whatever. And he was a great guy. He was very vulnerable, but he was a great guy and he was an iconic rock artist. He was crazy — he was. He did some incredibly weird things, but he made fantastic music and had a fantastic fanbase that loved him to death. And that was very obvious from that final show that Ozzy and BLACK SABBATH did just a couple of weeks ago [in Birmingham, United Kingdom]. You could tell how almost love there was for him throughout that entire day."

In a separate interview with KPTV Fox 12, Elliott and DEF LEPPARD guitarist Phil Collen were asked if BLACK SABBATH and Ozzy Osbourne were an influence on DEF LEPPARD when their band first started out. Phil replied: "I remember seeing BLACK SABBATH on the SABBATH '[Vol] 4' tour. Actually, BLACK OAK ARKANSAS was the opening act at the Rainbow Theater in London [in March 1973]. Tommy Aldridge was actually the drummer in BLACK OAK ARKANSAS, and he was opening up for SABBATH and obviously years later he's in Ozzy's band. So [Ozzy] obviously saw something in [Tommy] back then. But it was great. We grew up [on LED] ZEPPELIN, [DEEP] PURPLE, SABBATH and all of that stuff. And it was just mind-blowing. Like I said, I was so glad to see that SABBATH that early, and then, obviously, years later tour with Ozzy."

Phil continued: "I was in a band called GIRL [before I joined DEF LEPPARD], and we were on the same record label as Ozzy, and that's where he met [his wife and manager] Sharon. So it went back right there — [with Ozzy's band consisting of] Randy Rhoads, Rudy Sarzo, Tommy Aldridge. It was just wonderful. And then obviously DEF LEPPARD toured with that same band on the 'Blizzard Of Ozz' tour in the U.S., and we actually would be in connection with each other all the time, we'd be in contact."

Added Joe: "[Ozzy] was a lovely guy. Sharon was a great manager for him. And I don't think that SABBATH were a huge influence on DEF LEPPARD, but we were big fans — still are. It was more a case of we just happened to be blessed with the opportunity, both Phil's band at the time and LEPPARD, to tour with Ozzy and to just experience their enthusiasm and how nurturing they were towards us.

"A lot of headline bands, they'll kind of stamp on an opening act by not letting them have soundchecks or giving them no lights. Ozzy gave us the full stage — lights, soundchecks, everything," he explained. "They wanted us to succeed. And so there's always been a lot of love between their camp and ours. And it's just very sad. But I'm really happy he got to do that final show in Birmingham, just 17, 18 days ago. I think he was ready after that. I think he'd said all he had to say."

Elaborating on his impressions of the "Back To The Beginning" event, which marked Ozzy and SABBATH's final performance, Joe said: "It was amazing. The love towards Ozzy you could see, I mean, we were doing our own show, which is why we couldn't be there. Sharon did ask if we could do it, but we sent a message instead that they put on the screens. But we were keeping an eye on it on YouTube, and you could even tell through a laptop how much love there was heading towards that stage when Ozzy sat in that throne. It was kingly — it really was. It was like watching the king of rock getting worshipped by his loving audience. And I felt really happy for him. I'm glad he got to do it."

As previously reported, DEF LEPPARD paid tribute to Ozzy by performing a cover of BLACK SABBATH's "Changes" during their July 22 concert in Saratoga Springs, New York.

"We all know just a few hours ago we lost our beloved Ozzy Osbourne," Elliott said during the band's show at Saratoga Performing Arts Center. "So tonight we're celebrating Ozzy."

"Changes" originally appeared on SABBATH's 1972 album "Vol. 4", and was re-recorded by Ozzy in 2003 as a duet with his daughter Kelly, featuring revised lyrics.

Ozzy died on July 22, his family announced in a statement.

"It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time," the family said.

No cause of death was given, but Osbourne had battled a number of health issues over the past several years, including Parkinson's disease and injuries he sustained from a late-night fall in 2019.

It's become commonplace to hear the words, "I can't believe it's been 50 years since that album came out!" That exclamation comes this year for legendary rockers FOGHAT — Roger Earl (founding drummer),Bryan Bassett (guitar),Scott Holt (lead vocals/guitar) and Rodney O'Quinn (bass) — whose platinum-selling fifth album, "Fool For The City" (which gave us the rock anthems "Slow Ride" and the title track) was originally released on September 15, 1975.

To celebrate this illustrious occasion, Rhino Records is releasing the 50th-anniversary edition of "Fool For The City" on September 12, 2025. This special reissue available as a double-vinyl or double-CD version, features the newly remastered original tracks, as well as an electrifying bonus disc featuring a never-before-released live album recorded during two live performances at the Aragon Ballroom in Chicago in 1975. Pre-order info will soon be available on FOGHAT's online store and Rhino's official web site.

A limited number of autographed CDs and vinyl can be pre-ordered now on TalkShop.Live, which will include an exclusive insert signed by Roger Earl and producer Nick Jameson. On Wednesday, August 6 at 4:00 p.m. PT/7:00 p.m. ET, Roger Earl and producer Nick Jameson will appear on the site's Rock & Roll Channel with their good friend and host Steve Harkins for an in-depth discussion about "Fool For The City" and the incredible bonus material on the 50th-anniversary package.

Captured and performed by multi-talented bassist/producer Nick Jameson — the mastermind behind both "Fool For The City" and 1977's legendary "Foghat Live" — these raw, high-energy recordings have been resurrected nearly 50 years later. Mixed and mastered by Jameson himself at a studio in Reykjavik, Iceland, the result is a time capsule of pure rock fury. The CD edition will also include two bonus live tracks and a brand new interview with founding drummer Roger Earl and Jameson, diving into the making of "Slow Ride" and the magic behind the "Fool For The City" sessions.

"Nick is a genius," says Earl. "He worked tirelessly to make these live tracks as powerful as his original live mixes — and we are absolutely thrilled with the results." Check out more from him about the album in the video below.

"From the iconic album cover, to the first 30 seconds of the opening track, 'Fool For The City', 50 years later, is still as relevant today as in 1975," declares bassist Rodney O'Quinn. "A go-to album while cruising down the highway of life. "

Lead/slide guitarist Bryan Bassett who has mixed, produced and mastered all of FOGHAT's releases since 2000 says: "Included in this release are several 'live' recordings from the band in 1975. The mixes for these live tracks were done by the multi-talented producer/engineer/ musician Nick Jameson who was the producer on the original 'Fool For The City' record. An awesome set of rare bonus tracks for your FOGHAT collection. "

As singer Scott Holt exclaims: "'Fool For The City', birthplace of 'Slow Ride', as well as one the greatest most iconic album covers ever, the music inside this masterpiece continues to excite and entertain and 50 years on, still being embraced, consumed, treasured, streamed and played on radio stations all over the world! FOGHAT has an embarrassingly rich catalog, but the body of work that is 'Fool For The City' is a standard of great American rock and roll! And now, remastered with bonus live tracks?!? What a great time to be alive and rocking out to FOGHAT!"

"I am absolutely thrilled that the four merry lads who created 'Slow Ride' can at long last be heard performing together live," says Nick Jameson. "This performance happened mere weeks after we recorded the 'Fool For The City' album, and we were at the absolute top of our game. And I'm so happy that 'Fool For The City' once again sounds the way it did when it was first released. Love always to Dave and Rod; they live on in this music!"

And the party doesn't stop there. FOGHAT wants their legions of loyal fans to help celebrate. They're being invited to design their own version of the iconic "Fool For The City" album cover for a chance to win big. The Grand Prize is a trip for two to Las Vegas, Nevada to hang out with the band at their September 13 show at the Cannery Hotel & Casino. Second- and third-place winners will score exclusive band merchandise. All entries will be showcased in a special 50th-anniversary tribute video and on FOGHAT's social media. Fans should submit their designs by August 15 on the band's web site. Download the original background here and let your imagination run wild.

FOGHAT is still making chart-topping music and touring all over North America and Europe 50 years later. Their latest album, "Sonic Mojo", was released November 10, 2023, and remained on the Billboard Top 10 Blues Albums chart for 34 weeks, including two weeks at No. 1. It is the first time the band has ever landed at No. 1 on any of Billboard's charts after a new album release. Even "Slow Ride" had never reached No. 1. "Sonic Mojo" is available in various formats, including a single CD boasting 12 electrifying tracks in a stunning six-page digipak and digital copies. For vinyl enthusiasts, there's a limited edition 180-gram, neon purple vinyl version featuring 11 tracks and a gatefold jacket, as well as extra special CD and vinyl bundles. The album's four singles, "Drivin' On", "She's A Little Bit Of Everything" (co-written by the late Kim Simmonds from SAVOY BROWN),"Black Days & Blue Nights" and "I Don't Appreciate You" are streaming on all digital outlets and the band's official YouTube page.

FOGHAT's journey began in 1971, and their legacy is written in rock and roll history with their classic hits "Fool For The City", "Slow Ride" and "I Just Wanna Make Love To You", eight gold records, one platinum record and one double-platinum record. Through ups and downs, tragedies, and triumphs, one thing remains constant: FOGHAT's unwavering dedication to music. It's all about the music, always has been and always will be.

Here is the track listing for the 50th-anniversary edition of "Fool For The City":

Original Album:

01. Fool For The City
02. My Babe
03. Slow Ride
04. Terraplane Blues
05. Save Your Loving (For Me)
06. Drive Me Home
07. Take It Or Leave It

1975 Live Recording:

01. Fool For The City
02. Home In My Hand
03. My Babe
04. Honey Hush
05. Slow Ride
06. I Just Wanna Make Love To You
07. Wild Cherry *
08. Maybellene *

* CD only

Photo credit: Arnie Goodman

Fan-filmed video of DREAM THEATER's July 20 concert at the Roman amphitheater of Philippopolis in Plovdiv, Bulgaria can be seen below. The iconic amphitheater, which was only discovered after a landslide in the 1970s, is one of the world's best-preserved ancient theaters.

Featured songs:

Act 1:

00:00:00 Pre-show
00:00:47 Night Terror
00:10:26 Strange Deja-Vu
00:14:03 Through My Words
00:15:18 Fatal Tragedy
00:21:51 Panic Attack
00:28:26 Under A Glass Moon
00:34:31 Hollow Years '96 (demo, extended with John Petrucci and Jordan Rudess solo)
00:48:21 Take The Time (shortened with extended guitar outro)

Act 2:

00:57:28 As I Am
01:04:53 The Enemy Inside
01:11:19 James LaBrie speaks
01:12:02 Midnight Messiah
01:19:35 Peruvian Skies (w/ "Wish You Were Here" and "Wherever I May Roam" snippets)
01:30:36 The Count Of Tuscany (w/ "Rhapsody In Blue" snippet)
01:50:44 The Spirit Carries On
01:54:33 Pull Me Under

DREAM THEATER kicked off the spring/summer 2025 leg of its "40th Anniversary European Tour" on June 3 at Logomo in Turku, Finland.

DREAM THEATER's summer/fall 2025 "An Evening With Dream Theater" U.S. tour will celebrate the band's recent chart-topping sixteenth studio album, "Parasomnia". The tour is scheduled for 30 cities across the United States, kicking off September 5 in Reading, Pennsylvania and running through October 25, when it wraps in Long Island, New York. The tour will make stops in Orlando, Floria; Detroit, Michigan; Kansas City, Missouri and Providence, Rhode Island, among others. DREAM THEATER will be performing its latest album in its entirety as well as classics and fan favorites from the band's catalog in what promises to be an unforgettable evening of music.

"Parasomnia" came out on February 7, 2025 via InsideOut Music. The LP marked DREAM THEATER's first release with drummer Mike Portnoy since 2009's "Black Clouds & Silver Linings".

"Parasomnia" was produced by guitarist John Petrucci, engineered by James "Jimmy T" Meslin, and mixed by Andy Sneap. Hugh Syme returned once again to lend his creative vision to the cover art.

Portnoy co-founded DREAM THEATER in 1985 with Petrucci and bassist John Myung. Mike played on 10 DREAM THEATER albums over a 20-year period, from 1989's "When Dream And Day Unite" through 2009's "Black Clouds & Silver Linings", before exiting the group in 2010.

Mike Mangini joined DREAM THEATER in late 2010 through a widely publicized audition following the departure of Portnoy. Mangini beat out six other of the world's top drummers — Marco Minnemann, Virgil Donati, Aquiles Priester, Thomas Lang, Peter Wildoer and Derek Roddy — for the gig, a three-day process that was filmed for a documentary-style reality show called "The Spirit Carries On".

The North American leg of DREAM THEATER's 40th-anniversary tour kicked off on February 7 at The Met in Philadelphia, Pennsylvania. The trek was "An Evening With Dream Theater" and was the first tour of North America since Portnoy's return to the lineup, joining Petrucci, singer James LaBrie, bassist John Myung and keyboardist Jordan Rudess. The tour concluded on March 22 in New York City.

PLOVDIV 🇧🇬 WOW! Thank you for sharing two amazing nights with us in this gorgeous venue!
So many incredible pictures by...

Posted by Mike Portnoy on Tuesday, July 22, 2025

According to Billboard and Law360, HATEBREED's founding bassist Chris Beattie has filed a lawsuit against the band, claiming he was the "driving force behind [HATEBREED's] sound and identity until his sudden and baseless expulsion" from the group last November.

The complaint, which was filed at Connecticut Superior Court in New Haven and which has been obtained by BLABBERMOUTH.NET, also accuses HATEBREED frontman Jamey Jasta (real name: James Shanahan) of displaying "increasingly erratic" behavior in the months leading up to Chris's "abrupt termination", "culminating in a unilateral decision to cut Beattie off from his career, fans, touring, and substantial expected revenue."

In the lawsuit, Beattie claims that he "contributed significant labor, musical talent, recording and management duties, promotion, and financial resources, without which HATEBREED would not and could not have achieved its current level of recognition and profitability." He adds that "the band functioned pursuant to a longstanding, implied agreement and understanding that Shanahan and Beattie were equal co-owners in the band and entitled to their designated share of profits, royalties, and intellectual property rights."

In September 2015, Shanahan, Beattie and drummer Matthew Byrne entered into an agreement concerning the distribution of proceeds from the sale of HATEBREED merchandise, according to the complaint. Under the merchandise agreement, "Beattie, Byrne, and Shanahan agreed they were each entitled to 25% of the sales and revenue from merchandise while the other two members of the band received 12.5%, accounting for the remaining 25% of sales," the lawsuit reads. "Shanahan and/or band manager Steve Ross maintained a specific HATEBREED bank account and managed the band's income and distributions to other members, including Beattie."

According to Beattie, he and other band members "had no insight into how the money was managed, and most often received payment via wire transfers. Those transfers often came with no explanation or breakdown of the amount being transferred."

The complaint goes on to say that "HATEBREED continued to operate in accordance with the longstanding implied agreement and understanding the primary members, including Shanahan, Beattie, and Byrne, were co-equal owners in the band. In addition, the three, along with band manager Steve Ross, played a critical role in all major decision-making on behalf of the band. For example, each of Shanahan, Beattie, Byrne and Ross were responsible for and often discussed managerial decisions such as how much other band members were paid for certain shows, booking and scheduling, distribution, and the band's public image and branding, among other things. Despite this understanding and practice that the three primary band members be involved in such decision-making and entitled to equal shares in profits, at some point Shanahan became more secretive with respect to decision-making and the band's finances."

Prior to his termination, Beattie claims that he "began to notice that there were substantial delays in receiving his share of merchandise sales following HATEBREED performances. When Beattie did receive payments purporting to reflect his share of merchandise sales, those payments were substantially lower than what he anticipated under the merchandise agreement. Because of this, Beattie began requesting financial information about the band from Shanahan. Despite his repeated requests in 2023 and 2024, Beattie never received any financial information confirming that the portion of the proceeds he received constituted 25% of sales as promised."

According to Beattie, he was notified last November by Shanahan that he was "terminated" from his role as HATEBREED's bassist. "Beattie's termination followed weeks of erratic behavior by Shanahan, including berating and belittling tour and road crew and publicly posting about being stressed, burned out, and generally having too much on his plate," the lawsuit claims. "In terminating Beattie from the band, Shanahan cited to an alleged incident that occurred on or around November 9, 2024 just prior to a HATEBREED concert at the Toyota Oakdale Theater in Wallingford, Connecticut. There, a Live Nation security guard at the venue falsely reported that Beattie had harassed her upon entering the theater prior to his performance. These allegations were patently untrue. Beattie never harassed any Live Nation employee and more likely, she mistook him for someone else.

"Despite Beattie's denying the incident, Shanahan abruptly terminated Beattie from HATEBREED, despite his thirty-year tenure in the band and the implied agreement that he would remain part of HATEBREED. Shanahan had no justified reason for Beattie's termination. Shanahan had structured a false narrative about Beattie — not supported by any evidence — to other band members following the Oakdale show in an effort to discredit Beattie's reputation and persuade the other band members to justify Shanahan's desire to kick Beattie out of the band."

Beattie goes on to say that the fallout from his "termination has had a significant negative impact on his career, reputation, and health and well-being." He also accuses HATEBREED of continuing "to sell merchandise using Beattie's likeness in its online store. HATEBREED and Shanahan also continue to promote the band using Beattie's likeness. For example, as of the date of this filing Beattie is still featured prominently on HATEBREED's profile picture for its Instagram account, and Beattie appears on HATEBREED's website and social media pages."

Beattie is seeking financial damages from HATEBREED and Jasta — including compensatory damages and damages for emotional distress — saying that he has been cut off from touring profits and has lost brand deals since being ousted.

This past May, Chris opened up about his departure from HATEBREED, telling Drew Stone of The New York Hardcore Chronicles Live!: "Obviously, the last year was the 30th anniversary of the band, so we had big stuff going on for that, which was all completely amazing. We had a great year. Tours, shows were successful, and then we jump to right now where I'm not in the band anymore."

Chris went on to say that his exit from HATEBREED was "completely unexpected. We had just celebrated 30 years," he explained. "It was awesome. Successful tour. Left on a high note. We did great stuff. And like I said before publicly, it was not my decision to leave the band. Someone saw an opportunity to get me out of the picture, and that's where I am now."

Beattie continued: "Everything went really well that year, but there was stuff going on behind the scenes, and it became a chore to get in touch with anyone. And I was the middle man, basically, for bandmembers and crew members, and that became a chore for me. And I had started asking a lot of questions, and it became problematic. I became a problem within the [organization]."

Regarding where he stood with HATEBREED right now, Chris said: "We're trying to work it out. There's attorneys involved now. They're spending a lot of time having to deal with that and all the details of that. And I've gone back and forth.

"Obviously, when something like that happens, you're upset," he continued. "You go through all these crazy emotions. You put 30 years into something like that. But I don't wanna shit on the legacy of what I did. And I could be that guy. I could come out here and I could talk all kinds of shit, but I don't want [to]… I don't wanna be that guy. We made good music. We had great times together. Things changed. Dynamics changed.

"It's hard to be away from your family when you're touring. Everyone understands that. And the feedback from people when you play, you inspire them, you touch their life, you have a positive, lasting impact on someone, that always kept me in the game. And when shit wasn't going right in the band and whatnot, you look at that man that's the realest shit you could possibly get. People would come up to us all the time and be, like, 'Man, I was ready to kill myself. And your music changed me.' How do you respond to that? It's real deep shit.

"So I'm just hoping for the best," Chris added. "Hopefully we'll be able to sort this out. I don't want us to go down some shitty road. We've all seen bands do that, so hopefully it could end on decent terms and be able to move ahead."

Asked if he thought there was any chance of him being able to work things out with HATEBREED and return to the band, Beattie said: "My time is done with HATEBREED… It's done. My family comes first. I'll leave it at that. I can't go back to that. But there is a legacy. With all the time that I haven't been in the band now, which, it's weird to say, but people know me from that band everywhere I go. You can't shake that kind of shit. The identity is still there. So it's good. It's hard to talk about too, but here we are. New doors open."

When Beattie went public with his departure from HATEBREED five months ago, he wrote in a statement: "I just want to take the time to let everyone know that I am doing just fine and I sincerely appreciate everyone who has reached out.

"I was under the impression a joint announcement would be agreed upon in advance, but since that was not the case I wanted to address your concerns in my own post.

"At this time I am unable to discuss the specifics surrounding my departure from HATEBREED on November 13, 2024. However, I want to clarify that the decision to leave the band was not mine and that my departure was uncalled for and based on misleading and wrongful statements that will be subject to future actions."

Earlier this month, HATEBREED released its first new music in nearly five years, "Make The Demons Obey". The track was the first taste of new HATEBREED material after the group's "Weight Of The False Self" album which came out in 2020.

This past April, HATEBREED announced it was resurrecting the annual "Summer Slaughter" tour for 2025, which kicked off on July 8 in St. Petersburg, Florida and ran through July 28 in Grand Rapids.

Last month, HATEBREED guitarist Wayne Lozinak left the band's European tour following a brain tumor diagnosis. He will undergo a craniotomy — a surgical procedure that involves opening the skull to access the brain — on August 4.

In the meantime, HATEBREED has continued its European and American tours, with touring bassist Matt Bachand of SHADOWS FALL stepping in on guitar, and Carl Schwartz of FIRST BLOOD and TERROR joining the group on bass duties.

Lozinak has been a key part of HATEBREED's sound since rejoining the band in 2009.

Photo credit: Jeremy Saffer

TRANS-SIBERIAN ORCHESTRA's acclaimed rock opera "Beethoven's Last Night" will make its vinyl debut on September 12 as the band celebrates the album's 25th anniversary.

The 2LP set will be available in two distinct editions. A special version featuring a lenticular cover — with dynamic 3D-style artwork — will be offered through Rhino.com and TRANS-SIBERIAN ORCHESTRA. A red vinyl edition will also be available from stores and online retailers.

"Beethoven's Last Night" (2000) tells a dramatic tale that imagines the final hours of Ludwig van Beethoven as he faces down the devil. Drawing on his most iconic melodies, the album blends classical themes with hard rock and theatrical storytelling. It introduces a vivid cast of characters — Fate, her son Twist and Mephistopheles — who drive the narrative to its dramatic conclusion.

TRANS-SIBERIAN ORCHESTRA was founded by the late Paul O'Neill, whose vision of a rock opera fused with classical themes and elaborate live productions reshaped the concert experience. With over 10 million albums sold, TRANS-SIBERIAN ORCHESTRA has helped a new generation rediscover the power of the rock opera. Since launching its annual winter tour in 1999, TSO has grown into one of the world's top live acts, performing for more than 100 million fans. The band has also donated over $11 million to charity through ticket sales and community initiatives, reflecting O'Neill's belief in music as a force for good.

Ever since TRANS-SIBERIAN ORCHESTRA embarked on their first tour — a modest seven-show run of theaters in the Northeast and Midwest — in 1999, the group's lineup has featured four members of SAVATAGE, the pioneering metal group from which TSO spawned: bassist Johnny Lee Middleton, drummer Jeff Plate and guitarists Al Pitrelli and Chris Caffery.

Two and a half decades and hundreds of sold-out arena shows later, all four musicians still tour with the band each winter, albeit as members of different touring troupes — Pitrelli and Middleton are the longtime anchors of "TSO West," while Plate and Caffery are stalwarts of "TSO East." In 2015, vocalist Zachary Stevens — who fronted SAVATAGE from 1993 to 1999 and is performing with the group as part of its 2025 reunion — began touring with TSO East as well.

TSO released a series of rock operas. There's 1996's "Christmas Eve And Other Stories", 1998's "The Christmas Attic", 2004's "Lost Christmas Eve", 2009's "Night Castle", 2012's "Dreams Of Fireflies" and 2015's "Letters Of The Labyrinth". More than 10 million TSO albums have been sold.

"Beethoven's Last Night" 2LP track listing:

LP One

Side One

01. Overture
02. Midnight
03. Fate
04. What Good This Deafness
05. Mephistopheles
06. What Is Eternal
07. The Moment

Side Two

01. Vienna
02. Mozart
03. The Dreams Of Candlelight
04. Requiem (The Fifth)
05. I'll Keep Your Secrets

LP Two

Side One

01. The Dark
02. Fur Elise
03. After The Fall
04. A Last Illusion
05. This Is Who You Are

Side Two

01. Beethoven
02. Mephistopheles' Return
03. Misery
04. Who Is This Child
05. A Final Dream