Play Now: Deftones Revive ‘Pac-Man’-Like ‘White Pony’ Arcade Game

The Deftones have just revived a Pac-Man-styled arcade game as a 20th anniversary tribute to the bonus game that originally came with the enhanced CD version of 2000’s White Pony.

The ‘White Pony x Black Stallion Arcade’ is now live as the band continues to celebrate two decades and more since the release of their landmark third album. Last year, they issued Black Stallion, a remixed version of the White Pony album, which featured a wide variety of guest contributors, mostly outside of the traditional realm of heavy music.

The game, which can be played here, offers fans the chance to connect with their Spotify account so Deftones music can be streamed while you maneuver the circular stallion icon around the playing field.

In place of the usual multicolor ghosts that occupy the world of Pac-Man and threaten the yellow dot-eater’s very existence are the floating heads of each Deftones member, whose aim is to consume the stallion.

The band shared the news on social media and you can see a clip of the gameplay directly below.

In addition to the 20th anniversary edition of White Pony that arrived last year, the Deftones also dropped Ohms, their ninth studio album, first since 2016’s Gore and Loudwire’s ‘Album of the Year.’

Where Are These Iconic Album Art Cover Models Now?

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Report: Bob James, Montrose Singer Who Replaced Sammy Hagar, Dies

Former Montrose singer Robert ‘Bob’ James has reportedly died following stomach ulcer complications.

Producer and television show composer Dino Maddalone shared the news of James’ passing on Facebook, where he wrote, “Shocked and very sad my life long fried Bob James has died. Bob replaced Sammy Hagar in the band Montrose. Incredible rock singer…. RIP my friend.”

Addressing a question which asked if any more details were available, Maddalone commented, “bleeding stomach ulcer,” in reference to the apparent cause of death.

The singer’s exact date of birth is not known, but the photo posted by Maddalone shows his birth year was 1952, meaning he was either 68 or 69 at the time of his death.

James, born in Struthers, Ohio, moved to Los Angeles in 1963, where he became active in the local music scene and contributed to a number of different band before ultimately landing the role as the lead singer in Montrose. Sammy Hagar, who sang on the band’s first two records, left the group in early 1975, paving the way for James to join as the group pursued a fresh direction.

His time in the rock group was short-lived but fruitful, having sung on 1975’s Warner Bros. Presents… Montrose! and 1976’s Jump On It and toured alongside the likes of rock ‘n’ roll behemoths The Rolling Stones, Aerosmith, The Eagles, Rush, Journey, KISS and others.

After the dissolution of Montrose, James remained active, linking up with a host of past, present and future members of Cheap Trick, Motley Crue, Quiet Riot and Humble Pie.

Loudwire extends our condolences to the James family and all who knew the singer.

Rockers We Lost in 2020

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How AC/DC’s ‘Hell’s Bells’ Left Brian Johnson ‘Heartbroken’

Brian Johnson recalled being left “heartbroken” after listening to his debut AC/DC album Back in Black for the first time.

He’d left English band Geordie to replace the late Bon Scott in 1980, and learned a lot during the process of recording the record in the Bahamas with producer Mutt Lange. When he received a copy weeks after returning home, he shared the listening experience with one of Geordie’s guitarists – and remembered that he’d done it out of necessity.

“I didn’t think I would ever get a job with a rock ’n’ roll band at the age of 32,” Johnson told WMMR in a recent interview. “And it just kept getting better as the weeks went by with these new songs.” He recalled that, in a moment of doubt during sessions, he’d thought: “What have I got to lose? I’ve got a week’s holiday in the Bahamas, at least.”

One of the things he’d most enjoyed was the revelation of what he could achieve with his voice, which he learned as he worked on the album’s title track. “Mutt Lange… said, ‘Sing it higher. I’ve heard you do it.’ And I went, ‘Well, I’ll give it a try.’ And it was just like being set free from a straitjacket. Once I found out I could do it, I went, ‘Wow!’… And I just wanted to do it all the time.”

Johnson went on to explain that, due to the tight budget, he was sent back to England as soon as he’d finished his recording duties. “And I got back home, and I just went, ‘Well, I think I’ve just made a record’,” he continued. ’[I]t wasn’t even mixed yet. And it was another six weeks to two months before I actually got a copy of it that came with the mailman.”

When it finally arrived, however, there was a problem: “I didn’t have a record player in the house,” he explained. “I took it to a friend’s, the guitarist in Geordie – he had a record player – and we put on ‘Hells Bells’… I think it was a few bars in, and he went, ‘No, that’s never gonna fly. Come on, let’s have a pint.’ He said, ‘You’re singing way too high. That’s not you.’ And I was heartbroken. I just went, ‘Oh, Jesus.’ So I went to the pub and drowned my sorrows, and he said, ‘Never mind.’ But it all worked out fantastically well.”

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When Michael McDonald Told the Doobie Brothers They Were Done

Michael McDonald recalled the moment he told his Doobie Brothers bandmates that he didn’t think the group had a future, leading to their farewell tour of 1982.

He’d been a member for seven years by the time they split; and, in a new interview with Apple Music’s Zane Lowe, he recalled that the idea of splitting hadn’t been on his mind until Patrick Simmons had decided to bow out.

“I don’t think I would have ever quit the band, except when Pat quit,” McDonald said. “It just didn’t seem like the Doobies anymore… that original creative core of the band was gone. Pat had written music for the band since the beginning.”

He became even more convinced when the band tried to rehearse without Simmons. “[W]e didn’t get through one song and we all just stopped and had a look around the room. And I think it was me that spoke up and said, ‘You know, guys, I think this doesn’t feel right. I don’t think we’re the Doobie Brothers anymore. I don’t think the Doobie Brothers exist anymore. I think we need to accept that reality.’”

McDonald continued: “It was a big decision for all of us to make because there wasn’t just the guys in the band – there was close to 30 people employed by this corporation. It was their whole livelihood.” But he knew they couldn’t face a crowd. “It wouldn’t have been fair for us to get up there and pretend to be the Doobie Brothers,” he asserted.

He said he didn’t take it personally when a different lineup later assembled without him. “I think rightfully they got back together as close to the original band as they could,” he said. “[T]here was always those moments in time when you had to make those tough decisions. What’s the best configuration here for music we hope to make, going forward? …[W]as there some part of me that felt left out? Maybe, but not when I thought about it, not when I gave it a couple of minutes worth of thought and realized, ‘This is what these guys are hoping to regain their roots as a band – and you can’t fault that.’”

Following the split, McDonald soon embarked on the solo career he’d been edging towards for some time. “Looking back it was a blessing in disguise,” he said, “because at the time what I felt was, ‘Oh, now I’ve been flushed out here… I’ve written 12 good songs for an album.’ And so then that became a whole other trial of fire.”

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The Melvins Talk Kiss: Fandom, Covers, Sharing the Stage and More

The Melvins have made no secret of their long-standing love for Kiss. They’ve covered numerous songs from the famously face-painted group, including “Shock Me,” “Detroit Rock City” and “God of Thunder.”

In 1992, the trio released a series of solo EPs modeled after Kiss’ simultaneously released 1978 solo albums, complete with matching covers. The following year, Gene Simmons joined them onstage for a performance of the Hotter Than Hell track “Goin’ Blind,” which the Melvins covered on their Houdini album. Then in 1996, the Melvins opened for five shows on Kiss’ original lineup reunion tour.

We interviewed Melvins singer / guitarist King Buzzo, drummer Dale Crover and bassist Steven McDonald about their history and interactions with Kiss:

When did you first learn about Kiss?

Steven McDonald: Kiss was the first band I ever saw. I saw them in January 1976 on the second leg of the Alive! tour. I was 8.

So.. you had very cool parents?

No, an older brother, he would have been 11. I think we went with some neighbor kids, too. We had the good fortune of living only about five miles from the L.A. Forum, where the concert was.

Did seeing them warp you?

Yeah, that’s why I’m here right now, probably.

Dale Crover: The first time I saw them was probably around the same time as Steven, maybe a little bit later. Probably around 5th grade or so. I remember, we used to be able to play records at lunchtime in our classroom. Alive! and Alive II were big ones, as well as [Ted Nugent‘s] Double Live Gonzo! But we had to be careful with that one because of all the cussing. I saw them on the Dynasty tour in ’79. That was my first concert, I think Buzz was there as well.

King Buzzo: I was there, but it wasn’t my first concert. It was the first time I saw Kiss. That was the first time where I had wheels independently, where I could go where I wanted.

Crover: Definitely they’re the band for me that made me want to play music and be in a band. And when I started to play drums, that’s what I learned from, was playing along to Alive!

The Melvins Cover Kiss’ “Goin’ Blind’

What do you think about people who are critical of Peter Criss‘ drumming style? 

Crover: I think he plays really great on that live record. His drumming definitely deteriorated over the years.

Buzzo: We played with them, it had certainly deteriorated by the 1996 Tour. He was having a hard time with anything on that tour.

Crover: But if you look at old videos, he was really good. He hit hard, and I liked his style, he used a lot of bass drums, which has definitely crept into my style.

Buzzo: One thing I can say about that ’96 tour is Kiss was definitely not playing to tapes. (Laughs) No way.

McDonald: I saw that tour, and they were awesome, early in the tour.

Buzzo: This was pretty early. The first show we played with them was at the Superdome in New Orleans.

How did the crowd treat you?

Buzzo: Fine. They were all older people who couldn’t be bothered booing us. They were credit card-wielding adults, they were sitting there drinking stadium beer, they had no interest in doing anything bad. Gene told us on that tour they were doing 50 bucks a head in merchandise. Place held 17,000 people, and they’re doing 50 a head.

Crover: They had their own Kiss ATM machines right there.

Buzzo: Yeah, they brought their own ATMs, and they were stenciled with Kiss all over them.

McDonald: Was it cash only?

Buzzo: Oh no way, no no no – they’ll take whatever you got!

Crover: ..and if you didn’t have a ticket for the concert, well there were still merch booths outside.

Buzzo: They had merchandise outside, that’s the first time I’d seen that. The only time I’d ever seen merch outside before was bootleggers.

Did you get to interact with them much?

Crover: We definitely did. Gene and Paul [Stanley] are the ones who were more aware of our band. I guess we were there because there was a connection – our product manger at Atlantic used to be their publicist. She made them aware that we had done the solo records, and paid tribute to them.

Buzzo: They thought that was cool. It was a tribute, we weren’t making fun of them. But Gene played with us before that. In 1993, he actually played with us onstage at the Palladium. We did “Going Blind” with Gene.

Crover: We were in St. Paul one day, in our dressing room. All of a sudden Ace Frehley comes walking in, with a couple of friends. They sit down and they start talking.

Buzzo: It was more than friends, they were sleazy looking girls.

Crover: He was sitting there for quite a while, and we’re just kinda looking at each other. And then all of a sudden he looks around and he was like “Oh! This isn’t my dressing room!.” And gets up and walks out.

Buzzo: We were sitting there thinking, who the hell did he think we were?

McDonald: You guys never really addressed him?

Buzzo: He was busy talking to these girls saying stuff like, ‘Yeah, I’ll get the passes all worked out.’ We didn’t know what he was doing. He was in there a good solid 10 minutes too, before he realized.

The Melvins Perform Kiss’ “God of Thunder”

Do you think Kiss get enough credit? Too much criticism? 

Buzzo: They’ve always been nice to us. Gene and Paul have only been super nice to us. So I would never do anything or say anything at all that would degrade that at all. I only appreciate that. And if you had told me as a kid, that someday not only would Gene know who we were, or we’d get to meet him, but we’d actually get to play on the same stage as them, and he actually played with us in our band. It’s far more than I could have ever dreamed of, and so I’m not going to belittle that. To me that’s just an amazing thing, and I’m not going to forget it. Because I was such a big fan, and I remain a big fan.

Crover: Those guys didn’t really have any airplay besides “Beth” and they became huge. I really appreciate that, you know? They were one of the biggest bands in the world at one time, without anybody’s help.

Buzzo: And these people that were like, I like Led Zeppelin and I don’t like Kiss. And I always thought to myself, “Well, I like both!”

Crover: Kiss is what led me to Led Zeppelin. Kiss led me from Led Zeppelin to Judas Priest and to all the heavy metal stuff that I liked after that.

McDonald: I think a lot of people give Kiss shit that also love Kiss. I think that it’s kind of fun for a lot of people, whose lives have been changed for the better by Kiss, to kind of obsess on them. We had an old friend Bill Bartell [also known as] Pat Fear from the band White Flag, and he was obsessed with Kiss. He was this guy who made his way backstage at Kiss concerts when he was 14 years old, through pure obsession. But he would also do things, like in the mid ’80s, he would wait all day to get to the front row so he could throw bubblegum in Paul Stanley’s chest hair. They’re fun to do that with, for whatever reason. It’s not necessarily not a loving thing.

Was there a point where you lost interest in Kiss, or have you kept interest throughout?

Buzzo: I have not. I was done after [1979’s] Dynasty. I didn’t even buy Dynasty. But there were six albums before that that I will always enjoy for the rest of my life.

Crover: Yeah, I can listen to the early stuff, no problem.

McDonald: For me, I lost it around Dynasty. But then in the early ’80s when punk rock started becoming a bummer to me, I got back into Kiss. And Redd Kross [the band McDonald co-founded in 1980 and remains an active member of] covered “Deuce” in 1984, which was sort of a low point for them in their popularity. And then when the hair metal thing happened, I always thought Kiss were getting sort of the short end of the stick. So I had a lot of fun watching them kind of regain their throne. I would go to all those concerts – I saw the Lick It Up tour, I saw the Asylum tour, I saw them work their way back up to the Forum. Cause I saw them at the Forum in ’76, then eventually they were playing smaller rooms, like around the time of [1982’s] Creatures of the Night. I thought it was really fun. I didn’t necessarily love the music as much, but I still appreciated them. I thought that they were such pros, and really good at what they were doing, and I thought they had something to offer the landscape at that time.

Buzzo: Gene said all those records all sold over a million records – they still did good!

Crover: I liked that Redd Kross were flying the Kiss flag when it was totally uncool. We were too. The first time I ever heard them was covering “Deuce,” and I thought, “Hey! These guys like Kiss too!”

McDonald: In 1984, in our underground weirdo world, it wasn’t a very popular thing to do.

Buzzo: It wasn’t, but to us, it was the exactly right thing you should do. That was exactly what we wanted to hear.

The Melvins Perform Kiss’ “Detroit Rock City”

Have you ever listened to [1981’s ill-fated concept album] Music from ‘The Elder?

Crover, Buzzo (in unison): No.

McDonald: I remember their performance on Fridays, I used to watch that on VHS tape in the ’80s, with “A World Without Heroes,” their collaboration with Lou Reed. Bizarre. But that song “I,” I loved that song.

Buzzo: One thing I really liked about those guys, unlike a bunch of lower-tier rock star guys that are a bunch of assholes, is those guys never were assholes. To me they are real rock stars. And if those people can be nice to people like us, and not treat us like garbage, that just makes me hate the lower tier people even more. Kiss doesn’t have to do that.

I was at Disneyland. I saw Paul Stanley there. And what does he do – he walks right up to me, ‘Hey, how you doing?’ – he’s there with this entourage of people, his family or whatever, he goes out of his way to walk over and talk to me. That’s real class. Doesn’t blow me off or make me clear the hallway or any of that bullshit. If he doesn’t have to do that, nobody has to do that, and the people that do that can kiss my ass. We’ve been in situations where lower-tiered rock stars make us leave the hallway so they can walk to the stage – when we’re touring with them!

Have you ever had a bad experience with somebody whose music you love, and if so did it change how you felt about their work?

Buzzo: No, but I’ve had bad experiences, where I didn’t like their music in the first place, and then after meeting them I didn’t like it even more! If I were to meet Pete Townshend, I’ve never met him, I’d be really bummed out if he was an asshole to me. I don’t know if that would make me hate his music, because the Who are one of my favorite bands. But that would seriously be a bummer. To the point where I’m almost reluctant to go out of my way to meet someone like that, because I don’t want to have that experience.

The Melvins “1983” lineup, which features King Buzzo, original drummer Mike Dillard, and Dale Crover moving over to bass, have just released a new album entitled Working With God. It features covers of the Beach Boys‘ “I Get Around” and Harry Nilsson‘s “You’re Breakin’ My Heart.”

The Melvins Perform Kiss’ “Deuce”

You Think You Know Kiss?

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Van Halen-Stevie Wonder Mashup Finds Soul in Van Halen Classic

Van Halen may be known for their untouchable riffs, pounding drumming and good time party jams, but thanks to a new mashup we see there’s room for a little soul in the classic “Unchained.”

Bill McClintock, who has become a YouTube favorite with a wealth of rock and metal mashups, has applied his masterful touch by pairing Van Halen’s “Unchained” with Stevie Wonder’s “Uptight” for yet another seemingly oddball combination that works incredibly well.

Rock fans should not be disappointed here as it’s Wonder’s vocal laid over the top of the chugging Van Halen riffage with the band’s instrumental work laying the base for this mashup. Aside from the occasional David Lee Roth scream insertion, Wonder’s vocal takes the lead until nearly midway through the track when Van Halen’s lyrics infiltrate and accentuate the collaboration.

It’s a magical pairing that shows there’s some soulfulness even within the heavier sound that Van Halen lays down. And McClintock also completes this melding by cutting up visual performances from Van Halen and Wonder to finish off this piece.

“Unchained” initially appeared on Van Halen’s fourth studio album, Fair Warning, back in 1981. It hit No. 13 on the Mainstream Rock Chart. As you can probably guess by the cut in black-and-white footage in the video below, “Uptight” is a little more dated than “Unchained.” It first appeared on Stevie Wonder’s 1966 album Up-Tight, preceding the record in late 1965 and eventually hitting No. 3 on the Billboard Hot 100.

Have a look and listen to “Van Wonder’s Chained Uptight” below and be sure to check out more of McClintock’s mashup mastery via his YouTube channel here.

Van Wonder, “Chained Uptight”

The 40 Best Cover Songs by Rock Bands

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Metallica to Play the ‘Late Show With Stephen Colbert’

No concerts, no problem. Metallica have been taking advantage of the opportunity to play televised performances, and they are set to play the Late Show With Stephen Colbert next week.

The CBS performance will start at 11:35pm ET on Wednesday, March 3. This televised appearance comes just a few weeks after the metal legends played the Super Bowl edition of the Late Show With Stephen Colbert, which took place on Saturday, Feb. 6.

Shortly after the performance aired, Metallica claimed feats on two different Billboard charts. They became the first act to claim the Top 5 spots on the Vinyl Album Sales chart, and then five of their albums creeped into the Top 10 of the Billboard 200 following a set of Walmart reissues.

Hopefully, Metallica will be cracking the charts with new material soon, as they’ve done a bit of writing for the follow-up to Hardwired… To Self-Destruct during the pandemic, though Lars Ulrich has admitted that the progress has been quite slow. “These are the craziest of times and nothing is letting up. There’s a little bit of movement [in that direction], but it’s hard to do a lot when we’re not together,” he told Classic Rock.

15 Celebrities With Rock + Metal Band Tattoos

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Watch Peter Frampton Cover Roxy Music’s ‘Avalon’ for New Album

Peter Frampton has released his version of “Avalon,” the classic song originally released by Roxy Music in 1982. Frampton and his band stay true to the original arrangement in their rendition, layering lush synth sounds, drums and bass. The cover is entirely instrumental, with Frampton using his distinctive guitar sound in lieu of vocals.

“The original is such a perfect piece of music,” Frampton explained in a press release. “I really wanted to get as close to the vocal inflection as I could, and I think I almost did it! It’s a sexy kind of guitar sound, like Bryan Ferry’s vocal, and I’m very proud of it.”

You can watch the Peter Frampton Band perform “Avalon” below.

The track is the latest release from Frampton Forgets the Words, the guitar great’s upcoming LP. The all-instrumental covers album finds Frampton delving into the material of many vaunted artists, including David Bowie, George Harrison, Sly & the Family Stone and Lenny Kravitz. The album’s first single, a rendition of Radiohead’s “Reckoner,” arrived in January.

“This album is a collection of 10 of my favorite pieces of music,” the guitarist explained when announcing the release. “My guitar is also a voice, and I have always enjoyed playing my favorite vocal lines that we all know and love. These tracks are my great band and me paying tribute to the original creators of this wonderful music. So much fun to do, and I really hope you enjoy it, too.”

Frampton Forgets the Words will be released on April 23 and is available for pre-order now.

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Foo Fighters, Perry Farrell + More to Play ‘Rock ‘N’ Relief’ Live

The music world continues to chip in where possible to help in Covid-19 relief efforts and the latest example of that is an upcoming “Rock ‘N’ Relief” livestream concert featuring some of music’s biggest names. Singer/songwriter Linda Perry is curating the event, which will feature Foo Fighters, Perry Farrell, Gavin Rossdale, Sammy Hagar and a host of other name acts assisting the CORE (Community Organized Relief Effort) organization.

Though official dates have yet to be announced, the livestream event is expected to take place over the course of two days featuring a mix of virtual and live performances. Among those in the rock world taking part are the previously mentioned Foo Fighters, Perry Farrell, Gavin Rossdale and Sammy Hagar along with Silversun Pickups, L7, Frances Lion, Juliette Lewis and the Licks and more.

Other participating acts of note include Sheryl Crow, Deadmau5, Jewel, Tracy Bonham, Carly Simon, James Blunt, Ziggy Marley, K. Flay, Dawes, Gary Barlow, Shaed, Ozomatli, Miguel, Macy Gray, Aloe Blacc and Perry herself, who will also co-host alongside KROQ and SiriusXM’s Kat Corbett.

“Our critical mission within this moment of the pandemic is to provide equitable relief services to our local community, and we rely on donations to continue our efforts,” said CORE’s co-founder and CEO Ann Lee. “We are thrilled that Linda Perry has curated such an amazing group of artists to support our cause and bring comfort and joy to people in this time of hardship.”

“As a mother and fellow member of this community, I wanted to do something to lift spirits and send a positive message of hope and humanity to all the healthcare workers and those on the front lines, as well as raise awareness and funds to support CORE and their relief efforts,” said Perry. “When I first put the word out, many jumped on board to contribute; we had over 150 bands submit to play. We are pleased to announce that California Love Drop and Monty’s Good Burger will provide food and beverages to all the digital workers that will be working hard to bring this powerful content to the viewers of this impactful concert series. Our goal is to do everything we can to thank CORE and the self-sacrificing people who keep us safe during this unprecedented crisis.”

Perry and CORE are working with Amazon Music to stream the concert live on the Amazon Music mobile app, and through the Amazon Music Twitch channel while YouTube and Rolling Stone will also stream the event. Stay tuned for the concert airdates.

50 Best Hard Rock + Metal Live Acts

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Tomahawk Get Weird in Rabid New Video for ‘Dog Eat Dog’

Tomahawk are back with their first album since 2013, Tonic Immobility. Featuring members of Faith No More, Mr. Bungle, the Jesus Lizard and Helmet, the experimental band has teamed up with Loudwire to premiere the new video for “Dog Eat Dog.”

The COVID-19 pandemic spurred a wild creative streak within Mike Patton. By October, the prolific singer had finished two full albums and was working on his third, though isolation slowed Patton’s superhuman progress down slightly as the months dragged by. With the re-release of Mr. Bungle’s The Raging Wrath of the Easter Bunny Demo already in the books, it came time for Tomahawk to reappear, with the boys releasing the single “Business Casual” in January.

The video for “Dog Eat Dog” is a brutal one, pitting chained-up humans against each other in the style of a dog fighting ring. Blended in with archival footage of obedient doggies performing tricks, the music video is a perfectly weird visual for the new Tomahawk track.

“Dogs patiently wait, obediently, for humans to snuff each other out…so they can take over the world. Dogs rule!!!!” Mike Patton says, while guitarist Duane Denison adds, “It’s a statement about competition, oppression and unity — served up with a healthy dose of slapstick humor.”

Watch the “Dog Eat Dog” video below.

Tomahawk, “Dog Eat Dog” (Official Video)

Tonic Immobility will be released March 26 via Patton’s own Ipecac Recordings. To pre-order the album and to grab Tonic Immobility bundles, which include limited edition vinyl, click here.

10 of Rock + Metal’s Most Bizarre Conspiracy Theories

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New Marilyn Manson Accuser to Speak With FBI About Abuse Claims

Another accuser has come forth with abuse claims against Marilyn Manson, as actress Bianca Allaine has told The Sun that she’s set to meet with the FBI this week to share her history with the musician.

Allaine previously told The Sun that the musician forcefully kissed her when she was just 16 and claims that he used to fondle her underage friends, as well. Allaine adds that she went on to have a sexual relationship with the musician when she was 19-years-old.

According to Allaine, she was contacted by another of Manson’s accusers who had already spoken to the FBI and was asked to share her story.

“I’m going to tell the FBI everything I know. I just hope they don’t let us down,” said Allaine. “They are taking this very, very seriously which they should. I said one day, ‘I can’t take this anymore,’ so I contacted the emergency tip line. He’s terrorized us enough.”

Bianca previously told The Sun that the singer’s personality was like “Jekyll and Hyde” —he would be sweet with her some days and insult her on other days.

She added, “We were often never alone on the tour bus, and his fetish back then was to watch people have sex with me or do things to me. A lot of times I didn’t want to have sex with these guys, but he was like ‘Please, please, I really need it, I need to see it. He would masturbate and if he didn’t finish he’d want to have sex with me afterwards, he would bite me so hard. I was like a little puppet that he would play with, I feel he used me, 100 percent, he didn’t care about me.”

She also elaborated on how he treated others around her, adding, “He was giving alcohol and drugs to underage girls and touching them, all the signs were there. This man is a predator and he is so smug.”

Since Allaine went public with her allegations, she claims that she’s been flooded with abuse on social media and had all of her accounts hacked. She says she intends to hand over her journals to the FBI along with video tape of her speaking with her friends about Manson in 1999.

She concluded, “I don’t sleep, and when I do sleep I have nightmares, nobody wants this kind of attention, but I’m telling the truth. Marilyn Manson might be scary, but Brian Warner is the most terrifying person I’ve ever met in my life. He’s evil.”

The abuse accusations have been adding up since actress Evan Rachel Wood revealed Marilyn Manson as her abuser in early February. Not long after Wood’s initial claim and other women also citing stories of abuse concerning Manson, California State Senator Susan Rubio submitted a formal request to the U.S. Department of Justice and the FBI to investigate Manson.

“Obviously, my art and my life have long been magnets for controversy, but these recent claims about me are horrible distortions of reality,” Manson wrote in response shared on his Instagram page with the comments disabled. “My intimate relationships have always been entirely consensual with like-minded partners. Regardless of how — and why — others are now choosing to misrepresent the past, that is the truth.”

It was reported last week that Los Angeles detectives were meeting with one of Manson’s alleged victims to investigate the claims further.

If you or someone you know is facing abuse, visit the National Domestic Violence Hotline website. A disclaimer on the website notes that if you are concerned your Internet usage is being monitored, an alternative option is to call 800-799-SAFE (800-799-7233).

If you or someone you know has been sexually assaulted, resources are available for help. Visit the RAINN website (Rape, Abuse, and Incest National Network) or dial 800-656-HOPE (800-656-4673).

12 Rock + Metal Artists Who Had Other Careers Before Music

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Deluxe Reissue of ‘The Who Sell Out’ to Include 46 Unheard Songs

The Who have announced a new super-deluxe edition of The Who Sell Out with 112 tracks, 46 of which have never been heard before.

The new top-of-the-line set, due on April 23, also includes both the original mono and a stereo mix of the original album, studio outtakes and early takes, 14 of Pete Townshend‘s original demos, two bonus singles, an 80-page hardback full-color book and nine posters and inserts.

There will also be a two-LP stereo vinyl package, a two-CD/two-LP mono vinyl version, a two-CD edition and a digital release. The Who are already sharing several preview songs, including early versions of “Pictures of Lily” and “Odorono.”

Check out both demos and a complete list of the super-deluxe edition bonus tracks below.

The Who Sell Out originally arrived in December 1967 as a loose concept record parodying society’s increasingly consumerist attitudes – complete with between-song jingles and commercials. The album, which sounded like a pirate radio station, was rounded out with a pop-art sleeve design created by David King, art director at London’s Sunday Times, and Roger Law of the Spitting Image television program.

Listen to Pete Townshend’s Demo of of the Who’s ‘Pictures of Lily’

Each of the band members is featured in his own made-up print ad. Roger Daltrey was said to have spent so much time in a vat of cold beans that he caught pneumonia.

“I Can See For Miles” became a Top 10 hit, while elements of Townshend’s mini-opera “Rael” would later return for 1969’s double-platinum Top 10 follow-up, Tommy.

Listen to Pete Townshend’s Demo Version of the Who’s ‘Odorono’

The Who, ‘The Who Sell Out’ Super Deluxe Track Listing
Disc 1: Mono Mix / Bonus Tracks
“Pictures of Lily” (original U.K. track single mix)
“Doctor, Doctor” (original U.K track single mix)
“The Last Time” (original U.K. track single mix)
“Under My Thumb” (original U.K. track single mix)
“I Can See for Miles” (original U.K. track single mix)
“Mary Anne With the Shaky Hand” (original U.S. Decca single mix)
“Someone’s Coming” (original U.S. Decca single mix)
Unused Radio London ad: “Early Morning …”
Unused Radio London bulletin link: “Jaguar”
Unused Radio London ad: “Tattoo”
“Rael” (New York early rough mix)
“Sunn Amps” promo spots “Great Shakes” ad

Disc 2: Stereo Mix / Bonus Tracks
“Rael Naive” (complete with organ coda ending)
“Mary Anne With the Shaky Hand” (U.S. single version)
“Someone’s Coming”
“Summertime Blues”
“Glittering Girl”
“Early Morning Cold Taxi”
“Girl’s Eyes”
“Coke After Coke”
“Sodding About”
“Things Go Better with Coke”
“Hall of The Mountain King”
“Jaguar”
“Rael (remake; IBC version) / “Track Records” outro

Disc 3: Studio Sessions 1967-68
“Glittering Girl: (Take 4, 2018 remix)
“Girl’s Eyes” (Take 2, 2018 remix)
“The Last Time” (Take 8) “Under My Thumb” (Take 3, 2018 remix with full ending)
“Our Love Was” (Take 2)
“Relax” (4-track to 4-track mix with Pete vocal)
“Relax” (Takes 1 and 2)
“Mary Anne With the Shaky Hand” (Takes 1 & 9)
“Relax” (Remake Take 4)
“I Can See for Miles” (full version)
“Medac” (Take 11)
“Odorono” (Take 3, 2018 remix)
“Heinz Baked Beans” (Takes 1 & 3, 2018 remix)
“Top Gear” (Takes 1 & 2, 2018 remix)
“Premier Drums” (Takes 1 & 3, 2018 remix)
“Charles Atlas” (Take 1)
“Rotosound Strings” (Take 1, 2018 remix
“Track Records” (2018 remix)
“John Mason Cars” (Takes 1-3) / “Speakeasy” / “Rotosound Strings” / “Bag O’ Nails” (2018 remixes)
“It’s a Girl” (aka “Glow Girl”) (Takes 1 & 3)
“Mr. Hyde” (1st stage mix Take 1)
“Little Billy” (Takes 1 & 3)
“Mrs. Walker” (aka “Glow Girl”) (4-track to 4-track mix, take 7)
“Call Me Lightning” (Take 1 backing track, stereo mix & jam)
“Dogs” (Take 3)
“Melancholia” (Take 1)
“Shakin’ All Over” (Take 3)
“Magic Bus” (Take 6)

Disc 4: ‘Road to Tommy’ 1968 Recordings
“Glow Girl”
“Faith in Something Bigger”
“Dr. Jekyll and Mr. Hyde”
“Call Me Lightning”
“Little Billy’s Doing Fine”
“Dogs”
“Melancholia”
“Fortune Teller”
“Facts of Life” (aka “Birds and Bees” backing track)
“Magic Bus” (single version)
“Call Me Lightning” (U.S./U.K. mono single mix)
“Dr. Jekyll and Mr. Hyde” (U.K. mono single mix)
“Dogs” (U.K. mono single mix)
“Magic Bus” (mono, longer version)

Disc 5: Original Pete Townshend Demos
“Kids? Do You Want Kids”
“Relax”
“Glow Girl”
“Glow Girl” (Version 2)
“Inside Outside U.S.A.”
“Jaguar”
“Little Billy”
“Odorono”
“Pictures of Lily”
“Relax” (Version 2)
“Melancholia” (2018 remix)
“Thinking of You All the While (“Sunrise,” Version 2)
“Mary Anne With the Shaky Hands”
“I Can See for Miles”

Bonus 7″ Discs:
U.K. 45, “I Can See for Miles” (early mono mix with single-tracked vocal) / “Someone’s Coming” (original U.K. track single mix with single-tracked vocal)
Decca USA 45, “Magic Bus” (U.S./U.K. mono) / “Dr. Jekyll and Mr. Hyde” (original U.S. Decca single mix)

See Who Drummer Keith Moon’s Craziest Antics

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