Scott Weiland Releases Cover Of Rock Classic

The album is set to be released on March 31st and "20th Century Boy" is the fourth track that the band has revealed from the project. Earlier this week they released the song "Modzilla," which followed the release of "Way She Moves" and "White Lightning".

Weiland told Entertainment Weekly the following about their version of the T. Rex classic, 'It's just the coolest, most current take on a classic glam-rock song, 'Sounds like it could be playing on the radio now ' it should be!"

Stream the song here.

Veteran Guitarist Fears The 'Ageing Out' Of Rock

And he's concerned that, while no young rock bands are exploding into the big-time, it's not the same case in the world of pop, country and hip-hop. French tells The Metal Voice: "Rock is over 50 years old and it's not regenerating with the youth.

"When I was 17 years old I would see Led Zeppelin, the Stones, the Who, the Beatles, Jimi Hendrix and Bob Dylan. They were 24 years old. Now there are no rock bands coming up that are that enormous and that young - but you've got plenty of hip-hop artists, country artists and pop artists that are.

"What's happening is, you're watching the ageing-out of a genre of music." Read more and watch the full interview here.

Aerosmith's Brad Whitford Talks DVD, Tour Plans, Guitars and More

To get the scoop on these happenings and more, we spoke with longtime Aerosmith guitarist Brad Whitford. The veteran rocker shared his thoughts on a range of topics, including his favorite guitars, his primary influences, his musical interaction with Joe Perry, and whether or not fans can expect a new Aerosmith studio album anytime soon.

What made the Donington show an especially good choice for the theater concert broadcast and DVD? We've always felt it's a great festival and a great event. And we've always associated it with a lot of our favorite bands and musicians. Plus the crowd is incredibly enthusiastic. It's an honor to be included in that festival. It felt like a no-brainer to immortalize that show.

Joe has said he thinks of Aerosmith primarily as a live band. Do you agree? I understand his view, although we've certainly made some great recordings and come up with some great music in the studio as well. Still, I tend to agree--our true passion is to get on-stage and perform.

You're formally schooled and Joe is self-taught. Has that figured into how the two of you work together? It's hard to say. Joe comes from a place where music is inside him, and he just has to get it out. His approach is intuitive, whereas I may stop and think about what we're doing a little more. We've never sat and had a lot of discussion about what we should play. It's very organic. He'll start playing something, and I'll immediately find a counterpoint for it. That's how we've always worked. We find things to complement one another's ideas.

Which players influenced you as you were coming up? I was totally blown away by the British Invasion. Like most of my contemporaries, seeing The Beatles and getting into their music was huge-a revolution, really. And then all these other British bands came along--groups that were really different, who had their own sound. I'm still infatuated with Cream, with Eric Clapton's work in that band. Hendrix, Zeppelin, Jeff Beck-it was a wave of incredible talent. Guys like Joe and me were profoundly affected.

You've said elsewhere that "Sunshine of Your Love" affected you in a special way. I'm still amazed at the feel of that song. Everything Clapton did there is incredible. It's amazing how far back on that beat that guitar part is. And the solo is stunning. It's still one of my favorites--his tone, his choice of notes. It was great instruction about touch and technique. I was amazed at Clapton's vibrato, how smooth and subtle it was. It was a great lesson in how to make a solo stand out.

You've had a strong hand in the writing of some great Aerosmith songs, and you've also done great lead guitar work. Does it ever rankle that more people don't recognize that? In the past it did, but not anymore. I remember being in London years ago and reading review of the Rocks album. There was this great review of the song "Last Child," that credited all the guitar work to Joe. That made me angry, because all the guitar work on that song was mine. But these days I think our individual styles and approaches are well recognized. I enjoy my place in the band and my standing with the public. I wouldn't want to change anything about that.

Is there any talk of Aerosmith going into the studio to make another album? Not at the moment. Steven has wanted to do his own album for the past 20 years, and finally he's blocked out some time for that project. That may inspire him and the rest of us to get back into the studio together, but it probably wouldn't happen until after we've finished the tour we're doing this summer. Right now we're not under the gun of a recording deadline, with record contracts and stuff. Who knows--that might give us even more inspiration, where we do it just because we want to do it.

Are there any surprises you can reveal about the summer tour? We're hoping to bring some songs out of the closet, musically. Of course we'll still be playing the bulk of the hits as well, but one goal is to maybe do some songs people have never heard us do before live. That's our goal. I'm hoping we can pull that off. I know we can--it's just a matter of staying committed to the idea. We feel it's time to bring some new music into the fold.

Read the rest of the interview here.

Black Star Riders Release Acoustic 'Charlie I Gotta Go' Video

The duo dropped by The Orchard to play the tune as they make the rounds to promote the new record. "The Killer Instinct" was recorded in Nashville with producer Nick Raskulinecz (Rush, The Foo Fighters, Alice In Chains, Mastodon).

The project is available in multiple formats: CD, Limited 2 CDs Digibook with a bonus disc that features 2 extra songs and acoustic versions of 4 tracks from the album, Limited Gatefold Black Vinyl and Limited Gatefold Clear Vinyl (available for mail orders only).

Watch the video here.

Joanne Shaw Taylor Releases 'Outlaw Angel' Video

Taylor recently said: "I wanted to retain the same vibe that we captured on the first album. The new one is a combination of rock and blues - I think it's exciting, and hopefully my fans will love the rockier edge."

She appears at the inaugural Ramblin' Man Fair, sponsored by The Blues Magazine, on July 25-26 at Mote Park, Kent, alongside Gregg Allman, Seasick Steve, The Temperance Movement, Blues Pills, Randy Bachman, VerseChorusVerse, Mick Ralphs, Aaron Keylock and others.

Watch the new video here.

35th Anniversary Of U2's Big Break

By this time U2 had been a band for a few years, and had gradually started to find their sound. On a trip to New York with his family, The Edge had bought a Gibson Explorer. "It was the zig-zag shape that set it apart but the sound and the feel were great too. Everyone was playing the same kinds of guitars and I thought, we sound different, let's look different," said The Edge in U2's autobiography U2 By U2. Armed with his new guitar, The Edge soon started fiddling around with echo units, and was developing what would become his signature sound.

The band needed a recording contract that came with touring support as well, because without it they could never afford to finance a US tour, and would be stuck touring the neighboring European countries, not getting the chance to make it Stateside. For the culmination of their headlining tour, McGuinness had booked the band to play Dublin's National Stadium. It was a brave move, seeing how the venue could hold over 2,000 people, and was regularly used for established Irish acts, as well as visiting bands from the US, and the UK.

Having exhausted many of the major record labels, U2's manager turned his attention to Island Records. The (at the time) rather small label had made a name for itself by releasing reggae music, most prominently Bob Marley & the Wailers, but McGuinness was starting to exhaust all his options, and figured it was worth a shot. It didn't hurt that Island's publicist Rob Partridge happened to be a fan of U2. So for the National Stadium gig the band had invited Island Records A&R man Bill Stewart in hopes that a deal could be struck. Read more here.

Fozzy Found New Audience With War

Jericho tells Examiner.com: "We wanted to focus on writing great songs and not worry about if they're too heavy, too poppy, too dancy or too ballady. I think a lot of bands put themselves into a box: 'We're a heavy metal band, so we must play heavy metal,' or, 'We're a pop band so we must play pop.'"

He continues: "When you think of some of the greatest bands of all time, whether it be the Beatles or Queen, they always had records with a lot of diversity - but they'd still sound like the Beatles and Queen." Read more here.

Carcass Frontman Says Bands Should Have Humble Goals

He tells Rock Overdose: "I think if you're going to play music, your reason for doing that should be solely that you want to be creative and enjoy it. You should be realistic. We never formed this band to get rich, famous or big. You should have very humble goals.

"Too many people are creating bands as a career choice. 'Should I be a football player? Should I be an actor?' Everyone wants to be famous but I think your motives have to be pure."

He continues: "The reality is that the older bands are not going anywhere - they still exist. It's like a club and there's more and more people joining but no one's leaving. The old guard is still there, Priest, Maiden." Read more here.

Moonspell Continue To Challenge Themselves With New Material

Ribeiro tells Metal Kaoz: "We definitely want to take another route in our music. Even for us to write it was challenging. To play it is challenging. Now, to make it happen live is also a challenge - but we don't mind, because we feel the songs are great."

The Portuguese outfit's challenge extended to keeping up with producer Jens Bogren's hectic schedule. "He is a very involved guy; he's restless - he never gave us a day off," Ribeiro recalls.

"He's all work, work, work because he wants everything to shine through. He gave a bit of discipline to us all. It was a complete production, and a very cool and intense process." Read more here.

Singled Out: Prophet Omega's The Day The Radio Died

The Day The Radio Died is the third track on the latest Prophet Omega album Going Out To Slab City. The song fits into the larger tapestry of the album but centers around one specific event; a good old-fashioned American close encounter with folks not from our cosmic neighborhood. It's inspired by an actual event. That mind blowing encounter lasted 20 minutes or so. This song is not nearly as long.

Some people would assume that beings from an unimaginably advanced civilization wouldn't have the occasional existential crisis. the nerve!
"What did they believe in? What'd they hope to find? Where were they going? How many empty miles behind"

"they just kept going, since the day they came, thought we'd change forever but our lives remained the same"
Hey little buddy was that trip through the space-time continuum worth it?

The Day The Radio Died was recorded and mixed at home in the Catskill Mountains in New York State. I'm usually making the Prophet Omega music at home on my own which tends to give it its own flavor but sometimes it's nice to bring in a friend to add a little something something on top, a little extra personality. This song has guest appearances from two of my favorite people. Adam Widoff plays one of the two guitars (the really good one) and Burnell Pines chimes in on "nah nah nah" vocals. These guys bring a little space madness to our terrestrial road-trip.

Hearing is believing. Now that you know the story behind the song, listen for yourself here and learn more about the album right here!

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