Paul McCartney Reveals Song Featuring Led Zeppelin's John Bonham

As background on the speculation, Strigl says "Rex Brown spends half of page 58 of his book talking about Pantera's relationship with Slayer back in the Power Metal era. He ends that part of that page by saying, in reference to Kerry and Philip's friendship, 'At one point I even thought that Kerry wanted to join the f***ing band. That's how intense it was.'" Below is an excerpt from the interview where Anselmo goes into a lot more details about the topic:

Mark Strigl: Talk about Kerry King. He seems to be somebody who had some influence on what you guys did with Pantera. Do you remember meeting him for the first time?

Philip Anselmo: Absolutely, yeah. Pantera, before we were signed, would play every weekend in the DFW area or Shreveport Louisiana or whatever along those circuits and we had a weekend booked playing a club in Dallas which really consisted of Friday, Saturday and Sunday. Slayer were playing right down the street on, I believe the beginning of the South of Heaven tour. They were planning on a Saturday night, they got in town on a Friday and my boxing coach used to be a radio DJ and he called my house and said hey man I got Tom Araya in here, do you want to talk to him, do you want to meet him and I'm like '"definitely." So I talked to Tom on the phone briefly for a moment. Then sure enough he brought Tom, Kerry and Jeff, Rest in Peace, out to the show that night on Friday and we met all those guys and they got up on stage and did a couple songs with us. We knew Reign in Blood and one other song, umm, like I said my memory is pathetic. Kerry and I hit it off and we exchanged phone numbers. Really he kept in touch quite a bit and it was awesome especially for a kid, like I was at the time, who really, for me the greatest bands from California, especially at the time, were Black Flag and Slayer. Definitely at the time� Slayer was the be-all end-all for me. To befriend a guy like Kerry King was a huge thing. Kerry would call all the time and when he would have downtime, off time from the road, he would fly in and come hang out with us and this was around the time where I was beating my head against the wall desperately trying to turn the guys in Pantera on to heavier music and Slayer was the paramount band. I was saying please give them a chance and sure enough Dimebag and I would listen to Hell Awaits and he started to get it and feel it but there was one specific time when Kerry King called me and he said "hey" and I said "yes" and he said "I'm coming down." And I said "ok" and he said "but this time I don't want them mess around" and I said "what you mean by that?" and he said "I want to jam." I said "well, let me ask the rest of the guys and see what we can do." So he flew in early in the week so we can work out in an entire set and I think, a matter fact I will go on record and say I positively know that Dimebag and Kerry King sitting down with each other opened up Dimebag's eyes and really eventually the rest of the guys eyes to the power of the thrash rift and the magic of it and really influenced us to push our own music over the edge and all props to Kerry King there. That night was an awesome night, a matter of fact it was two nights in a row. We did Slayer songs, Kerry King did old Pantera songs with us. We did Judas Priest songs and it was fun and it was a blast and I can't go into how much of change the direction of Pantera.

Mark Strigl: When you say he did old Pantera songs with you are you talking about stuff that was on the Power Metal record?

Philip Anselmo: Absolutely. He played the song Power Metal with us which is a very intricate rift in itself and we even modified the song to where there was a breakdown part where Dime and Kerry went into this creepy Slayer-esque anti-melodic harmony part guitar thing and it was very spontaneous but still cool as hell.

Mark Strigl: When he came down to jam with you guys, was he just trying to help you guys out? Or was he interested working with you guys on some level?

Philip Anselmo: "Ooo�. I shouldn't probably talk about this but � I do think� I'll put it like this, he was having fun. I don't think he was trying to help us as much as have fun himself and jamming with Dimebag because I know Dimebag blew his mind as a guitar player and really� He loved� I guess his love of Judas Priest and where my vocal range was at the time. He loved it and I think it was a nice departure for him to come down and jam with us so I'll just say he's having fun BUT� I could say more but I won't."

Ozzy tells Noisey.com: "The computer age is taking over and there's a lot of trickery. I've actually seen guys in bands. You go, 'Do you want to jam?' and they go, 'Jam? What's that?' Just playing anything together. They can't do it. 'I'll have to consult my computer first.' The art of being in a band is dying."

When asked if the incident was the inspiration for the song on his solo album, Leave Me Alone, he responded, "Yeah, I'm actually going to give that song to the Hollywood Police Station. I think it's needed. I wrote that song for them and I want them to hear it. They were all very nice to me, in that situation, actually worried about my well-being, and they didn't have to be.

"I had a robot break down my door, so I wrote Robot Man. Phil Campbell [from Mot�rhead] plays lead on it, which really makes the song something else. I liked it at first, but it was kinda weird, so Phil really made it something that jumps out, especially when the solo comes up."

He was also asked in the incident had changed his opinion of the police. He said, "Not necessarily. I still feel like I don't need the police in my home, it's not a place for them. I've had run-ins where you get pulled over, and sometimes the police are dicks to you, sometimes not, so I can't say sh*t like "all policemen are a**holes" or whatever. I am against things they stand for, but I can't say they're bad people. I won't go out for coffee and donuts with them if that's what you're asking [laughs]."

"Those talentless f***s can f*** right off," said Lydon, responding to a question as to whether the iconic punk band might be tempted into another reformation. "We loved each other for all of two and a half minutes. Those songs mean too much to me to go back to that situation again."

In an entertaining and lively 45 minute Q&A session Lydon also revealed that he'd been asked to work on a duet with Kate Bush, but that the female vocalist ultimately rejected his song, Bird In Hand, which he recalled as "a song about the illegal parrot trade."

The reissue of Hitchhike To Rhome and will be released in various formats including 2-CDs, digitally and a double LP. Aside from the remastered album, the deluxe reissue will also include a bonus disc featuring eight extra tracks from the album's recording session that the band and co-producer Ken Bethea discovered when revisiting the original tapes for the reissue.

The bonus disc will also include the songs from their first four-song demo cassette. Many of the bonus tracks were mixed from the original multi-tracks for the first time by longtime Old 97's engineer Rip Rowan.

Uprising Live! features footage of the live concert captured during Marley's final trek, The Uprising tour in the summer of 1980, that originally aired on the German television series Rockpalast.

Eagle Rock have set a November 24th release date for Uprising Live! and it will be offered in various formats including DVD, DVD + CD set, and Digital Video.

They have signed a publishing the deal with Da Capo Press for the book which they expect to release in the spring of 2016 and will be entitled " Under The Big Black Sun," inspired by an X album of the same name.

The announced dates will be hitting the east coast and Denver, kicking off in Cambridge, Ma on December 10th and concluding on December 27th in Denver.

And he believes the Fab Four faced a similar risk when they launched the original in 1967. Coyne tells MusicRadar: "People get very proprietary about this sort of thing. When we did Floyd's Dark Side there were some who had these violent, outraged reactions. It's like we defiled a classic or something.

"There's only one Mona Lisa, so if you put a moustache on it, you really f***ed it up. But music isn't like that - The Dark Side Of The Moon by Pink Floyd still exists, and Sgt Pepper by The Beatles will still exist. We just did our homages to those records, because they inspired us."

Previously announced shows saw them booked in North America until the end of next month, while they'd also confirmed appearances in Australia in February next year. Now they've added four gigs in Japan in March, and another six in Europe in June, making a total of eight on the continent.

Downing recently explained he'd decided to quit Priest in 2011 after feeling the veteran outfit had lost its spark, saying: "I don't regret leaving - I thought it had run its course. I miss what we had, but I don't particularly miss what we had become when I left."

Stanley tells the Joe Rogan Experience: "It's very difficult to move forward when two of the people are, at times, like flat tires. It becomes more of a problem when their reason for being is to foil and to throw off track what you're trying to do."

Stanley adds that he was happy splitting Kiss revenue evenly at first, until, he says, Frehley and Criss starting contributing less to the band's output. He says: "I never wanted or expected anybody in the band to do necessarily the same amount of work that I did, but I expected them to give 100%.

"We send our heart out to (Jack White) and his band," Billboard reports Vedder said from the stage. "The only thing we can do is try to take energy here (at the concert) so we can remember (Owens) fondly." They then played the song "Light Years" in his honor.

According to The Detroit News, it was one of many shoutouts by Vedder during the 170-minute concert - including Dennis Rodman, former Detroit Red Wing Chris Chelios, Mudhoney bassist Matt Lukin, and John Lennon, whose 74th birthday was the previous week.

The limited edition release will offer only 500 copies available in total, with fans being offered a choice of three vinyl colours - black, black-gold splatter and gold.

It includes previously unreleased tracks Nieboga Czarny Xiads and Towards The Dying Sun We March, as well as a re-recorded version of Moonspell Rites.

Singer Thomas 'Angelripper' Such says: "Since we've been getting the impression that the world is falling apart at the seams, we've decided to make our voices head while there's still time.

At the moment the label is targeting a January release for the album which was produced by Ace Zec in collaboration with Jay Ruston (mixing) and Paul Logus (mastering).

The band had this to say about their new label deal, "Everybody! We are absolutely thrilled to announce that we're going to join the Nuclear Blast family for our first world-wide release.

"Signing to Nuclear Blast is like getting the hot chick everybody wants. They were our first choice when we started looking for a deal and to see it actually coming through still feels unreal. So a big thank you to everyone involved for making it happen and we hope to see you all in 2015."

"We wanted to make something that we were proud of -- something we could look back on and say, 'we did the best we could,'" say brothers Cody (drums) and Travis Bass (guitar).

"In terms of the tone of the EP, [the darkness] is something that we have always been attracted to," Moreira adds. "We are not depressed or overly emotional people, but we understand the realities of dark times.

He says: "It's a very heavy, non-concept type of album in the vein of Noble Savage or Age Of Consent, where there's no particular story. It's a straightforward collection of songs that work well together. It's about 80-90% tracked already and final mixing will begin next month.

"With these new recordings, we've gone back to some earlier methods of recording such as using analogue tape - the whole thing sounds and feels very organic. The group and I are really happy with the new material and we're sure all the fans who waited so long will be more than pleased."

Demmel got the tribute inked in Warsaw, Poland at the Rock 'N' Roll Tattoo Studio. Rhoads played guitar for Ozzy Osbourne and Quiet Riot until his death in a tragic plane crash in 1982.

Thomson tells Guitar World: "We knew who we wanted from the start, and we got him. We knew from the get-go there wasn't going to be any issues with him. We did get lucky, I guess. He knew all the old material anyway as he'd grown up with the band. That made things easier."

Ah, "Stairway to Heaven." The prime jewel in the classic rock crown. For decades, it's topped radio station polls as the greatest song of all time. Regardless of that subjective honor, it has been played on the radio millions of times in the decades since it made it's debut on Zeppelin IV in 1971.

Jimmy Page loves the song; he performed an instrumental version of it on his solo tour in the '80s, and may well bring it back again if he indeed tours next year. Robert Plant, on the other hand, isn't such a fan of the song, having only performed it on rare occasions since Zep's demise, and even paid a radio station to not play the song.

But in this interview, Plant fondly looks back on writing "Stairway" with Page. "The thing is, if you're that involved with another character, another human being, as Jimmy and I had been in writing�sometimes the same mood can flow through you at immediately the same time," Plant explains. "When that happens, that is the peak point for creation."

One night while the rest of the entourage were otherwise engaged, Plant recalls, he and Page were sitting around a bonfire. A lengthy conversation led to the creation of one of rock's most iconic songs.

Plant kicks off a U.K. tour next month. Don't look for "Stairway" to make his set lists, but he does play a lot of other Zeppelin songs. And here's hoping Jimmy Page tours the U.S. in 2015.

Cheap Trick guitarist Rick Neilsen appears in the clip and plays on the tune, which was recorded at Nirvana producer Steve Albini's Electrical Audio studio in Chicago.

"Chicago's the place where I saw my first show," explains Dave Grohl. "The first time I ever saw a live band play was at this little bar called the Cubby Bear right across the street from Wrigley Field. It was just like 'I want to do this for the rest of my life.' So the idea of the song, and the episode, is that once you find that spark and inspiration, that begins your path in life, for whatever it is you want to do."

The album will begin to be released across the globe this Friday with it hitting North America and the UK, and other parts of Europe on October 27th.

The "Death And The Labyrinth" video was directed by Patric Ullaeus (In Flames, Arch Enemy, Lacuna Coil), and frontman Tomas Lindberg had the following to say about the clip:

"We had a very special idea about the kind of approach we wanted for the first video from 'At War With Reality'. What we needed was someone gifted enough to throw himself artistically into the project full on.

"The lyrics to the song are very multi-layered and surreal, so we wanted someone to create a fevered dreamworld that went with the melancholic frustration and dramatic desperation that we feel comes across in the song.

"This is exactly what Patric has created for us. It's his vision of the music and lyrics, which compliments the track perfectly in my opinion. I couldn't be happier!"

Ullaeus adds, "It's always nice to work with creative artists who are like-minded. Ideas seem to flow easily. We had a lot of fun making our vision come true. Being on these amazing locations in Antelope Canyon, Arizona was truly an unforgettable experience."

The band features the remaining members of Riot who decided to carry on under the new moniker of Riot V following the passing founding guitarist Mark Reale in 2012.

Reale's longtime collaborator Don Van Stavern once again contributed songwriting to the band as he had on the acclaimed "Thundersteel" and "The Privilege of Power" albums.

The song, released via Soundcloud, starts off with quieter, subdued vocals from frontman Billy Corgan. However, it eventually explodes into the louder, guitar-heavy fare for which the band is most known.

It's the first Pumpkins record since drummer Jimmy Chamberlin departed; as such, "Being Beige" has a high profile contributor in Tommy Lee, who handles the duties behind the drum kit for the song.

"People always ask me to explain songs, and honestly I can't," Corgan told Rolling Stone, which premiered the track, about the song. "But if there's honesty in this lyric, it's that there's something amiss in our cosmos. Yet still, we must love."

The band teams with director Markus Lundqvist, who has helmed some dark videos for major divas (Madonna's banned "Girl Gone Wild," Lady Gaga's much awarded "Paparazzi" and Beyonc�'s face-off with the camera in "1+1″). Here he does incorporate moments of technical and special effects expertise, but the focus is on a group of very Twin Peaks-ian characters.

The video opens in a red entryway, a clear nod to director David Lynch's Twin Peaks aesthetic, and opens into a biker bar populated by the sort of full-bearded, up-to-no-good types that likely only exist in the imagination (or Barstow, Calif.). Interpol are the seamy bar band, while singer Paul Banks mimes along to lyrics meant to offer us the inner narrative of a room full of no-good men.

A Laura Palmer-sort is introduced through Polaroid photos, clearly missing and desired. Things take a turn for the Lundqvist-ian when a cockroach crawls from one of the photos, turning from two-dimensional into three.

The band were filmed in the spectacular surroundings of the Arena di Verona, a Roman amphitheatre originally built in 30 AD. The 2011 concert sees Deep Purple joined on stage by the German Neue Philarmonic Orchestra for performances of all their classic tracks.

The set features the rock legend recorded in concert at Wacken Open Air, an annual summer open air heavy metal festival that takes place in the small village of Wacken in Schleswig-Holstein in northern Germany.

The DVD/CD package contains 22 songs plus an interview with Alice, while the double CD contains the complete concert. With "Raise The Dead - Live From Wacken", the German label UDR is starting a new live series of legendary Wacken performances. When Alice learned about the purpose behind it, he was very happy to be one of the first to participate and support the Wacken Foundation.

In a press release, Simmons explains: "Coliseum is a no-holds-barred competition show between musical gladiators in the arena fighting to survive, fighting to be the champion, fighting to curry the favour of Rock Caesar. Thumbs up or thumbs down, only the strong survive."

Simmons launched the show in Cannes, France, at entertainment industry trade show Mipcom. The show will be broadcast around the world, with different regions having their own local acts.

Back in 1988, Ozzy released his fifth album No Rest For The Wicked which included the single Breakin' All the Rules. Filmed at Hammersmith Odeon in London, Zakk reveals that the crowd weren't all they appeared to be.

After the fans were described as looking like Folsom State Prison, a number of models were hired to stand on the front row and lose their sh*t while Ozzy and co. went to work... although they had their fingers in their ears when not on camera.

What sort of unique issues come with breaking on a cover? I mean, like we immediately thought like, "Do you want to blow up on a cover?" I mean, not really. So that's the first thing that comes into their head, and then you think, we're the ones that recorded it, you know. So we had to step up and deal with it. That it got as big as it did, you just have to kind of embrace it, you know?

Of course. And the song sounds-and the video looks-like it was insanely fun to make. We've all never been a fan of bands that were cool, and I mean ["Smooth Criminal"'s] music's cool, but the whole image thing, maybe we're not really a metal band but growing up, being like, "the cool band" didn't really appeal to us. So the more fun we could inject into videos or imagery�I see kids coming to our shows and I have to admit they look like they come from fun. videos or something like that.

I actually prefer your version of the song to Jackson's. The way the line "Annie are you okay?" wraps around the beat feels more right to me. We knew we wanted to do a cover so we dabbled every night at shows: "Easy Lover," Phil Collins, or "Smooth Operator," Sade. And a bunch of other cover songs. But that one seems to have the most kind of rock feel, you know? We knew we were gonna record a cover, we didn't know DreamWorks was gonna put it out so quickly. I shouldn't say I knew, but when we were recording it and I was hearing the final of it, I thought 'damn, this is going to be a big song,' if it gets thrown out there, and it did. I wouldn't say I imagined it to have the legs that it really did. At home in LA, KROQ still plays it every day, and I'm really surprised it's become one more of those songs that's just there.

Did you consider other Jackson songs or did you know immediately that was the one you wanted to do? That was kind of the one. Obviously it was a hit for him, but not the hugest hit. It was almost like every song for him was a #1 hit and that one wasn't. And we kind of felt like it wasn't the most completely huge No. 1 hit like "Billie Jean" or "Thriller" or something like that. So we kind of knew that would be the one. And like I said, it had kind of a rock feel.