Then, in March this year, frontman Brian Johnson was had to step back from touring as he risked total hearing loss if he continued, with the band bringing in Guns N' Roses singer Axl Rose as his replacement.
But despite the shake up, Williams says playing with a different lineup live is as intense as ever. He says: "Angus is a dynamo - he's fantastic to play with. I've been trying to stay out of his way for 40 years. He's like a whirlwind up there.
"Stevie's a great rhythm player - like his uncle Malcolm. It's the same style - he inherited that. He's a Young as well, so it's kind of in the genes. Chris Slade and I played together before with AC/DC. He did The Razor's Edge with us and did that album and tour - so it's an exciting rhythm section. It's great."
As for Rose, the bassist reports: "Axl's doing extremely well - and god bless him for stepping up to do this. Once we start, it's pretty intense. That's it, that's what you're there for, two plus hours on stage - that's what it's all about. It's just what I've always done, I thoroughly enjoy it." Watch the full interview clip here.
But in a statement, Amnesia founder Alex Martel says Sapp's rant - which has since been deleted - was the first he had heard that the band had any problems with the way they were treated.
Martel says: "I was extremely disappointed earlier today to read the comments made by Twister Sister's blogger after their show at Amnesia Rockfest 2016. We contacted the band's team as soon as we became aware of these comments, and they immediately decided to remove the blog post outlining their dissatisfaction.
"However, I think it's important that we set the record straight to prevent misunderstandings. In the 11 years of the festival, I have never seen anything like this. No member of the Twisted Sister camp contacted me at any point during or after the festival to express any concerns - we are always open to constructive criticism and improvement.
"I could tell the other side of the story. I could explain how running a festival with 130 bands over two days works and how our entire team makes serious efforts to accommodate them all, rather than giving priority to a single band." Read more here.
The guitarist tells Music Business Facts: "I was a member of the band. I never joined any band where I was a hired gun and I was there for a couple of weeks.
"All the bands I played with, except Testament, where I was filling in for Alex Skolnick, I was a part of the band - I was now a member of the band." Read more here.
The vocalist had previously confirmed writing was underway, while keyboardist Wakeman had sounded a note of caution over the chances of an album.
Anderson tells Something Else: "We want to do something creatively new. Of course, a lot of fans want to hear us do Yes music, so we're working on songs from Talk and 90125.
"Rick has always wanted to work with Trevor so we're picking out some classic Yes songs and rearranging them like we did with Anderson/Ponty. We're going to put on a great show to explain why we got together. The magic of the songs will still be there. We won't be a tribute band."
He adds: "We won't have a new album per se - but we will have new pieces of music and we'll figure out how to release it once it's done." Read more here.
The 2CD features 35 tracks, while the DVD/Blu-ray has 53 songs from artists including Judas Priest, Sabaton, Europe, Cradle Of Filth, Skindred, The Answer, Danko Jones, Uli Jon Roth and In Flames.
Band including Iron Maiden, Clutch, Dragonforce, Bullet For My Valentine, Foreigner, Henry Rollins, Testament, Steel Panther and Twisted Sister will perform at this year's event. See the tracklistings here.
Kiedis admits he misses the guitarist and describes him as a "very special person." The singer tells La Voila: "My experience with John was one of the most wonderful and easiest people to make music with. We could sit down on the floor, John and I, and I could take out a piece of paper, and I would say, 'Okay, I wrote these words.'
"And he would say, 'Let me see those words,' and he would take take the words, he would read them, and he's like, 'Okay.' He would start to play something, I would start to sing it, and I would say, 'Can you play something that feels like this?' And he would say, 'Okay, let me try this.' Then we would have a song." Read more here.
"I was probably at my suicidal worst in 1997 during a two-week-long tour in Japan. The only song I listened to then was a soft-pop ballad by Sarah McLachlan called 'Angel,'" he writes in an excerpt published by People. "I cannot overemphasize how important that song was to me in the midst of my depression. 'Angel' kept me serene even when every fiber of my person was screaming for me to lose it [and] made me believe that I could soldier through."
McDaniels was sober at the time, but soon found himself battling alcohol addiction as well as an identity crisis. Then he lost his voice and the band was frequently fighting.
"Whatever my hesitations about suicide, I sometimes think I would have done the deed easily if it weren't for that record," McDaniels continues. "I thought long and hard about killing myself every day in Japan. I tricked myself into thinking that my family might be better off without me. I considered jumping out of a window. I thought about going to a hardware store to buy poison to ingest. I thought about putting a gun to my temple. Whenever I'd listen to 'Angel,' though, I always managed to make my way back from the brink."
He continued: "It would be too simple to say that song got rid of all my negative feelings. it couldn't rid me of the wounds. 'Angel' was like a life-preserver tossed to me during a storm. It didn't pull me out of the water, but it did help me stay afloat until other help came along." Read more here.
Another concert-goer captured the half-joking half-not scolding on video. Moore quieted the crowd, so that he could make the call to a woman named Briana. Then he said, "Hey Briana, I'm trying to do a damn show right now. . . and you're texting the whole time with your friend. You're talking about some bull--, it ain't nothin' that can't wait."
The country star asked Briana for 30 more minutes of text-free attention before giving the phone back to her astounded friend. "I'm playing with you," he said, "but I'm not playing with you." Read more here.
Over the weekend, Robert Clivilles of C&C Music Factory posted an open letter to Freedom Williams, who rapped on two of the group's most famous singles, "Gonna Make You Sweat (Everybody Dance Now)" and "Things That Make You Go Hmmm."
According to Clivilles, Williams was never actually a member of the group (the songs were credited to "C&C Music Factory Featuring Freedom Williams"), but copyrighted the group's name and now tours as C&C Music Factory.
Clivilles ended C&C in 1996, following the death of the other half of the group, David Cole. In his open letter, published to his Facebook page, Clivilles addressed the rapper. "As you and everybody else in this world well knows by now, in late 1990 I wrote and produced a song for a group I then signed known as 'Trilogy.'"
That song, Clivilles says, was "Gonna Make You Sweat (Everybody Dance Now)," and that Trilogy ultimately decided not to record the song. That, Clivilles said, led him and Cole to create a group name to record the song on their own. And so C&C Music Factory, "aka the Clivilles & Cole Music Factory," was born. Read more here.
The British superstar started the show appropriately, with "Hello," according to Billboard, and the set featured a mix of songs from her first album 19, and her current album, 25. During the show, she talked to the audience about everything from her first Fourth of July celebration to her tendency to swear onstage. After a crowd-pleasing performance, she closed her main set with, "Set Fire to the Rain," as water dropped from above and she disappeared into the stage.
Before the encore, the video for Prince's 1994 hit "The Most Beautiful Girl In the World" projected on the video screen. When Adele returned to the stage, she admitted that she didn't feel worthy to offer a full tribute to the late genius. "I did maybe consider covering a song, but f- it, it's Prince."
The show closed with a climactic "Rolling in the Deep" as confetti cannons fired into the air and bits of paper inscribed with lyrics from the song fluttered across the crowd. Watch Adele perform "Rumour Has It" and check out her witty banter with the crowd here.
Just a few years ago, it seemed like their days were numbered. "2011 was dark," Brust tells Radio.com. "Talk about throwing the towel in, 2011 was like one big towel getting thrown at us. We had a song going up the charts, it was almost top 30. It was about to break in, 'Here we go!' We passed top 40, we passed top 35, here comes 30! And, boom: Chris's dad passes away, out of the blue. He was one of our biggest fans. Man, that's a blow. It just hits you hard."
"We stopped what we were doing," he continues. "And regrouped a little. And we get back on the charts, we get to 30, and then all of the sudden our record label folds. It wasn't even that the song died: the record label folded!"
Lucas says, "When you don't have a team pushing the song at radio anymore' and then you get the CEO of the label calling you and saying, 'Hey, man, it's over.' And then, two weeks after that, my aunt passed [away]."
And then, Brust says, "Our fiddle player, he'd been with us for like, seven years. He gets a little sick, and the next thing you know, he's gone. It was like, 'What just happened?' 2011 was like this incredible year of loss."
"And then, in like November 0f 2011, we're looking at each other, asking 'What are we doing? We're spinning our wheels.' Everything's falling apart. We were stuck on a record label that folded. If you want to try to get a record deal, that's easier than getting out of a record deal!"
"And then, Keith Urban calls, and says, 'You wrote a song called "You Gonna Fly," and I'm going to make it my next single.' Talk about a light that comes to life at the end of a tunnel! It saved us. By February, it was almost number one, and then it went to number one and life changed. And literally, four months later, 'Truck Yeah' comes out on Tim McGraw's album. It was like, 'Boom!' 'Boom!' And we are back!" Read more here.
Whatever their motivation, they have just unveiled a new ad featuring the Backstreet Boys' song "I Want It That Way," as covered by Jim James of My Morning Jacket and Brittany Howard of Alabama Shakes.
Howard and James put a slower and sultrier spin on the Backstreet Boys hit. The song serves as the backdrop for a video short where a man selling orange juice and a woman pitching lemonade become enemies as their businesses grow from stands on the street into corporate empires. The pair eventually remember their humble beginnings and fall in love.
The clip continues the company's tradition of unique use of music in ads, Willie Nelson covered Coldplay's "The Scientist" in a previous campaign. Check the video here.
The fashion brand, famous for their underwear campaigns, used Snapchat to reveal its celebrity lineup, reports Billboard. Ocean fans have been impatiently awaiting new music since his breakthrough 2012 album Channel Orange, which hit No. 2 on the Billboard 200.
Though nothing has been made official, the singer has been dropping cryptic hints and one source tells Billboard that Def Jam has spent more than a $1 million and as much as $2 million on a new album. Read more here.
After running late for work past some very confused tourists, Barnett boards her elevator and things take a surreal turn. The door opens onto a beach, men playing chess, and other curious scenes as the day goes on.
Sleater Kinney, Jeff Tweedy, Magda Szubanski, the Drones, Tim Rogers, and Paul Kelly all make cameos. Watch Barnett's new, Sunny Leunig-directed video for "Elevator Operator" here.
While his single "Wake Up" and collaboration with Fifth Harmony ("All In My Head") are still sitting pretty on the Billboard Hot 100, he has continued his efforts to dominate the spotlight by dropping a freestyle over Mike Jones' 2005 track "Flossin.'" It's like someone's playing nostalgic DJ with the playlist at a college party and an uber-talented friend steps up to freestyle.
Jones gets his due shout-out: "Wap, ayy / I'm Mike Jones, Jones / And I stay flossin' in that candy paint / Rolling dank / Sipping drank on 84 swangers / Rolling Chevy, rolling baby."
With new Fergie music on the scene, 2005-6 is currently having a moment. Maybe we can expect freestyles over "Get it Poppin'" or "Drop It Like It's Hot" next. Read more here.
In the video, available at Cassius' website, viewers can click on the face of each actor and swap them out for someone else, creating innumerable couples as a result. No matter what couple you prefer, the video's premise remains the same: a steamy make out session that celebrates young love in the summer. A lone camera roams around a neon-colored soundstage, tracking the actors as they get close in numerous situations like on the stairs or in a bus.
OneRepublic's Ryan Tedder provides the vocals for the first single off their upcoming album Ibifornia. "Baby, I'm not the type that goes to extremes/ You and me can re-write the scene/ We can go missing, missing, missing," Tedder sings. The upbeat track feels part-disco and part-80s pop fun. Read more here.
The tour mates have had their share of goodhearted back and forth while on the road. In April, video of Bieber burning Malone with a cigarette surfaced, followed quickly by photos of Malone choking Bieber.
Both parties assured fans that it was all in good fun. It appears Justin has upped the tour prank ante. Check out the video, which contains explicit language, here.
"Remixes make me listen to a song in a different way; they stretch you out as a listener and leave space for other things that a pop song usually doesn't," Robyn said in a statement at the beginning of RMX/RBN. "I hope to be able to share this experience with my audiences at Governors Ball, Boston Calling, and Field Trip over the next week and just dancing together."
Other collaborators for RMX/RBN include Cassius, Wolfgang Voigt, Mr. Tophat, Axel Boman, Harry "Choo Choo" Romero, Joakim, The Mekanism and Zhala & Heal the World. Listen to "Indestructible" with some fun new synth lines here.
"I have done a lot of recording in Nashville, and I get distracted very easily in Nashville," he explains to Radio.com. "People stop by the studio: 'Hey, man, how's things going in here?' and 'Can we bring you anything?' I live there as well.
"I knew that we needed to take this next album to a new level, and the only way to do that was to get focused and not have any of those distractions. So I found this place called the Sonic Ranch down in El Paso. I treated it like a mission: 'We gotta go down to the border; we gotta bring back the treasure!'"
He notes that the studio had a lot of vintage equipment, which was very appealing to him. "I'm 33, I grew up in the '80s and '90s, but I kind of feel like I grew up in the '50s because of the music that my dad played for me. He played me his favorite albums: Elvis, Johnny Horton and Johnny Cash and Willie Nelson and Waylon Jennings and Kenny Rogers. I fell in love with the album experience."
And while it often feels like we're living in a singles world, Ballard still loves the art of the album. "I think human beings like to watch three minute YouTube videos, they like to watch fifteen minute cartoons, they like to watch thirty minute TV shows, they like to watch two hour movies. People like to consume music differently too. People like to [listen to] a couple of hot singles on the way to work to get jacked up. But sometimes it's nice to put an album on, something that has a feeling, that brings back memories, that takes you someplace. I'm one of those people. So I don't think the album will ever be dead, until artists stop making albums." Read more here.
Last month the Dutch multi-instrumentalist also released the DVD The Theater Equation in which he took his 2004 album The Human Equation to the stage.
Lucassen says: "I couldn't have wished for a better start with Mascot Label Group and Music Theories Recordings. The people at Mascot flooded me with ideas and plans for the re-releases, which is a luxury, really.
"Take the artwork, for example. They offered to rework it, but wanted to show the original artwork as well. Their ideas were all really good.
"I'm sure the fans will appreciate this, which is one of my main goals when working on a re-release or a vinyl release. The worst thing to do is forget about quality and details, because people will turn away from you in no time." Read more here.
As part of the tour, Jaz Coleman and co will play at London's Brixton Academy on November 4 - an event they're calling The Great Gathering which will feature "carefully selected support acts" who will be announced at a later date.
In addition, the 2013 documentary The Death And Resurrection Show, detailing the "turbulent, dramatic and often unbelievable journey" of Killing Joke is to be released on DVD for the first time.
A statement reads: "From rituals at Stonehenge to worship on the Nazca Lines, recording sessions in the heart of the Great Pyramid and exploration of a parallel universe on an Icelandic glacier, and the search for a mysterious island that could survive the tribulation - this is the definitive story of Killing Joke... and you've never heard anything else like it." See the dates here.
The video was animated and directed by LA Watson, who reveals it was inspired by the "ecological crisis" currently facing the planet.
Watson says: "The conceptual and visual theme came from thinking about the environmental damage that was caused by the American Dust Bowl of the 1930s. I wanted to draw connections between this moment to the current ecological crisis our planet is facing today.
"The events of the Dust Bowl can be seen as a forewarning that illustrates the devastating consequences of irresponsible farming practices. Today, we are seeing a similar situation with honeybee populations that are suffering from colony collapse due in part to pesticide applications. This not only hurts bees, but also puts our entire food supply at risk. I thought it could be interesting to animate a bee trying to navigate through an apocalyptic past/future." Watch the video here.
He says: "I'd say less so now that the album's out - it's all just plain sailing. We're just enjoying it until the end of this record cycle. We're out playing shows and meeting people, meeting our heroes and playing our tunes to lots of lovely people. There's pressure to be out there playing shows - but we love that and I think that's the only pressure we really feel."
They were in the studio for 14 days putting the finishing touches to Statues, but Gardner says for their second album, he'd like a little more time to experiment with different sounds.
He continues: "On the next record it would be nice to have three weeks or a month in the studio and have more time playing around with percussion, bring a string section in - any of those kind of things.
"We always think quite big with our writing. We're quite proggy with our approach." Read more here.
The band will also headline Titanfest at the Tufnell Park Dome on November 19 - which organizers scheduled especially to coincide with the album milestone.
Guitarist Nige Rokett says: "Onslaught are super-stoked to be headlining Titanfest 2016. The lineup for this year's festival is really cool, with lots of diversity, but with one common theme - great British metal. We're looking forward to another awesome show in London."
Onslaught will be supported by Mors Principium Est, No Return and Blaakyum on their mainland dates - followed by Beholder and Anihilated on the UK and Ireland shows in November. See the dates here.
A study by Eastern Washington University discovered that people who get goosebumps, or frisson, when listening to a dramatic piece of music score high on a personality trait called 'Openness To Experience.'
In an article on The Conversation, social psychologist Mitchell Colver says those who possess the trait have "unusually active imaginations, appreciate beauty and nature, seek out new experiences, often reflect deeply on their feelings, and love variety in life."
Though the phenomenon is still being researched, scientists say skingasms are an evolutionary response to unexpected stimuli in an environment. In prehistoric times, this reflex raised the body's hair and helped retain a layer of heat in colder weather.
Nowadays it is estimated that only two-thirds of the population able to experience this "sudden wave of pleasure" as a result of artistic experiences - such as an unexpected harmony, change in volume or a moving solo in a piece of music." Read more here.
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