The new track arrives with a behind-the-scenes video showing the band in the studio recording the unusual track with producer Joe Barresi. The video gives fans a chance to see horn players Sarah Bauza and Rachel Tate Herrmann in action.
"I've always loved that song," says guitarist Synyster Gates of the song. "There have been a few interesting interpretations over the years, including Chingon's version from the Kill Bill Volume 2 soundtrack. That's a great example of how a timeless song can be made relevant with a creative modern take. The structure, arrangement and incredible vocal work of their rendition was inspiring."
According to the band, they'd originally planned to record the song in both Spanish and English, the band decided to forgo the latter in favor of the traditional version.
"We wanted to do the song justice," says frontman M. Shadows, "and that meant singing in its original language. It was difficult, but I worked on it for weeks and had a Spanish-speaking friend come over daily to go over pronunciation. I also brought him to the studio to produce the vocals. It was important to me to get it right."
"We've said all along that we want The Stage to be a different and exciting listening experience," says Shadows. "For us, the idea of turning an album into a living piece of art and adding new installations is really intriguing. It expands the journey." Check out the videohere.
The package also includes a bonus disc consisting of six live tracks recorded last year in Columbus, OH with Cooper's current touring lineup and two brand new songs written and recorded together with original Alice Cooper Band members Dennis Dunaway, drummer Neal Smith and guitarist Michael Bruce.
"When the original band broke up in 1975, there was no bad blood," explains Cooper. "There were no lawsuits - we had just burned out the creative process. We had gone to high school together and had recorded something like five platinum albums in a row. We were never out of sight of each other for 10 years.
"Everybody just went their own way. Neal, Dennis and I always stayed in touch. Mike disappeared for a while and Glen Buxton passed away in 1997, which was a big blow.
"But last year," he adds, "Neal called me up and said, 'I have a couple of songs.' I said, 'Great. Bring 'em over.' Then he said Mike was stopping by, so I had them come to my house and we just worked on a few things for a week. Then Dennis called up and said, 'I got a couple songs.' So, I thought, 'Hey, let's do this!' When you listen to record, it just fits right in." Stream the songhere.
Apparently the Las Vegas band will serve as entertainment during the Australian Football League grand final. The band shared a short snippet of new music on Friday via their official Twitter account, which lends credence to the story.
It will be the first new music from the band since their 2012 album Battle Born (assuming you don't count their 2016 Christmas album Don't Waste Your Wishes). Check out teaser cliphere.
"He is of our generation, so he's someone I've been conscience of I guess since the mid 80's," Keidis the told SONiC. "You never expect a contemporary who is alive and well and still playing to suddenly check out like that. I can't say I took him for granted, but it was kind of shocking."
Anthony said that is "crushing to know that he was in a painful place in his mind to the point where he could want to take his own life. And I don't judge him for that because I don't know that kind of pain. Obviously, it has to be overwhelming in order to want to leave. Bless his family, he left the world a better place." Read morehere.
The tune was the lead track from the pair's just-released self-titled debut album, the idea for which came together when McVie reunited with the band for dates on their On With The Show tour in 2014.
"The moment I knew I was going back into the band I flew over to Santa Monica to start rehearsals," McVie tells The Daily Express, "but, before that, I'd sent Lindsey a few demos of stuff I'd recorded and he went into his studio to arrange them. He played them back to me and I said, 'These sound really great.' So we decided to go and record them properly."
The duo recorded eight tunes with Fleetwood Mac's rhythm section of Mick Fleetwood and John McVie before resuming the group's world tour, and returned to the studio to complete the project at the end of last year.
"After we finished the world tour," McVie explains, "Lindsey got in touch and said, 'What are we going to do with these songs, they're too good to just shelve?' So we decided to go ahead with releasing a duet album."
Buckingham McVie will perform the new material during a series of summer dates across North America, starting in Atlanta, GA on June 21. Watch the TV performancehere.
The frontwoman also addressed the collaborative process, the importance of caring for the artistic community and how glad she is that drummer Zac Farro is back.
Williams wrote that she speaks for herself and guitarist Taylor York when she says it was harder this time to share the music. See her full Instagram postinghere.
The track is the lead single from their forthcoming second album, "How Did We Get So Dark?" Due June 16, the duo of bassist/singer Mike Kerr and drummer Ben Thatcher recorded the project in Brussels, Belgium with producer Joylon Thomas and London, UK with co-producer Tom Dalgety.
After recently finishing a series of warm-up and promotional shows, Royal Blood launched a two-week North American tour in Boston, MA on June 2 that wraps up with an appearance at Bonnaroo on June 11. Watch the TV performancehere.
The Radiohead frontman recently sat down BBC Radio 6 to discuss. "It's hard because I'm way out of my comfort zone, and I can't read music so it's not like I'm writing for orchestra. I'm building it all myself. In fact, I watched Blade Runner twice at the weekend. 'Oh, that sound, I could do something like that, that's quite easy,'" he jokes. ''I'll rip that bit off there and that bit there and I'll be fine.'"
Yorke explained just how the Blade Runner score inspired him, 'Vangelis, it's his hands that made that. Which encouraged me. Because that was the thing I was finding most daunting. Normally [scoring] a horror movie involves orchestras, these specific things. But Luca [Guadagnino], the director, and Walter [Fasano], the editor, are very much, like, find your own path with it. I just have to find a way into it." Listen to the full interviewhere.