The original Alice Cooper band has returned, with the shock-rock legend announcing “The Revenge of Alice Cooper”, the group’s first album in 51 years. Listed on Amazon but not currently available yet. The album Alice Cooper fans been waiting for ever since inducted into the R&R Hall of Fame. The original remaining Alice Cooper band reunion album. Although cover list Special appearance by Glen Buxton the original guitarist who passed on in ’97.
For the first time in over 50 years, Alice Cooper and his original band reunite to bring rock “n’ roll back from the shadows. “The Revenge of Alice Cooper” is a high-voltage journey into vintage horror and classic ’70s shock rock. The Bob Ezrin-produced album sees Cooper reunited with his old bandmates Michael Bruce (guitar), Dennis Dunaway (bass), and Neal Smith (drums). The track-list includes 14 songs plus two bonus tracks, including a 2025 remix of the “Easy Action” cut “Return of the Spiders.” The lead single and opening track “Black Mamba,” which features The Doors’ Robby Krieger,
Together, they’ve created an album packed with the sound, energy, and mischief that made them legendary.
This album throws you straight into the golden era of “Killer”, “Billion Dollar Babies”, “School’s Out”, and Love It To Death” packed with electrifying riffs, raw energy, and Alice’s signature storytelling. From the venomous bite of “Black Mamba” to the rebellious charge of “Wild Ones”, and the soft, haunting melodies of “See You on the Other Side”, every track feels like a lost rock ‘n’ roll classic.
“Goose are an American rock band known for their genre-blending sound, improvisational live performances and dedicated fan base. The band includes Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, keys, guitar), Trevor Weekz (bass) and Cotter Ellis (vocals, drums). Their music — a deft union of indie-rock hooks, sprawling improvisation, and driving rhythm — has propelled them from performing in Connecticut basements to headlining some of the most revered stages in the country. Known for their strong DIY ethos, Goose have grown organically through relentless touring and utilizing online platforms to share live performances and connect with fans.
Their fourth studio album “Everything Must Go” marks the band’s evolution since its inception in 2014. Drawing from the feel of its live performances, the album features a carnivalesque cast of characters — primarily songs written throughout the bands recent years of growth, including re-imagined live staples and songs that capture the band’s evolving, dynamic sound.”
From Goose’s Upcoming Album ‘Everything Must Go’ Out April 25th, 2025
“Rock legend Billy Idol is set for the release of his first full-length album of new music in over a decade. “Dream Into It” includes performance and co-writing contributions throughout from Idol’s long time guitarist and collaborator Steve Stevens plus appearances by Avril Lavigne, Joan Jett and Alison Mosshart of The Kills, and is produced by Tommy English. In anticipation of the record, Idol issued the single “Still Dancing”. “Still Dancing is really a reflection of my whole journey,” explains Idol. “From the punk rock period through to now. And I’m still looking towards the future, still living the life I set out to live. At the start of the song I’m recalling the early times in London, when I was living in squats or at friends’ apartments, all my belongings in a plastic bag. Everybody at home or work told you what you were doing was never going to happen. But punk rock gave me an opening.
I was surrounded by people who loved the music as deeply as I did and you were going to throw caution to the wind, believe in what you were doing and grab on for dear life. As the song says, there have been many moments along the way where I’ve been self destructive. But what’s seen me through is that unflinching belief in the music that started all those years ago. That’s been the greatest gift of all.”
The group’s entire 11-song performance — including a cover of The Four Tops’ “Loving You Is Sweeter Than Ever,” is among the bonus material on “The Band: 50th Anniversary Edition”, a box set that came out November 2015. It sits among a newly remastered version of the album as well as 13 previously unreleased, alternate versions of the album tracks, and the group’s Robbie Robertson — who helped helm the reissue amidst projects such as his own new solo album, the Band documentary Once Were Brothersand scoring Martin Scorsese’s The Irishman — says pulling out the Woodstock tapes took him right back .
“When I listened to it, I had this flashback,” Robertson says with a chuckle. “We played on the final night and it had just gotten dark out and it was the perfect time to play, but we kinda thought, ‘I dunno if we fit in here.’ The audience was in ecstasy of their experience and the music and the mud and the partying and going crazy, and there’s people jumping up and down, screaming. And we go out and play this concert, and it was the equivalent of going out and playing hymns. It was so NOT what they were looking for. They stopped jumping up and down. Their arms weren’t in the air anymore. It was like they went into a spell, a whole different feeling. So we played and left and then they went back to the party.”
The set by The Band certainly speaks to the quality of The Band’s performance, though the group’s relative neophyte status as a live act on its own — after having toured with Bob Dylan — is what played a part in the recordings staying mostly in the vaults until now. “It was (manager) Albert Grossman who was saying, ‘I don’t think we should be part of that (film and album),’ although he had other acts on the show that were,” Robertson says. “I think because we had played many jobs as The Band before we played in front of 500,000 people he was quick to say, ‘When they play there’ll be nobody running around on stage with a camera. They have to be able to do their thing and communicate with one another musically, so no cameras’.” Robertson says there is Woodstock footage of The Band taken from a distance, but that remains in the vaults.
“I guess all these (audio) records were in a storage bin somewhere,” Robertson says. “I wasn’t paying close attention to it, but when we started working on “The Band” reissue they said, ‘This is a show you guys played in 1969. It’s a historic event; Maybe we should consider including it.’ It was, like, the original recording and original mix of it. It’s untouched, but it felt like it was appropriate to include in this.”
A coda to The Band’s Woodstock experience was their reception back in Woodstock itself, where the group was living at the time. “We got cold-shouldered,” Robertson remembers. “We were the only group actually from Woodstock, but (the festival) made it the most famous small town in the world and there were Volkswagen buses as far as the eye could see in every direction, coming toward Woodstock. The townspeople in Woodstock were not very happy that we participated.”
Levon Helm performed at Woodstock with ‘The Band’ as part of the Day Three line-up. From the moment the Woodstock festival was announced, people hoped that Woodstock, New York’s most famous citizen, Bob Dylan, would make an appearance. Seeing The Band on the posters and advertisements for the festival only poured fuel on the fire. Dylan didn’t come to the festival, but his former backing band did, and they performed most of their debut album for an enthusiastic audience.
Day Three, The Band Performed Sunday night, August 17th, 1969 from 10:00–10:50 PM
The Band Members at Woodstock: Robbie Robertson: guitar, vocals, Garth Hudson: organ, keyboards, saxophone, Richard Manuel: piano, drums, vocals, Rick Danko: bass, vocals, Levon Helm: drums, mandolin, vocals
The Band Woodstock Setlist: Chest Fever, Baby Don’t You Do It, Tears of Rage, We Can Talk, Long Black Veil, Don’t Ya Tell Henry. Ain’t No More Cane, This Wheel’s on Fire, I Shall Be Released, The Weight, Loving You is Sweeter Than Ever
“The Band”box set is just one of several active projects Robertson had been juggling recently. “Sinematic”, his sixth solo album, came out in September with guest appearances by Van Morrison, Citizen Cope and Derek Trucks — as well as the track “Once Were Brothers,” which is also the title of The Band documentary. Based on Robertson’s 2016 memoir Testimony, it premiered at the Toronto International Film Festival.
American singer, songwriter, producer, artist and poet. Lana Del Rey was born on 21st June 1985 in New York City, USA. Raised in Lake Placid, she attended Kent School in Connecticut to address her alcohol abuse. After graduating high school in 2003, she spent a year in Long Island where she learned to play guitar from her uncle.
In 2004, Lana enrolled at Fordham University in New York and studied metaphysics. It was during this time that her musical journey began. From 2005 to 2009, she had various music projects under different names like May Jailer and Lizzy Grant. Finally releasing her first album “A.K.A. Lizzy Grant” (2010) as Lana Del Ray – later changed to Lana Del Rey with an ‘e’.
Throughout the years, over 100 of Lana’s songs have been leaked through different media platforms; mostly demos and songs from the early stages of her career as May Jailer/Lizzy Grant.
Lana Del Rey announced her 10th record, “The Right Person Will Stay”, in an Instagram post back in November 2024, but there isn’t much information available on it; she hasn’t yet released any singles. However, in January 2024, she said about her next album: “We’re going country!” She also said that album would be called “Lasso” and it would be released in September 2024, and neither of those things turned out to be true, so it’s not clear yet if “The Right Person Will Stay” is still going to be her country album, just with a different name, or if she’s shelved the whole country thing for now. But in her announcement post for “The Right Person Will Stay”, Del Rey promised that we’d hear some new songs before the country music festival Stagecoach, which takes place in April.
The singer shared the story behind the delicate “Bluebird” in an impromptu video filmed on her way to rehearsal on Friday. “I started humming this chorus to myself, with the words and the melody, a long time ago when I had been seeing someone for a very long time — and we hadn’t seen each other for a while, and he called,” Lana said in the clip uploaded on Instagram. “And he asked me if I wanted to go for a walk. I was kind of excited, but I didn’t think it was a very good idea.”
“All of a sudden a bird smacked in the double-pane window doors of my bedroom,” Lana recalled.
“I was shocked, and I opened the little door and I saw this little, I think it was a little sparrow, little swallow, right there, and I just was so emotional because you know when you just know that something is meant for you?” she said. “Like sometimes I feel like nature has its own way of communicating with you, especially in extremely severe situations not in a sacrificial way, just in a way just for you to know.”
As the story goes, the little bird did “eventually kind of stumble away,” and did fly away, according to Lana, who didn’t follow suit; she went on that walk anyway.
“Bluebird” is the second song to be released ahead of her upcoming 10th studio album, the first being “Henry, Come On.” presently untitled and without a firm release date. Though it was expected just weeks from now, last week Lana casually broke the news to fans that May is no longer looking likely for the follow-up to 2023’s “Did You Know That There’s a Tunnel Under Ocean Blvd” “You know it’s not going to come on time, right?”
Whether or not “Lasso” and “The Right PersonWill Stay” are the same album, it seems like a safe bet that Del Rey’s new music will probably lean more country than her previous work, and we’re intrigued by what she’ll do in that space.
When Neil Young ventured back onto the stage in 2023 after a four-year break – the longest of his career – it felt tentative, as if the training wheels were back on. He promised deep cuts only (in the end, “Heart Of Gold” was aired almost nightly, as was Crosby, Stills, Nash & Young’s classic Ohio), but the unusually atmospheric album of the tour reverts to the original script and the big hits are nowhere to be heard.
“Coastal” is a personal, behind-the-scenes documentary on Neil Young as he cruises the coast on his 2023 solo US tour. The film gives an intimate view of the maverick musician, as he navigates a return to the stage post-Covid. From his everyday observations on the bus to his candid banter with his audience. “Coastal” is a rare peek behind the curtain of this unguarded iconoclast. The film was shot and directed by Daryl Hannah.
Instead, “I’m The Ocean“, recorded with Pearl Jam in 1995, is slowed down and played as it might have been at Carnegie Hall in 1970, Young’s lonesome harmonica wail unmistakable.
“Love Earth“, first taped with Crazy Horse in 2022, is turned into a campfire singalong, the audience as much a part of the act as Young himself. Buffalo Springfield’s originally jaunty “I Am A Child” is now sung in a surprisingly effective, almost whispered growl.
And “When I Hold You In My Arms“, a slightly lumpen filler on 2002’s “Are You Passionate?”, is tender and transfixing, with Young’s on-tour tech Bob Rice adding gently tinkling piano to his boss’s guitar.
Neil Young and Reprise Records release “Coastal: The Soundtrack“, featuring 11 live recordings from the tour film of the same name. Neil Young songs including “Song X”, “Vampire Blues” “Expecting To Fly”, “Throw Your Hatred Down”, “I Am A Child”, and “Prime of Life”.
Belly struck alt-rock radio gold with their 1993 debut “Star” and its single “Feed the Tree,” but the follow-up is definitely underrated. Made with new bassist Gail Greenwood and producer Glyn Johns (Led Zeppelin, The Rolling Stones), “King” added heft and crunch to Belly’s signature bewitching sound and spawned three singles: ‘Now They’ll Sleep’, ‘Seal My Fate’ and ‘Super-Connected’. This 30th anniversaryedition has been remastered and pressed on green vinyl, and is the album’s first reissue since its original 1995 release.
The hope is that enough people were turned onto Tanya Donelly and Belly when “Gepetto” was played during the “Doomcoming” scene in the first season of Yellowjackets. And that led them to the band’s brilliant second album, “King”, a tremendous creative jump in the eternal promise the group displayed on its 1993 debut, “Star”, with such blissfully infectious songs as “Red,” “Silverfish” and “Now They’ll Sleep.” Out of print on vinyl since its original release in February of 1995, this 30th anniversary pressing of “King” was cut on green wax and limited to 4,000 copies.
UK band Black Honey announced their fourth album, “Soak”, set for release on August 15th. The announcement came alongside their new single “Dead.” Following their previous records influenced by Quentin Tarantino and Wes Anderson, “Soak” takes a Kubrickian approach with retro futuristic and unsettling visuals. The album promises dynamic shifts between gothic and psychedelic sounds, all led by frontwoman Izzy B. Phillips.
Phillips, now two years sober and working as a tattoo artist, brings deeper self-understanding to her songwriting. She describes the album: “Soak” is me processing a decade of touring and creating music and art as an addict. It’s me picking at the layers of messy, romantic, confusing, woozy, beautiful and fucked up things. Who I thought I was, who I was supposed to be and who looks back at me now are all so different but I’m kind of here for it.”
The announcement follows their previous single “Psycho,” which featured a dystopian video depicting Phillips escaping from artificial realities—a commentary on our digital lives in 2025.
new album ‘Soak’ will be in your hands on August 15th
The New Studio Album! from the Legendary space-rock pioneers Hawkwind return with their latest studio album, “There Is No Space For Us”. Following 2024’s critically acclaimed “Stories From Time And Space” and recent triple disc live album “Live At The Royal Albert Hall“, this new release develops the dystopian themes of recent albums and the cosmic, almost metaphysical perspective on humanity’s place in the universe through expansive soundscapes and electrifying psychedelic rock.
When Hawkwind recorded “Stories From Time And Space” last spring, the song writing process yielded nearly 40 minutes of leftover material that just needed arranging – making “There Is No Space For Us” a sister album of sorts.
Since 2019’s “All Aboard The Skylark”, the group have sounded rejuvenated; and the new record is another instalment rich in immersive sonic detail, with considerable power and momentum allied to a vivid, panoramic sound.
Blending hypnotic rhythms, immersive synths, and driving guitar riffs, “There Is No Space For Us” takes listeners on an interstellar voyage from the synth laden thunderous opening track “There Is Still Danger” begins with Tim ‘Thighpaulsandra’ Lewis and Magnus Martin’s dancing sequencers and upward arcing synths. Dave Brock enters like an Old Testament prophet delivering judgement on our collective folly: ‘There was a moment in the past/When we could have changed our lives at last,’ he intones, prompting the band to launch into an urgent two-chord riff.
There to the eerie, atmospheric depths and outstanding heights of “Space Continues (Lifeform)“. The album extends Hawkwind’s recent tack of mixing familiar elements with some stylistic surprises. Synth pulses act as a springboard for Richard Chadwick’s syncopated snare patterns on the instrumental with Brock’s guitar characteristically weaving in and out of the chord sequence, then a horn section emerges from out of the cosmic whoosh before it culminates in a mosaic of echoed keyboards.
Tracks like the acoustic led “The Co-Pilot” (a song which transforms multiple times across 8 minutes) starts with three minutes of a near-Latin groove and tuned percussion lines, before taking off with a tried-and-tested four-chord riff with added heavenly vocal chorales. and title track “There Is No Space For Us” (the definition of what a “space western” should sound like) showcase the band’s signature fusion of chugging guitars, electronic rhythms, and grand science fiction vision of human destiny. Another stand-out moment is the frenzied theremin laced freak-out of “Neutron Stars“, while A “Long Long Way From Home” delivers a melancholic yet powerful crescendo, reflecting on the fragile nature of existence in an ever-expanding universe.
Elsewhere, “Changes” is a not-so-distant cousin of “Doremi Fasol Latido’s” “Down Through The Night“. Over its nine-minute course Doug MacKinnon introduces a monster riff, his bass roaming like Lemmy’s on “Born To Go”, while Lewis’ flamboyant synth solo gives an added dimension.
On 1971’s “We Took The Wrong Step Years Ago”, Brock reflected on how we’d strayed onto a path that led to environmental catastrophe. Here, on the similarly acoustic title track, it sounds like he’s run out of patience; in an apocalyptic mood he sings of ‘devastation of our land… Is this the epitaph of man?’ And with the human race gone, he adds, life on Earth will be rebooted in ‘a new creation,’ as the full band bring it to an uneasy conclusion.
The finale is the bittersweet, melodic “A Long Way From Home“, its sole lyric being Brock singing the title line at its close. He’s 83 in Earth years now, and he’s addressed his mortality in recent songs, so maybe that’s a feeling of resignation in his voice.
Another classic album to add to the Hawkwind canon, “There Is No Space For Us” is presented by Dave Brock, Richard Chadwick, Magnus Martin, Doug MacKinnon and Tim “Thighpaulsandra” Lewis on both CD and double vinyl (the vinyl features a bonus two recent live rehearsals) and will be released to coincide with live shows in the spring and summer.
It was May 1981: Birmingham, band Au Pairs released one of the great underrated post-punk albums, their debut ‘Playing With A Different Sex’, on indie label Human Records; dealing largely with sexual politics (mixing humour & righteous anger), it contained their stage fave “Come Again” (a song about faked orgasms), a cover of David Bowie’s “Repetition”, a re-recorded version of their single “It’s Obvious” & “Armagh” (touching on allegations of rape & torture of Irish women imprisoned in the city of Armagh in Northern Ireland); it received a five-star review in British music weekly ‘Sounds’…
Heavyweight vinyl is always that much more satisfying to hold, so hats off to Au Pairs and their team for issuing their classic first album in this sought-after format. Musically, Au Pairs were at their most overtly post-punk here, with funky rhythms and scratchy Gang Of Four-esque guitar stylings. ‘We’re So Cool’ sounds like the best that moments of Hanover underground group 39 Clocks; ‘Repetition’ sounds like it could have influenced Goat Girl’s first moves as a band signed to Rough Trade; while ‘Come Again’ is up there with anything by The Slits, and ‘Love Song’ is reminiscent of Entertainment!-era Gang Of Four.
The most striking cut here, however, is ‘Headache For Michelle’, which sits beautifully in the middle of the album and offers a bit of respite from the generally high-octane rhythms. It’s a dreamy cut, seemingly about drugs and government overreach. The following stinging, bitter lines, delivered with so much heart, bring this epic number from a cracking album to a beautiful close: “They are closing down – communications / They’re taking control – of our situations.”
The Fat Angel Sings 