Today's Day in Rock Stories

Black Sabbath Announce Limited Edition Supersonic Box Set

In a video segment posted on YouTube reported to come from a documentary included in the new Rainbow "Memories In Rock II" CD/DVD package, he is asked about the idea of a reunion.

He said, "I would like to do one, maybe one show with the rest of Purple just to prove that we're not all hating each other and just do that and go, 'Hey, everybody. It's just one show for all the Deep Purple fans that liked the Mark II lineup.' That was my idea in the beginning. But when you're talking to managements of Purple, it gets complicated. They want their money for this and that. So it's not like you call up your old friends and just say, 'Hey, let's just have a good time and play. There's lots of fans that want to hear it.' Once you have managements and agents and promoters getting involved, it gets so complicated that everybody just calls back and says, 'It's too complicated.'

"So, I wouldn't mind doing one show with all the old guys, and that's it - call it a day. Just for the fans. It's not something I need to do. But I don't mind playing just to show the people that we're still friends. We're older, and with the passing of Jon [Lord], you never know who's gonna pass next. And it would just be a friendly get-together. But as you might know, in this business, nothing works around friendship - it's all about money and business. And unfortunately, we'd have to deal with people that were going to make money out of the deal. That's always a problem."

Vocalist/guitarist Luke Hemmings had this to say about the new record, "We had to move forward and test our songwriting and progress. It was the greatest thing we could do - we were hungry for something new and exciting. It felt like starting the band again!"

Hemmings' skills on the piano can be heard on the new album, organically evolving the band's original sound with rich melody and variety. Vocalist/drummer Ashton Irwin, meanwhile, found himself drawn to the local underground club scene, which he immediately brought into 5SOS' creative vision.

The video was directed by A.G. Rojas and Florence Welch had this to say about the new song, "This was a song that just fell out of the sky fully formed. Sometimes when you are performing you get so high, it's hard to know how to come down.

"There is this feeling of being cracked open, rushing endlessly outwards and upwards, and wanting somebody to hold you still, bring you back to yourself. It's an incredible, celestial, but somehow lonely feeling."

Signer Levi Benton had this to say about the new clip, "Traveling to South East Asia honestly changed my life. The culture, the people, the religions and the atmosphere really made me see the world in a whole new way. I cant believe this chaotic tour with 21 flights in 20 days made such a badass video.

The a-side of the single will feature Comeback Kid's take on the classic Midnight Oil song and the b-side will be a previously unreleased song called 'Little Soldier' created during the Outsider sessions.

Frontman Andrew Neufeld had this to say, "A while back I randomly saw the video for the song Beds Are Burning. I had heard it in passing many times before but the video intrigued me at that particular time.

"After finding out that it was a protest song about giving back lands to an indigenous group in Australia, it resonated with me because of the current situation our Canadian government has with its indigenous people."

Drummer Jess Margera had this to say, "ATTENTION! You want it? You've got it! You wild heathens kept asking for it and we heard you loud and clear: We are proud to announce a full co-headlining North American tour with our friends in Slaves."

Rhodes, together with Jerry Marotta (drummer from Peter Gabriel's first five records, Trey Gunn (King Crimson), Michael Cozzi(Shriekback) and NY keyboardist David Jameson, the group continues reimagining the early work of Peter Gabriel (and also on this disc - Kate Bush), but with Happy's impressive four-octave vocals adding an entirely new dimension.

Singer Cristina Chimirri had this to say, "When we started to develop the songwriting process of 'Dayburner', we wanted to talk about the course, the unexplored passage between the beginning and the end. Without necessarily imposing fixed points, but tracing a material circle and an anti-material ascensional progression."

The group had the following to say about the new visual, "We currently live in a society where self-worth is misconstrued as a factor of the things you own and how many followers you have on social media.

Dennis: "April's Moon" came to life in an odd way. In April of 2016, we attended a song writing workshop hosted by Karin Bergquist and Linford Detweiler (aka Over the Rhine). The workshop took place at Nowhere Else Farm - their beautiful home in rural Ohio. As we were leaving one evening, I looked up to see this sliver of a crescent moon just above an old corn crib on their land. I quickly jotted down the opening line and tucked it away for later. The rest of the song came to life with some scattered images from that weekend mixed in with sights from the road.

In particular, the refrain, "The birds above the churchyard, they're kettling the sign �" came from Pawnee City, Nebraska, where I took notice of some birds riding the thermals above a church. I looked up that behavior, and it turns out it's a way for the flock to signal that it's time for migration. After learning that, I felt it was a pretty powerful image and made it the anchor of each chorus. The song is about letting go of dogma. We all get stuck in our ways and wonder why our situation never changes. But growing by way of letting go of what no longer serves us is a notion that lies at the edge of the ethos of our band. I listened to the birds that day, and every time we perform that song, I'm reminded of them telling me it was time for me to migrate. That's how I read the sign anyway - it was time for me to spread my forlorn wings.

Lauryn: By the time we went into the studio with this song, we'd probably performed it over 150 times, maybe more. And so by that time, the song definitely had itself locked into its own sound. But I love how little things in the studio made the song so new for me. When we play it live, I'm on acoustic guitar and auxiliary percussion, but in the studio I added piano and violin. The violin part is one of the simpler lines I've played on anything, but there's something about the simplicity of it that is so gorgeous. We added some heavy saturation to it and pushed it pretty far back in the mix, so it just creates this unearthly line floating above the very gritty and earthbound sound of Dennis's baritone guitar. Dennis also played a rhythm guitar part on a 1930s archtop guitar with a higher voicing of the chords and it's so subtle but we both find it such a break-your-heart-wide-open sound that we weren't expecting. That's what's so cool for us about being in the studio - how we can take well-worn songs and make them brand new for us.