Author: Editorial Team

Europe has announced their twelfth studio album, Come This Madness, due September 25 via Silver Lining Music / Hell & Back Recordings. The lead single “One On One” is out now alongside a music video.

Joey Tempest spoke about the new track: “‘One On One’ is definitely one of my favorite tracks from the album. The power and feel is fresh, but some of the melodies bring me back to where it all began. Lyrically, it’s perhaps not filled with as much escapism as early EUROPE. These lyrics automatically ended up being more of a reflection of the times we live in today. Ever since ‘One On One’ was just a demo, we’ve stayed with it… never gave up on it, and elevated it to a place where it belongs: a high-flying, classic hard rock track.”

The video, directed by Patric Ullaeus, features actor Peter Stormare (Fargo, The Big Lebowski, Minority Report). On casting him, Tempest said, “We always knew Peter loved rock music, and when his name came up it just felt right. We wanted to approach this from a different angle — something more stripped back and unexpected.”

Pre-orders are available here.

Come This Madness was recorded at RMV Studio in Stockholm — founded by Benny Andersson and Ludvig Andersson — and produced by Tom Dalgety (Ghost, Rammstein, Pixies, The Cult, Opeth). Mike Fraser (AC/DC, Van Halen, Metallica) handled the mix. Tobias Forge of Ghost and Mikael Åkerfeldt of Opeth both appear as guests. The album artwork was created by Storm Studios.

Tempest on working with Dalgety: “It was a true pleasure. He’s creative, musical, and incredibly intuitive — he really became a sixth member of the band during the writing and recording of this album. We even invited him to co-write on some of the songs.”

To support the album, Europe will launch “The Final Countdown 40th Anniversary Tour” on 09/30 in Glasgow. The band’s current lineup is Joey Tempest (vocals), John Norum (guitars), John Levén (bass), Mic Michaeli (keyboards), and Ian Haugland (drums). The trek promises to unite the legacy that defined them with the renewed energy, driving them forward today. For a full list of dates and ticket information, please visit this location.

The post EUROPE Are Back With New Album “Come This Madness” – TOBIAS FORGE & MIKAEL ÅKERFELDT As Guests – And A Tour Celebrating “The Final Countdown” appeared first on Sonic Perspectives.

Dying Fetus and Sanguisugabogg are co-headlining a 30-city North American tour this fall, with Crowbar, Left To Suffer, and Deterioration in support. Scorching Tomb joins on select dates. The run goes 09/17 through 10/24.

John Gallagher of Dying Fetus said: “Now this is the kind of bill we’re talking about — Crowbar and Deterioration are legends in their own right, Sanguisugabogg are leading the new breed of extreme metal, and Left To Suffer are one of the hottest up-and-coming heavyweights. We are bringing all of it to 32 cities this fall, and we’re not holding anything back. See you in the pit.”

General on-sale begins May 1 at 10 a.m. local time. Local/venue pre-sales launch today at 2 pm ET (where applicable)

• Spotify pre-sale begins Wednesday, April 29th at 2 pm ET (password: REIGNSUPREME)
• Knotfest.com pre-sale begins Wednesday, April 29th at 2 pm ET (password: MAKEITHURT)
• All pre-sales run through Thursday, April 30th, at 10 pm local time

Dying Fetus formed in 1991 and have released nine studio albums, from Purification Through Violence (1996) through Make Them Beg For Death (2023). Current lineup: John Gallagher (vocals/guitar), Sean Beasley (bass), Trey Williams (drums).

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Wolfgang Van Halen is taking Mammoth back on the road this summer, adding a new run of U.S. headline dates to The End tour. The expanded schedule fills in gaps between the band’s previously confirmed support slots with Creed, keeping the momentum going through the season.

The current Mammoth lineup features Wolfgang Van Halen handling guitar and lead vocals, alongside guitarist Frank Sidoris (from Slash Featuring Myles Kennedy And The Conspirators), guitarist/vocalist Jon Jourdan, drummer Garrett Whitlock (of Tremonti), and bassist Ronnie Ficarro. Together, they’ll cover 18 shows across North America.

The run begins July 12 in Edmonton, Alberta at Rockin’ Thunder, where Mammoth opens for Creed, and continues through August 8 in Monroe, Minnesota at the Monroe State Fair, sharing the stage with Daughtry. Along the way, the band will hit cities including Des Moines, Huntsville, Chattanooga, and Albany.

Ticket details and VIP package options are available through the band’s official site.

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Frontiers Music Srl has brought The L.I.F.E. Project into its roster, marking a new phase for the collaboration between guitarist Josh Rand of Stone Sour and vocalist Casandra Carson of Paralandra and Casandra’s Crossing.

The deal puts the project in a stronger position to reach a wider audience, with new material already in the pipeline. With label backing now in place, The L.I.F.E. Project is set to push its sound further while building on the groundwork established since its formation.

Josh Rand said: “I’m pleased to announce that The L.I.F.E. Project will be joining the Frontiers family. It was important to me to be on a label that wanted to be cutting edge in the industry but still have that mom-and-pop relationship with the artist. I’m looking forward to working with Jeff and Tom to bring The L.I.F.E. Project to our loyal fans!”

Frontiers Label Group general manager Jeff Stevenson added: “We’re incredibly proud to welcome The L.I.F.E. Project to the label. From the moment we heard the new music created by Josh and Casandra, it was clear they continue to bring a unique vision and emotional depth that aligns perfectly with our mission here at Frontiers. We’re excited to partner with them and help bring their artistry to a larger global audience.”

The roots of The L.I.F.E. Project go back to a shared idea between Rand and Carson, built on a strong creative connection. Rand had plans for a female-fronted project for years, and things moved forward in 2020 after the two were introduced through a mutual contact. What started as a trial collaboration developed into a focused project with a clear direction.

On the music side, The L.I.F.E. Project blends Rand’s heavy, groove-driven guitar work with Carson’s wide-ranging vocal style. The sound pulls from classic metal, thrash, and progressive influences, keeping things grounded in heavy riffing while leaving room for melody and dynamic shifts.

The band’s writing process has shaped a sound that balances weight and accessibility. Songs take shape through a natural back-and-forth between the two, allowing ideas to grow without forcing direction.

Lyrically, The L.I.F.E. Project moves beyond standard themes, focusing on real-world topics. Their material draws from history, social issues, and broader cultural tensions, tackling ideas like empowerment, resistance, and societal pressure while staying anchored in a heavy framework.

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Nonpoint has rolled out a lyric video for its new single “Is It”, a track set to hit all major streaming platforms on May 8. The song marks the first taste of the band’s next full-length release, The Last Word, due out in late summer 2026.

Working alongside its independent label 361 Degrees Records LLC, Nonpoint is treating “Is It” as a clear starting point for what comes next. Instead of a standard release cycle, the band introduced the track through a hand-drawn animated lyric video, giving it a raw visual edge that lines up with the song’s tone while offering an early glimpse into The Last Word.

Frontman Elias Soriano framed the bigger picture behind the release: “In a world that sometimes wants to put a timestamp on creativity, The Last Word is our way of saying we’re just getting started. We’re pushing back against expectation and pushing forward into our own next chapter.”

On the meaning behind “Is It”, Elias Soriano pointed to a more personal angle: “‘Is It’ is that internal conflict where you question getting too involved? Did I push too hard? Did I ask too much? It’s that feeling of wondering if doing what you thought was right actually meant hurting the people around you.”

He also broke down the concept behind the album artwork, tying it directly into the band’s current mindset: “This album cover tells a piece of our story. After years of making music, we feel more aligned than ever — musically, visually, and creatively. We’re writing some of the strongest material of our career, our live shows are as powerful as they’ve ever been, and the band feels focused and energized. The pencil on the cover represents what it’s like to be handed one last tool and expected to fit everything you have left to say into it. Not because the ideas are gone, but because longevity often comes with assumptions and limits. The Last Word isn’t about accepting an ending. It’s about challenging that narrative. If this is the pencil we’re being handed, we’re going to use it — and make sure the words written with it still matter.”

Nonpoint has already started bringing new material to the stage. The band performed “Is It” and “Red Yeti” live during its April 25 headlining show at Ritz Ybor in Tampa, Florida. “Red Yeti” features a guest spot from Sumo Cyco vocalist Skye Sweetnam. The show kicked off Nonpoint’s The Outta Control Tour, with support from Soil and Sumo Cyco.

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Godsmack frontman Sully Erna has cleared up what he says was a media misread of his earlier comments about the band’s future, confirming that new music is in the works — with a lineup that no longer includes all four original members.

Speaking on April 23 with Eddie Trunk on SiriusXM’s Trunk Nation, Erna explained (transcribed by Blabbermouth): “I think some press misunderstood that. What I had said was, if I remember correctly — I don’t know; maybe I was a little foggy at the time — but I just said that I was pretty sure that this would be the last full body of work from Godsmack, from the original members, that we wouldn’t be able to do this anymore because these guys [guitarist Tony Rombola and drummer Shannon Larkin] were gonna kind of take their final curtain call and bow out. And I knew that this was most likely gonna be the last full body of work from the original members.

“But now here we are. Me and [bassist] Robbie [Merrill] had a long talk. We were, like, ‘Well.’ We had a decision to make, and we said, ‘Well, we’ve still got some gas in the tank here. I don’t really wanna hang it up yet.’ And he’s, like, ‘Let’s go around.’ And so we brought in these new guys, and it’s sounding great. So we’re, like, yeah, there’s probably gonna be some new music coming. I mean, it may not hit the streets till early ’27, but we’re gonna do something, for sure. But it just won’t be with all the original members anymore.”

When Trunk pointed out that Erna — as a songwriter — will always find a way to keep creating, Sully agreed: “Yeah, for sure. I mean, I’ll always write music. Even if I don’t tour anymore, even if I never make another record again, I am always gonna write music. I may write, produce, and arrange for other artists. I might just do stuff for solo, collabs, things like that. Music’s in my blood. I’m not giving up music.

“But there’ll be a time and place where I’ll just be, like, ‘Well, maybe it’s…’ And we’ll see how this goes. Listen, Robbie and I even said, hey, if we go out there and this just isn’t feeling good anymore because it’s not our brothers and it’s a bit foreign feeling, then… We made a decision, just like we did when we started this band, to say, ‘Hey, you know what?! We had a good run.’ Give each other a big hug. Neil Peart himself told me ‘nothing great lasts forever’. And that’s kind of how I feel. And so when that day comes, we’ll give each other a big hug and we’ll call it a good run, and we’ll step away from it.

“But right now I don’t think that’s happening. This band sounds better than ever. We have two new guys that are breathing some new life into the energy in this band, and for sure some new music’s gonna come eventually. We’re gonna be doing a bunch of touring, and then we’ll see how it goes, how it feels.”

The two new members are guitarist Sam Koltun — who first toured with the band in Europe in early 2025 — and drummer Wade Murff. Erna introduced them publicly during the interview:

“Sam‘s on board now full-time, and he’s gonna be the new player from this point forward. And the drummer that we chose, his name is Wade Murff. He’s worked with Daughtry and some other acts. A fairly under-the-radar kind of guy. A strong player. A great dude. Really good with attention to details, as Sam is.”

Sully expressed confidence in the rebuilt lineup heading into rehearsals: “I have complete confidence in this, although we start rehearsals next week. I’m just really confident that this is gonna be just as good, if not better than ever, because these guys came in with the right attitude. They honored the catalog, they honored the playing. They came in and played it right, rather than trying to reinvent it. And as you know, a guitar can sound like a guitar, a drum can sound like a drum. Until you replace the vocalist, that’s when the sound really changes. So I really feel that the fans will be able to come and enjoy the music as they have always known it, because it won’t sound foreign to them, like there’s a new singer singing Godsmack stuff.

“And plus their showmanship even elevates it a little bit more. I mean, Shannon‘s hard to replace. He’s the GOAT [Greatest Of All Time]. If you see that dude play, he’s a tough cookie to replicate or replace live visually. But this guy, Wade, he’s strong. He’s got some great chops, and he’s really playing the stuff solid. I’m very happy to take them on tour and introduce them. And this is gonna start the next chapter in our life here, Godsmack 2.0.”

Murff, based in Los Angeles, reportedly started playing drums at age 4. He cites Led Zeppelin‘s John Bonham and Van Halen‘s Alex Van Halen as early rock inspirations, with Slayer‘s Dave Lombardo and Pantera‘s Vinnie Paul Abbott pushing him toward the harder side of the spectrum.

In his own words, Wade described his approach: “Don’t get me wrong, I appreciate technique and precision, but I love seeing drummers that hit hard and play with a lot of heart and physicality. Live, I always want to play on the edge between control and chaos; something could break at any moment, someone might get hurt… especially me. [Laughs] Seriously though, I’m committed to delivering that type of show every night, no excuses.”

Murff has worked live and in the studio with Daughtry, Prong, Sebastian Bach, Orgy, and Doyle of the Misfits.

The band’s most recent studio album, Lighting Up The Sky, came out in February 2023 via BMG, co-produced by Erna and Andrew “Mudrock” Murdock (Avenged Sevenfold, Alice Cooper). Their previous release, When Legends Rise (2018), hit No. 1 on the U.S. Hard Rock, Rock, and Alternative album charts.

Godsmack hits the road this summer for “The Rise Of Rock” 2026 tour, a North American run with support from Stone Temple Pilots and Dorothy, promoted by Live Nation.

The post SULLY ERNA Says New GODSMACK Music Is Coming — Just Not With the Classic Lineup: “We’re Gonna Do Something, For Sure.” appeared first on Sonic Perspectives.

Rival Sons vocalist Jay Buchanan has been talking about where the band’s next album might be headed, and it sounds like a rawer, more stripped-back direction could be on the table.

Speaking with the U.K.’s The Sound Lab (transcribed by Blabbermouth), Buchanan acknowledged that some material is already written, but made clear the studio environment will shape where things land: “Yes, I have. And some music has been written, songs have been written. But I think that once we get in there, seeing the type of energy that the music takes on and the songs take on, I think that getting everyone together in the same room and kind of hashing it out, I think, is going to be — that’s really gonna dictate.

“Because the songs are one thing, but also the energy of the band, and when we become greater than the sum of its parts when we’re together, again, at its best,’ he added. “I think that letting that spirit and letting that energy be and do what it needs to do, I think that’s very important. So we’ll see that when we get into the studio. And we’ll do some writing in the studio as well.”

He also addressed the contrast with their last two releases, pointing toward a possible course correction: “In some ways, with the last two records that we put out, [2023’s] Darkfighter and Lightbringer, creatively they were a real stretch. And I’m very proud of those records, because we made some music that doesn’t sound remotely like anybody else. But I think at the same time, I think maybe we might be looking at a little bit of a return to form, like bring it back to a small club sound, a sweaty, small stage, sort of a high-energy sound. So I know I’m definitely gonna be looking to do that on at least a number of songs. But we’ll see about the entire collection. That remains to be seen.”

Back in March, Buchanan — who put out his debut solo album Weapons Of Beauty in February — was asked by SPIN Presents Lipps Service With Scott Lipps whether the next Rival Sons record would go heavier after his quieter solo detour. Jay was direct about it.

“That’s a fair question, because I’ve thought that same thing. I don’t have to just live within the — whatever one ballad we’re gonna have on this next record or whatever. I have a renewed sense of duty in so many ways. I don’t have anything to prove. I wanna have fun with my friends. And it’s crossed my mind many times — I just wanna make a fucking black T-shirt record. That’s it. Something really, really rough, really unrefined, and as close to the bone as possible.

“[Something like The Black Crowes‘ second album, 1992’s] [The] Southern [Harmony And Musical] Companion, like these ones where it’s, like, it’s so raw, it’s almost like toothache raw. Like, ‘Oh.’ I think I would like to do something like that. But at the same time, Scott [Holiday, Rival Sons guitarist] and I — it’s a collaboration. So once we put things together, it’s gonna be that way.”

The post JAY BUCHANAN On RIVAL SONS’ Next Album: “We Want To Bring Back A Small Club Sound, A Sweaty, Small Stage, Sort Of A High-Energy Sound”” appeared first on Sonic Perspectives.

Yngwie Malmsteen has wrapped up recording on his new solo album, the follow-up to 2021’s Parabellum. The Swedish guitar legend spoke with Eddie Trunk at the 2026 Monsters Of Rock festival in São Paulo, Brazil, in early April, giving an update on where things stand.

“I just finished recording a new album,” he said (transcribed by Blabbermouth). “I’ve been in the studio almost five months straight.”

The record will be a mix of vocal and instrumental tracks, and Malmsteen has designed it with vinyl specifically in mind. “I sing about four songs. And then [the rest of it is] instrumental. It’s a mix. But it’s made especially for the vinyl. So it’s exactly 46 minutes [long]. I made it especially so it’s gonna be a vinyl record. It’s gonna come out on everything, but it’s made to fit perfectly on a vinyl LP.”

As for the sound, he kept it straightforward: “It’s very Malmsteen-esque. It will be everything you expect and then some.”

Yngwie talked about his approach to making records — one that favors instinct over deliberate calculation. “I have the luxury of owning my own [recording studio], so I go in when I’m inspired. And I decided a long time ago, I’m not gonna try to do something special, either what other people think I should do or decide [ahead of time which direction to go] — except sometimes [I say], ‘Okay, I’m gonna make a blues album,’ or, ‘I’m gonna make an acoustic album,’ which has happened.

“But when I make the records that are, let’s say, a Yngwie Malmsteen album, I just let it flow. And I come up with maybe a hundred ideas, and I use nine or 10. So I take the best of what I think is the best, the most dramatic stuff, most interesting stuff — not necessarily a decided direction or whatever. It’s just natural, whatever comes out. And this particular album is gonna be very neoclassical.”

On the question of what makes instrumental music connect with audiences, Malmsteen invoked a familiar name. “I decided a long time ago to make honest music. Not to try to do something that’s fashionable or follow a trend or do what other people say. But what I’ve always done is [made] passionate music. As [Italian violinist and composer] Niccolò Paganini said, one must feel strongly to make others feel strongly. So I feel very strongly about the music, and apparently that translates out. So it seems to work.”

Touring-wise, Malmsteen has a busy stretch ahead. “We go to Europe in June, and then we go home a little bit, and then we go back to Europe in July. And then in September, I think we’re in Asia. Then October, November, United States.”

The new album will be his first studio release since Parabellum, which — like the new record — featured vocals on only four tracks. That album’s title is Latin for “Prepare For War.” Yngwie currently handles lead vocals in addition to guitar, backed by keyboardist Nick Marino, bassist Emilio Martinez, and drummer Kevin Klingenschmid.

In April 2025, Malmsteen released Tokyo Live through Music Theories Recordings, capturing a performance at Zepp DiverCity, Tokyo on 05/11/2024, recorded during his 40th-anniversary world tour.

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Punk rock continues to hold a strong place in modern culture because of its core values and its ability to adapt across generations. One key reason for punk’s lasting appeal is its focus on independence and self-expression. Punk has always encouraged individuals to create, challenge norms, and build their own identity without relying on established systems. Another important factor is its political and social voice. Punk rock has long provided a platform for commentary on inequality, authority, and cultural change, giving it relevance in every era.

These qualities have allowed punk to move beyond music and influence other creative industries, including gaming. As games become more expressive and diverse, the raw energy and rebellious spirit of punk rock have found a natural home in digital environments.

Punk Rock in Video Games

Punk rock has influenced some of the most recognizable video games, shaping both their tone and visual identity. The genre’s emphasis on attitude, individuality, and defiance aligns closely with the themes explored in many modern titles. Mortal Kombat reflects punk ideals through its bold characters and uncompromising style. The game’s focus on intensity and identity mirrors the direct and expressive nature of punk music. Death Stranding brings a different perspective, using atmosphere and unconventional storytelling to create a unique experience. Its willingness to break traditional gaming structures connects with punk’s experimental approach to creativity. Sonic Adventure 2 captures punk energy through its soundtrack and fast-paced gameplay. The music and character design reflect a sense of movement and attitude that aligns with the genre’s spirit.

Across these titles, punk rock’s influence appears in visual design, music, and narrative direction. Developers use these elements to create experiences that feel expressive and distinctive.

Punk Rock Online Games

The influence of punk rock has also reached the world of online gaming. Casino developers have recognized the appeal of bold visuals and high-energy themes, incorporating punk-inspired elements into their games. This online casino has two dedicated games based on the music genre, Punk Rocker and Punk Rocker 2. Both capture the iconography associated with British punk rock, including vivid colors, edgy character designs, and a strong sense of attitude. These games translate the visual language of punk into interactive formats, allowing players to engage with the theme in a new way.

By bringing punk aesthetics into online platforms, developers expand the range of themes available to players. This approach adds variety and helps create a more dynamic gaming environment.

Punk Rock in Mobile Gaming

Mobile gaming has also embraced punk rock, particularly through titles that focus on creativity and music. Classic games Punk-o-matic and Punk-o-matic 2 are strong examples of how the genre translates into interactive gameplay. These games allow players to create their own punk music tracks while managing band elements and performance. The focus on creativity reflects one of punk’s defining characteristics, encouraging players to experiment and express themselves. The simple interface and engaging mechanics make these games accessible while still capturing the essence of the genre.

Mobile platforms provide an ideal space for punk-inspired games because they support quick, creative interactions. Players can engage with music, design, and gameplay in a way that feels immediate and personal.

Why Punk Rock Fits Gaming So Well

Punk rock and gaming share several key traits that make them compatible. Both value creativity, individuality, and the ability to challenge expectations. Games provide a space where players can explore identities and experiment with ideas, which aligns closely with punk’s cultural roots.

The visual style of punk, with its bold colors and distinctive imagery, translates effectively into digital environments. At the same time, the genre’s emphasis on energy and movement works well with fast-paced gameplay. These shared qualities make punk rock a natural influence in game design.

The Future of Punk in Gaming

As gaming continues to evolve, the influence of punk rock is likely to grow. Developers are constantly exploring new themes and styles, and punk offers a rich source of inspiration. From indie games to large-scale productions, the genre’s focus on expression and creativity can shape future experiences.

Advancements in technology also open new possibilities. Enhanced graphics, interactive music systems, and user-generated content tools allow players to engage with punk themes in more immersive ways. This creates opportunities for deeper connections between music and gameplay.

Conclusion

Punk rock remains a powerful cultural force because of its enduring values and its ability to adapt to new forms of expression. Its influence on gaming highlights how music and interactive media can intersect to create unique experiences.

From major video game franchises to online casino titles and mobile apps, punk rock has found a place across the gaming landscape. By combining strong visuals, creative freedom, and energetic design, developers continue to bring the spirit of punk into the digital world, ensuring its presence remains vibrant for years to come. For more music news, reviews, and interviews, do check out the rest of our site.

The post Punk Rock Isn’t Dead: How the Genre Has Crossed Over To Gaming appeared first on Sonic Perspectives.

Sharon Osbourne has reached a settlement with Jim Simpson — Black Sabbath‘s first-ever manager — over his plans to put out a collection of early recordings made by Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Wardunder their pre-Black Sabbath name, Earth.

Sharon broke the news on the latest episode of “The Osbournes” podcast, speaking with her son Jack. According to (transcribed by Blabbermouth), she said: “We settled with Jim Simpson, and the band now has their demos back. And all four of them [the original members of Black Sabbath] own it, which is where it should be. All of that stuff should be theirs. So it all ended well. So, yeah, they own them. We’re gonna talk about what everybody wants to do with it, and we’ll go from there.”

She also spoke about what’s on those recordings, noting that the Earth material sounds quite different from what Black Sabbath would go on to create — more blues-oriented, leaning away from the heavy sound the band became famous for. Even so, Sharon stressed their historical value.

“I just think it’s historically important — for music lovers of that genre. And then we got [the rights to] the pictures that were taken at that time too. So, that is all so important. I mean, listen, you [Jack] want those pictures. Everybody in the band’s kids and grandkids would love to see [them]… It’s special. And I’m just happy that it’s where it should be — with the band, and [they can decide] what they wanna do as a band, what they’re gonna do with it. So that’s great.”

Sharon also gave Simpson credit for ultimately coming around and doing right by the band: “He did the right thing at the end of the day. He did the right thing for the band.”

The dispute had been brewing since Simpson — now in his late 80s — announced plans last year, weeks before Ozzy‘s death, to release Earth: The Legendary Lost Tapes, a set of 1969 demos originally scheduled for July 2025. Simpson managed Black Sabbath during their earliest days and claimed he paid for those sessions himself when the four Birmingham lads were still teenagers performing as Earth. He had restored and remastered the recordings through his Birmingham blues/jazz imprint Big Bear Records.

Simpson had previously stated that he reached out to the band members about the project in September 2024, only to be turned down — including, he said, via legal threats from Sharon: “I approached members of the band about this on 24 September 2024. The message I got back was that they didn’t want it released and wanted nothing to do with it. This included two very threatening e-mails from Sharon. But the band had every chance to be involved.”

He had made clear why he felt the release mattered: “My reason for launching this album is because it will become a crucial segment of music history. It contains recordings that clearly demonstrate what fine music Ozzy, Tony, Geezer, and Bill were producing right from the very beginning in their pre-Sabbath days.

“It shows how these four young men from Birmingham, barely out of their teens, were already remarkable musicians when they existed as Earth, and that they fully deserved all the success that was to come their way as Black Sabbath.”

Earth: The Legendary Lost Tapes reportedly includes three blues covers — “Blue Suede Shoes,” “Evenin’” and “Wee Wee Baby” — alongside two versions of a track called “Song For Jim” (the title referencing Simpson directly, per Jim). The first version features Iommi on guitar, while the second showcases a rare flute performance. Rounding out the tracklist are “Untitled,” “Free Man,” “Wicked World,” and “Warning.”

Simpson had previously said of the project: “If we can finally release this album, it will be a great gift to the music world and to millions of Sabbath fans.”

With the settlement now in place, what becomes of those recordings is a decision that belongs entirely to the band.

The post SHARON OSBOURNE Confirms Settlement With BLACK SABBATH’s First Manager Over Early Band Recordings: “I’m Just Happy That It’s Where It Should Be — With The Band” appeared first on Sonic Perspectives.