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  • ‘Ozzy Osbourne/Black Sabbath – Back To The Beginning’ Premieres In Los Angeles

    Story by Jordan West
    Purple Carpet Photos by Joe Schaeffer

    For the release of the film that documents the late Ozzy Osbourne’s final performance, a gala premiere was held at the majestic Orpheum Theatre in downtown Los Angeles, and I was lucky enough to attend. Ozzy & Black Sabbath: Back To The Beginning celebrates the last wishes of the late singer, and his desire to perform for an audience in his hometown of Birmingham UK, along with the original members of his band Black Sabbath and a host of friends. The concert, which took place on July 5, 2025, at Villa Park in Birmingham, sold out in minutes, and was a fitting farewell for the singer, who passed away just weeks later, on July 22.

    The film has been directed for screen by Ben Wainwright-Pearce (Taylor Swift: The Eras Tour, George Michael: The Faith Tour), with the live concert directed by Tim van Someren, and produced by Jim Parsons, Jamie Silk, and Dan Seliger. It has been crafted specifically for cinematic presentation, designed to immerse audiences in both the scale of the stadium production and the intimacy of the final performance. Presented in Dolby Atmos and 5.1 surround sound, the film has been engineered to deliver a fully immersive audio-visual experience, bringing audiences into the heart of the performance with unprecedented clarity and power.

    A pre-screening “Purple Carpet” event brought out many of the featured players, led by Ozzy’s wife Sharon Osbourne and her family, and included Black Sabbath members Geezer Butler and Bill Ward, as well as many of the artists who played at the show. Others who walked the carpet included Kiss founder Gene Simmons and his wife, Shannon Tweed, producer Andrew Watt, guitarists Slash and Jake E. Lee, Metallica bassist Robert Trujillo and his family, and well as members of Armored Saint and Quiet Riot, among many more.

    I was herded into the Broadway Bar, which adjoins the Orpheum Theatre for a gala VIP pre-party with an open bar and hors d’oeuvres, and chatted with many members of the rock community, including a host of my fellow music media friends and many of the musical acts who had performed in Birmingham, such as the members of Halestorm, drummer Chad Smith, Alice in Chains bassist Mike Inez, Geezer Butler, and many others. It seemed like every publicist and writer that I know was there, as well as a ton of photographers and fellow music related journalists.

    Black Sabbath’s Geezer Butler and Bill Ward

    I spoke with Jack Osbourne for a bit and I asked him, being a film maker himself, who produced the wonderful 2011 documentary God Bless Ozzy Osbourne about his father, if he was involved in this film’s production. He told me that with Ozzy &Black Sabbath: Back To The Beginning, he had a “hands off” approach.

    “I trusted the film’s producers, and let them do what they do,” he told me, “But, of course, my family and I had final approval.”

    He was very pleased with the results. He and Sharon greeted the crowd onstage before the film began, and thanked all for coming, and gave props to all that were involved in its making.

    The Osbourne Family

    That said, the film is outstanding. For most of us, who were not fortunate to be in Birmingham that day, fear not. The film makers truly make you feel as if you were there, taking part in the festivities. Various camera angles, from the audience’s point of view and onstage, bring the experience directly to your senses. The editing of an 11-hour event to bring to a two-hour film must have been incredibly painstaking, and was done with exceptional care.

    There were many moments in the film that caught Ozzy Osbourne at just the right time. Smirking at something that was said onstage, giving the finger to a photographer, sharing a laugh with his bandmate Tony Iommi, his expressive face and mannerisms of joy in his “happy place” are captured for all to see.

    Ozzy Osbourne at ‘Back To The Beginning’

    The filmmakers showed all the onstage action, and edited it without any drastic cuts in performance, and even spliced in some older footage at times. The show itself was hosted by actor Jason Momoa with Tom Morello serving as Musical Director for Back To The Beginning.

    The event included sets from Alice in Chains, Anthrax, Gojira, Guns N Roses, Halestorm, Lamb of God, Mastodon, Metallica, Pantera, Rival Sons, Slayer, and Tool, along with all-star segments with special guests Adam Wakeman, Andrew Watt, Billy Corgan, Chad Smith, David Draiman, David Ellefson, Jake E. Lee, KK Downing, Mike Bordin, Nuno Bettencourt, Papa V Perpetua (Ghost), Ronnie Wood, Rudy Sarzo, Sammy Hagar, Sleep Token II, Steven Tyler, Travis Barker, Vernon Reid, Whitfield Crane, and Yungblud. Bravo to Tom Morello, for assembling this cast and really choosing the right musicians for the right songs, which must have been a huge chore.

    Back To The Beginning players

    Watching this film was quite an experience as well. I can’t recall ever watching a concert film in a theater, where the audience sang, yelled, and applauded every song like it was an actual live performance. I have been to many concerts at the Orpheum, and this screening audience, which included many of the people that were onscreen, was as loud as any show that I have attended. It was as if we were all included in the film.

    Credit the great film makers and production team for that. The fact that Ozzy is and was such a beloved icon, it was natural to feel his presence and see his last wishes brought so lovingly to a screen for all to see.

    Black Sabbath

    Purple Carpet Photos

  • Cactus release “300 Pounds of Joy” video featuring Ty Tabor

    Taken from their latest album ‘Temple of Blues II’

    Source

  • NOR.BE Once Review

    NOR.BE Once Review

    From the start of “Once,” the listener is transported into a film-noir atmosphere, thanks to the haunting trumpet. This opening evokes a sense of mystery and intrigue. Shortly after, the guitar enters with velvety notes that blend to create a tense and sensual ambiance. The instrumentation guides the listener through atmospheric openings, while background vocals fill the sonic space.

     NOR.BE Once

    The harmonic variations within the track are striking, and at times, they conjure images of nighttime in New York, reminiscent of a painting by Edward Hopper. It’s a visual experience translated into music, where the listener can almost picture the dimly lit streets and shadowy figures. The song cleverly intertwines elements reminiscent of Spanish rhythms, which add a rich texture to the composition.

    Moments emerge from this piece that evoke the glamour of the 1970s, drawing parallels to themes found in James Bond films. Such references elevate the track, placing it within a grand narrative that feels timeless and contemporary. This song is a visionary composition that leads the listener through an immersive auditory journey.

    Once – Sound and Atmosphere

    Strings play a significant role, enhancing the melodic elements and further enriching the texture. The jazz influences introduce nuanced shifts, mixing avant-garde and progressive styles. This blend creates an audio tapestry that at times feels chaotic yet remains coherent. The arrangement ensures there are no moments of pause, captivating the audience’s attention throughout the piece.

    NOR.BE demonstrates a brilliant musical vision that transcends conventional boundaries. Every transition feels deliberate, contributing to a complex artistic narrative. Overall, the single showcases creativity while inviting listeners into a unique musical experience where genres collide, and echoes of various influences converge.

    This track is an exploration of sound that shifts elegantly from one idea to another. The absence of lyrics allows for an expansive interpretation, letting the music speak for itself.

    Once – Performance and Production

    NOR.BE understands the intricacies of composition and employs them to create a robust auditory experience. As the track unfolds, there are moments filled with tension followed by releases that evoke feelings of satisfaction. This rollercoaster of emotions is a hallmark of great music. The variety in textures keeps the listener on their toes, creating an atmosphere that is continually evolving.

    “Once” by NOR.BE is an extraordinary single that defines modern experimental music. It invites the listener into a world rich with sonic detail and emotional depth. Through masterful creativity, NOR.BE has produced a work that stands out in the current musical landscape, demonstrating not just skill but a profound understanding of the art form.



    Visionary

    🔥 If you love this music: Discover More


    Find NOR.BE here:
    Spotify | Instagram

    The post NOR.BE Once Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Storm Force Release Performance Video For ‘Anti Social Media’

    Storm Force have released their performance music video for the new single ‘Anti Social Media‘, from their new album ‘Truth‘. The entire album is available to stream or as a 24 bit hi res digital download on Bandcamp. CDs are available from Eonian Records. Greg Fraser talks about what was behind the song ‘Anti Social […]

    The post Storm Force Release Performance Video For ‘Anti Social Media’ appeared first on ROCKPOSER DOT COM.

  • CARMINE APPICE & CACTUS Release New Video for “300 Pounds Of Joy” Featuring TY TABOR & ARTIE DILLON From Their New Album “Temple of Blues II”

    Carmine Appice and Cactus have released a new video for the track “300 Pounds of Joy”, taken from the new Cactus album Temple Of Blues II out now on Cleopatra Records. The track and video feature the amazing talents of Ty Tabor and Artie Dillon, alongside Carmine Appice.

    Carmine Appice shared his thoughts on on the “Howlin’ Wolf” song and video “300 Pounds Of Joy”, “This song is so cool, “Great Howlin’ Wolf” song with the killer drum groove. I copied the groove and the video is awesome with a great ROCKY kind of story!”

    This time, I wanted to make a real blues album for Temple of Blues 2. Temple of Blues 1was made up entirely of Cactus songs. I’ve always loved the Howlin’ Wolf album, which also gave Cactus our biggest song, “Evil.”

    Now the Temple opens again, this time for an all-star aggregation that recalls Ted Nugent, Billy Sheehan, Bumblefoot, Dee Snider, and Pat Travers from volume one, alongside an all-new wave of heavy hitters including Steve Morse (Deep Purple), Tracii Guns (L.A. Guns), Joe Lynn Turner (Rainbow, Deep Purple), Rudy Sarzo (Ozzy Osbourne, Quiet Riot), Alex Skolnick (Testament), and a whole lot more!

    The original Cactus grew out of Appice’s past experiences with Vanilla Fudge and Beck Bogart and Appice, debuting in 1970 with a self-titled album and an immediate impact on the live circuit. And Temple Of Blues II takes us back to their birth. That summer, Cactus were among the main attractions at the Isle of Wight Festival in England, and the new album’s “Purple Haze” reunites them with both another of that bill’s audience favorites, Melanie, and its overall headliner, Jimi Hendrix.

    Elsewhere on this thunderous sequel, Pat Travers returns for the mighty “Moanin’ At Midnight,” Joe Lynn Turner joins Morse, Carmine’s guitar Zeus bandmate Tony Franklin and Derek Sherinian (Dream Theater) for “Bad Stuff,” Dee Snider (Twisted Sister), and Tracii Guns (L.A. Guns) lead the way for “The Little Red Rooster,” and Ted Nugent and Bob Daisley (Rainbow) join forces for an astonishing “Spoonful.”

    But every track here expands the raw blues rock vision of Volume One with even more fire, swagger, and authority. And Carmine, of course, anchors the proceedings with his unmistakable power, groove, and feel, driving every track and reaffirming his status as one of the most influential drummers in rock history.

    The current lineup of Cactus came together in 2021. Lead vocalist Jim Stapley comes from England and had worked with ex-Faces/Who drummer Kenny Jones in the Jones Gang and Humble Pie. “Nearly five decades after I formed this band, the time had come to re-invent Cactus once again,” says Appice, who also still drums for Vanilla Fudge, The Appice Brothers Drum Wars, and a hybrid tribute to former band leader, Rod Stewart. Adds Appice: “The music remains the same and Cactus is still a ‘hot and sweaty’ band. The level, quality and consistence of the band’s musicianship is as strong as ever.”

    Cactus has had a long and turbulent history. Formed in 1970 from the ashes of Vanilla Fudge by Carmine Appice and Tim Bogert, the initial line up also featured McCarty (from Mitch Ryder and The Buddy Miles Express) and Amboy Dukes vocalist Rusty Day. While Cactus saw success from the start and soon built a loyal fan base, by early 1973 the band had collapsed mainly due to lack of real support from its label and the fact that Jeff Beck was now ready play with Carmine and Tim in BBA.

    The band reformed in 2006, three decades after the tragic death of Rusty Day with Randy Pratt on harp (who also appears on this album) and Jimmy Kunes vocals. When the late Tim Bogert was forced into retirement due to complications after a serious motorcycle accident, Pete Bremy joined on bass before Caputo replaced him in 2020.

    Temple of Blues 2 is available to pre-order here.

    The post CARMINE APPICE & CACTUS Release New Video for “300 Pounds Of Joy” Featuring TY TABOR & ARTIE DILLON From Their New Album “Temple of Blues II” appeared first on Sonic Perspectives.

  • Pink Triangle I Wanna Be That Girl Review

    Pink Triangle I Wanna Be That Girl Review

    The song opens with an infectious energy. A consistently fresh and intense rhythm draws the listener in. When the vocals enter, the arrangement simplifies to bass and drums, accompanied by a playful guitar. The lead vocalist delivers a beautiful timbre reminiscent of bands like Weezer. The recording feels remarkably present, as if the band is right there in the room with you.

    Pink Triangle I Wanna Be That Girl

    As the chorus kicks in, the energy surges; the guitar pushes forward, the bass soars with engaging lines, and the drums keep a strong pace. There is a strong chemistry within this band, evident in their precision and clarity of sound. The song explores a unique perspective, portraying the experience of a queer individual who is secretly in love with his straight best friend.

    Feelings of jealousy arise as he vies for attention, grappling with the reality of his friend’s girlfriend receiving the affection he longs for. This subject matter feels contemporary, adding a vibrant layer to the overall composition. The lighthearted approach to a deeper theme is skillfully executed.

    I Wanna Be That Girl – Sound and Atmosphere

    At approximately 2:40, the song takes an intense turn, stripping down to only guitar and vocals. This moment creates a pause that prepares listeners for an explosive finale. The transition showcases the band’s ability to dynamically shift the mood of the song.

    The incorporation of garage rock vibes enhances the infectious quality of the track, allowing it to resonate with a diverse audience. The raw energy of the music combined with the earnestness of the lyrics contributes to a richly enjoyable experience. The band successfully illustrates themes of love, jealousy, and self-identity, making it relatable for many.

    The vocal delivery remains consistently strong, maintaining the listener’s interest from start to finish. Each chorus feels like an anthem, inviting participation and connection.

    I Wanna Be That Girl – Performance and Production

    This single is likely to appeal to those who favor indie rock infused with genuine emotional resonance. Pink Triangle’s approach connects with listeners on multiple levels. The careful crafting of their sound and lyrics positions them favorably for enduring success.

    “I Wanna Be That Girl” is an energetic anthem that dances between lightheartedness and profound themes. The band’s skillful execution ensures that each element—from the driving rhythm to the lyrics—is well-balanced and resonant. This track deserves a place in any modern rock playlist, standing strong as a reflection of contemporary experiences in love and identity.



    Energetic

    🔥 If you love this music: Discover More


    Find Pink Triangle here:
    Spotify | Instagram

    For fans of:

    Weezer


    The post Pink Triangle I Wanna Be That Girl Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Anthrax’s Scott Ian remembers chaotic Pantera tour: “I threw up, and Darrell’s there with a shot”

    Anthrax’s founding rhythm guitarist Scott Ian has reflected on the thrash metal stars’ chaotic tour with Pantera in 1997 and ’98.

    Talking exclusively in the brand-new issue of Metal Hammer, the 62-year-old says he truly “learned how to drink” while on the road with guitarist Dimebag Darrell and the boys, for whom nu metal outfit Coal Chamber opened.

    He also recalls a particularly wild story where he was sick after an intense night, only for Dimebag to be waiting outside the toilet with even more alcohol.

    “We did a tour with Pantera and it was fucking chaos,” says Ian. “I would ride on Dimebag and Vinnie’s [Paul, drummer and Dimebag’s brother] bus sometimes, which seemed like a good idea when you were getting on it at 3am. And then it’s seven in the morning and they’ve been watching the same live Kiss videos for four hours.”

    The guitarist continues: “I learned how to drink on that tour. One night I ran to the bathroom and threw up. I opened the bathroom door and Darrell’s standing there with a shot waiting for me. ‘Dude, I just threw up.’ He looks at me and goes, ‘What are you talking about, Baldini? Now you just have more room.’”

    Dimebag, who was fatally shot aged 38 during a show by he and Paul’s post-Pantera band Damageplan in 2004, was a legendary drinker to the point that he had his own signature beverage called the Black Tooth Grin, named after a Megadeth lyric. Machine Head frontman and friend Robb Flynn recalled in 2022 that Dimebag once got so drunk at a show that he smashed up one of Flynn’s guitars, yet he still went on to play perfectly.

    Flynn told YouTuber Ola Englund: “He picks up my guitar, and he goes – headstock first – right into the fucking ground. And I was like, ‘Dude!’ I was fucking pissed!

    “And that dude gets out there – and literally plays a fucking flawless show. Just every fucking note, every lead… dude doesn’t miss a note. If I hadn’t seen it with my own eyes, I never would have believed [it].”

    Anthrax collaborated with Dimebag on multiple occasions, getting him to contribute guest guitar solos across three of their studio albums: Fueled and King Size on 1995’s Stomp 442, Inside Out and Born Again Idiot on 1998’s Vol. 8: The Threat Is Real, and Strap It On and Cadillac Rock Box on 2003’s We’ve Come For You All.

    The veteran New York thrashers released their long-awaited new album Cursum Perficio via Nuclear Blast last month. Parts were recorded at Studio 606, the California recording space owned by Foo Fighters frontman Dave Grohl. The band have no upcoming tour dates announced but recently played a run of shows supporting Iron Maiden.

    Read the full interview with Anthrax, conducted by Grohl, in the new Hammer. The issue also features an in-depth celebration of late Metallica bassist Cliff Burton, 40 years after his death. Order your copy now and have it delivered directly to your door.

    Cliff Burton Metal Hammer cover

    (Image credit: Future)