At The Gates touched on everything from recording the new record to some of their final experiences with the late and great Tompa.
The post AT THE GATES Details How Their Final Album With TOMAS LINDBERG Came Together appeared first on Metal Injection.
What’s the best pop song of the 1990s? It’s not an easy question to answer. The decade brought Britney Spears, Christina Aguilera and so many other great pop stars.
The post The Best Pop Song of the 1990s Still Has Sparkle appeared first on Audio Ink Radio.
Though they’ve kept up their usual habit of doing cover songs, it’s been a while since we’ve heard new original music from the Afghan Whigs. That drought ends today, however, with “House Of I,” their first new music in four years. Vocalist Greg Dulli produced and mixed the track with Christopher Thorn, and it was…
The post The Afghan Whigs – “House Of I” appeared first on Stereogum.
Bob Daisley shared a rare 1979 audio snippet featuring Randy Rhoads from early writing sessions in Monmouth, saying the guitarist’s brilliance still came through even while he was “experimenting” and “feeling his way.” The post immediately stirred fresh calls for more of the unreleased archive to be made public.
Randy Rhoads material does not surface casually.
That is why this post landed with weight the second fans saw it.
Daisley did not tease a rumor or recycle a familiar photo. He shared a piece of audio and attached real context to it: late 1979, Monmouth, early ideas, unfinished energy, and a version of Randy Rhoads that most fans never get to hear.
Legacy releases hit differently now because fans are no longer satisfied with polished anniversaries and recycled packaging. They want the process. They want the rough edges. They want the part of the story that was never fully opened up.
Daisley describes the recording as a snippet from his “Holy Grail” tapes and says Rhoads “really shines in this,” even though he was still trying out ideas and experimenting.
This was not sold as a finished masterwork. It was presented as evidence of what Rhoads sounded like while building toward the next level.
Daisley shared the clip while marking 44 years since Rhoads’ death on March 19, 1982. Rhoads was just 25 when he died in the plane crash that cut short one of the most important guitar careers metal has ever seen.
Rhoads is most widely known for his work on Blizzard of Ozz and Diary of a Madman, the two Ozzy Osbourne studio albums that made his playing part of heavy music history. Blizzard of Ozz arrived in 1980 in the UK and 1981 in the US, which places this 1979 snippet in the creative build-up before the world heard the finished impact.
Most archival rock releases lean on finished songs, alternate mixes, or cleaned-up live cuts.
What makes this kind of material so much more compelling is that it exposes movement. You hear a player shaping ideas, not just executing them. For a guitarist whose reputation has become almost mythic, that kind of glimpse feels unusually personal.
The reaction under posts like this is usually immediate and predictable for a reason: once listeners know there is more in the vault, the snippet stops being the whole story.
It becomes proof.
Proof that material exists.
Proof that it is listenable.
Proof that there may be far more behind it.
Calling these tapes the “Holy Grail” is dramatic, but it also makes sense. Rhoads only recorded a limited body of officially released work before his death, so anything substantial from that orbit carries outsized value. His legacy with Quiet Riot and Ozzy remains foundational, and that small catalog is exactly why unreleased material carries so much tension around it.
Hard rock fans have been trained to expect endless repackaging while the truly revealing material stays locked away.
That is the frustration underneath the excitement here.
A short snippet is enough to energize the fan base, but it also reminds everyone that the deeper story still has not been fully told.
Archival releases are rarely held back by fan interest. They are usually slowed by control, ownership, approvals, and competing interests. That is an inference, but it is the pattern that has defined major catalog releases across legacy rock for years. In this case, Daisley’s post adds public pressure without confirming anything beyond the existence and quality of at least some of the material.
Rhoads helped reshape heavy guitar playing through a blend of metal attack and classical precision, and his work continues to be treated as a major turning point in the genre. He was posthumously inducted into the Rock and Roll Hall of Fame in 2021, which only reinforced how durable that legacy remains.
Some artists leave behind huge discographies. Randy Rhoads did not.
That is why even a fragment matters.
Every newly surfaced piece feels less like bonus content and more like recovered history.
This is not just diehards asking for scraps.
It is a reasonable response to hearing material that adds depth to one of metal’s most important short-form legacies. Fans are not asking for novelty here. They are asking for access to the creative trail behind a player whose recorded output was cut off far too early.
If this clip sounds this strong in snippet form, how much more is sitting unheard?
That is the question Bob Daisley’s post puts back on the table.
And once that question is back, it does not go away quietly.
He shared a rare audio snippet from late 1979 and said it came from his “Holy Grail” tapes, describing Rhoads as brilliant even while still experimenting.
According to Daisley’s post, it was recorded in Monmouth near the border of England and Wales.
It appears to capture Rhoads in an earlier developmental phase before the release of the Ozzy Osbourne material that made him internationally famous.
He is best known for playing on Ozzy Osbourne’s Blizzard of Ozz and Diary of a Madman.
No full release was announced in the post shown in your screenshot. What surfaced was only a short sample.
Randy Rhoads was an American guitarist best known as a co-founder of Quiet Riot and as the guitarist and co-songwriter on Ozzy Osbourne’s first two solo studio albums. His blend of classical influence, speed, melody, and precision helped define the next era of metal guitar. He died in 1982 at age 25, but his impact on heavy music never stopped expanding.
The post On Randy Rhoads’ Death Anniversary, Bob Daisley Shares Rare Lost Recording appeared first on Loaded Radio.
Lionel Richie’s solo catalog brings together intimate love songs, polished pop and R&B, dance-floor anthems, soundtrack recordings, country collaborations, and some of the most recognizable melodies of the past five decades. This complete A-to-Z guide gathers his album tracks, remixes, duets, featured appearances, charity recordings, and major solo releases through July 2026. Lionel Richie’s career took root in Tuskegee, Alabama, where his early fascination with music helped shape a life defined by melody, charisma, and exceptional songwriting talent. Richie first drew national attention as a member of the Commodores, who formed at Tuskegee Institute and developed from a funk-driven group
The post Complete List Of Lionel Richie Songs From A to Z appeared first on ClassicRockHistory.com.
The post appeared first on INFRARED MAGAZINE.
Fox Lake’s veins are full of fire, and they want to give it to you too. In fact, they may have done so already. If you headed down early on Poppy’s recent UK tour you might have caught the Denver trio putting her fans through a thorough warm-up, with an arsenal of explosives tunes fusing the muscular swagger of nu-metal with the bravado of rap and the jaggedness of hardcore.
They thrive off the energetic exchange between them and the crowd, even those who are new to their game. After all, it’s what brought them to heavy music in the first place. “You go to a hardcore show or a nu-metal show, whatever it is, and there’s nothing like it,” notes guitarist Brandon Kemp, who’s dropping in alongside bassist Zach Swafford from the back rooms of Zurich’s Komplex 457. “The whole crowd is a part of the show, and I think that’s what makes it so special.”
Formed in 2017, the trio – completed by vocalist Nathan Johnson – served the world a knuckle sandwich by means of introduction on 2020 debut Silence & Violence, but it was on last year’s follow-up New World Heat that they jumped up to the next level. That transmission of energy that matters so much is taking place on an even bigger scale now, but crucially, they want to see you use that fire for something.
New World Heat’s thundering thesis is to always, always choose action over passivity. “There were a lot of people around us who we saw getting into the victim mentality and falling into bad habits, myself included,” explains Zach. “It’s very easy to get into comfortable habits that can actually be really self-destructive over a long enough period of time – especially things like doomscrolling. They seem so innocuous at the time, but it’s really, really detrimental. It’s about really challenging yourself and asking, ‘What stuff benefits me, and what am I doing on purpose versus what am I allowing the world to determine for me?’”
And there’s a bigger, more urgent component to this message. Fox Lake have no trouble with a political meaning being drawn from their music. In fact, they never want to leave their stance ambiguous – it’s free Palestine and fuck Trump, as they declare onstage every night – even if it’s not their defining quality. They want to catalyse meaningful change, not merely liking, sharing or to quote Zach’s example, posting squares for Black Lives Matter. In short: they want to see you out on the streets.
“Especially in America right now, there’s so much that needs to be handled and so much that needs to be confronted, and so much that needs to be taken control of – as corny as it sounds, taking the power back and putting it back in the hands of the people,” asserts Zach.
“A lot of people are feeling really powerless and neutered by the system in a way that prevents them from doing anything, or feels like they’re prevented from doing anything. If you want to see something be different, then you have to act differently, and you have to encourage other people to act differently.”
Fox Lake are on tour around Europe with Poppy right now.
Read this next:
Posted on March 19th 2026, 2:00p.m.
Next month, Julia Cumming will release her first-ever solo album. For many years, Cumming has led the New York indie rock band Sunflower Bean; their debut album Human Ceremony came out almost exactly a decade ago. Now, Cumming is venturing off on her own to release the new album Julia, and people are treating it as a potential big deal. Edgar Wright, for instance, directed the video for lead single “My Life.” And last night, Julia Cumming performed that song on Jimmy Fallon’s Tonight Show.
The post Watch Sunflower Bean’s Julia Cumming Activate Pop-Star Mode On <em>Fallon</em> appeared first on Stereogum.
(As you’ll learn in greater detail below, Exxûl is one of a collective of connected bands from the south shore of Québec, and their debut album was released this past January. It drew the attention of our Comrade Aleks, who succeeded in interviewing the band’s songwriter/guitarist Defender (aka Phil Tougas).) To start with, Exxûl is […]
The post AN NCS INTERVIEW: EXXÛL appeared first on NO CLEAN SINGING.
“The video for ‘Thaw’ was to bring like-minded people into our world and be just as, if not more, important than the four members of the band.”
The post EXTINCTION A.D. Dunks On The Losers At ICE With New Song "Thaw" appeared first on Metal Injection.