The Speaker Wars, led by former Tom Petty and the Heartbreakers drummer Stan Lynch and guitarist/vocalist Jon Christopher Davis, have a new single out titled “The Forgiveness Tree.”
It comes from their upcoming self-titled debut album, due on May 30. The track also features Jay Michael Smith on guitar, Brian Patterson on bass, Steve Ritter on percussion and Jay Brown on keyboards.
“This one had legs from the start – it’s written from the heart,” Lynch said of the new song in a press release. “It’s a roadmap to healing. It’s the truth.”
“It was a simple chorus I had lying around,” Davis added. “I sat at Stan’s piano and played it. He immediately knew where I was trying to go. Two hours later, the song was finished. The end result is a soul scratcher.”
You can listen to “The Forgiveness Tree,” as well as view the album’s full track listing, below.
How the Speaker Wars Came to Be
Lynch and Davis first started working together back in the early 2000s, a collaboration that blossomed into a co-writing partnership.
“Tom [Petty] used to say, if we leave all the shitty stuff out, we’ll probably be stuck with something pretty good. That was part of his genius,” Lynch told UCR in 2022 when Speaker Wars released their debut single. “And then watching how Jon works — which is just like the power of ‘no.’ Just because you did it, don’t mean it’s any good and you gotta use it.”
“I’ve shot past the point of caring to the point of: I follow my bliss. And my bliss is looped into Jon and this bizarre adventure,” he continued. “I feel like this is something we can own. We’ve just scratched the surface.”
‘The Speaker Wars’ Track Listing: 1. “You Make Every Lie Come True” 2. “It Ain’t Easy” 3. “Taste of Heaven” 4. “Never Ready to Go” 5. “The Forgiveness Tree” 6. “When The Moon Cries Wolf” 7. “Trader’s South” 8. “Leave Him” 9. “Sit With My Soul” 10. “I Wish You Peace”
Tom Petty’s Heartbreakers: Where Are They Now?
The surviving members continue to forge new paths.
The Rolling Stones will return with a new song that might surprise casual fans: “Zydeco Sont Pas Sales,” a song with Creole French lyrics popularized by zydeco pioneer Clifton Chenier of Opelousas, Louisiana.
The track is set to appear on the all-star Tribute to the King of Zydeco, to be released on June 27 in celebration of Chenier’s 100th birthday. Grammy-nominated Louisiana accordion player Steve Riley also appears on the Stones track. Other songs feature Steve Earle, Jimmie Vaughan, Lucinda Williams, John Hiatt and Taj Mahal.
The Rolling Stones’ interest in Chenier – and Louisiana music – actually runs deep. “Clifton was a great influence on me,” Mick Jagger told Songlines. “We first listened to him around 1965 when we went to the States and picked up his records on the Arhoolie label. … We first met up with the band in Los Angeles, I think, and I love the way he just grabs a blues number and adapts it to his style.”
Lafayette saxophonist Dickie Landry arranged the meeting, which Michael Tisserand’s Kingdom of Zydeco said took place at intermission during a 1970 appearance by Chenier in South Central LA. There was a moment of hilarious initial confusion, however, when Landry told Chenier that Mick Jagger with the Rolling Stones wanted to meet him. Tisserand said Chenier replied, “That magazine – they did a good article on me.”
Soon, it was time for Chenier to get back onstage at the Verbum Dei High School Auditorium. “All of a sudden, this group of people come with autograph papers,” Landry remembered. “Jagger starts backing up, and they walk right by him to get to Clifton.”
Listen to Clifton Chenier’s ‘Zydeco Sont Pas Sales’
The Rolling Stones’ Deep Connection to Louisiana
Louisiana music stars like Dr. John, Aaron Neville, Stanley “Buckwheat” Dural and Michael Doucet have worked with the Stones in the studio. Their rootsy 2016 album Blue and Lonesome included three songs by Louisiana native Little Walter.
The Rolling Stones memorably made time to see zydeco legends Boozoo Chavis and Beau Jocque before a 1994 concert at the Louisiana Superdome, paying $5 at the door. More recently, they performed “Let It Bleed” with Lafayette accordion player Dwayne Dopsie at 2024’s New Orleans Jazz and Heritage Festival.
“Zydeco Sont Pas Sales” marks the Rolling Stones’ first new music since they scored an international Top 5 hit with 2023’s Hackney Diamonds. Prior to that, they released the stand-alone single “Living in a Ghost Town” in 2020. Proceeds from A Tribute to the King of Zydeco benefit a new Clifton Chenier Memorial Scholarship at the University of Louisiana at Lafayette.
Rolling Stones Album Art: The Stories Behind 27 Famous LP Covers
The Rolling Stones’ album art tells the band’s story as well as any song.
The three Californian pop-punk bands will be joined at the Chicago weekender by Jack White, Bad Religion, Alkaline Trio, Sex Pistols (featuring Frank Carter), The Pogues, Idles, The Beach Boys and more.
Other artists announced for the festival’s 20th anniversary staging, which will take place at Douglass Park from September 19-21 include OG punks The Damned, Buzzcocks and Stiff Little Fingers, Helmet, Shudder To Think, Shonen Knife, Jawbreaker, All Time Low, Militarie Gun, Superchunk, The Linda Lindas and upcoming British artists Lambrini Girls.
The 2025 announcement comes after organisers announced a deal with the Chicago Park District to keep the festival at Douglass Park through at least 2027.
“We’ve always built Riot Fest around independence, music, and culture,” said Riot Mike Petryshyn, founder of the festival, according to a statement. “This agreement gives us the chance to keep doing that, and to invest more deeply in the neighborhoods that have allowed us to grow. It’s not about a single weekend. It’s about building something that lasts.”
Blink-182 will also play a North American tour with Alkaline Trio in the fall.
Weezer, meanwhile, will play a number of European headline shows and festivals this summer.
Having previously been announced as special guests to Deftones for the Sacramento band’s outdoor show at London’s Crystal Palace on June 29, Rivers Cuomo’s band have revealed that they’ll also be playing headlines dates and appearing at a brace of Scandinavian festivals.
Posting on social media, the band rhetorically ask, “You think we’d go across the pond for one show only? No way!! Europe and UK, see you next summer for a bunch of headline shows and festivals. BRB, we’re already packing our bags.”
Weezer’s EU/UK 2025 tour will visit:
Jun 10: Berlin Columbiahalle, Germany Jun 17: Zurich Halle 622, Switzerland Jun 19: Hamburg Sporthalle, Germany Jun 24: Stockholm STHLM Fields festival, Sweden Jun 26: Oslo Tons Of Rock festival, Norway Jun 29: London Crystal Palace (supporting Deftones), UK SOLD OUT Jul 02: Dublin Trinity College, Ireland Jul 06: Paris Zenith, France Jul 09: Barcelona Razzmatazz, Spain
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
The pair will release their first album, Gentō’, through earMusic in late July or early August, although the CD version is now available to pre-order from Marillion’s Racket label for shipping in early May, the first 500 of which will be signed by the guitarist.
“I’ve just returned from Abbey Road where the half-speed vinyl was being cut for my Bioscope project with Thorsten Quaeschning from Tangerine Dream,” Rothery told Marillion fans in the band’s regular newsletter. “The project started life in early 2020 and after several five-day trips to Berlin over the years, and a few days in my home studio, it was finally ready to be mixed and mastered! It has taken a little longer than anticipated but it’s really sounding fantastic!”
The album also features Elbow drummer Alex Reeves whose performance across the album is labelled by Rothery as “fantastic” You can see the new album art and tracklisting below.
Rothery has been busy with Marillion in a live front, as the band have been performing their celebrated Weekend live events in the Netherlands, Canada and France, with Italy, the UK, Germany and Norway to folllow.
Marillion are also working on a new studio album, although that is unlikely to see the light of day until 2026 at the earliest.
“Life moves at such a pace these days that we imagine there will be plenty of time to rekindle a friendship, and then suddenly one day it’s too late.” Queen’s Brian May pays tribute to legendary producer Roy Thomas Baker
(Image credit: Fin Costello/Redferns | Brian May instagram)
Queen guitarist Brian May has paid tribute to legendary music producer Roy Thomas Baker, who passed away on April 12, aged 78.
After co-producing Queen’s 1973 debut album, the London-born producer worked with the band on Queen II, Sheer Heart Attack, A Night At The Opera, and Jazz..
Sharing some personal photos of the producer on Instagram, May writes, “Very sad to hear of the passing of Roy Thomas Baker. Roy played a huge part in the production of so much Queen music in the early days.
“Photographs of Roy seem to be quite rare, but I was able to find these 3-D pictures of a trip that my then wife Chrissy and I made to visit Roy and his wife Barbara in their cottage in Norfolk. It must have been 1973. We went strawberry picking, and, as you can see, Roy was interested in the stereoscopic process, posing in a pile of wood for stereoscopic effect! I took the tennis picture at Ridge Farm, on a day when we were visited by some Japanese journalists from Music Life magazine.
“Roy was a part of our production team from the very beginning up to and including the album A Night At The Opera. We then parted company for A Day At The Races, but reunited for the Jazz album.
“Roy’s production contribution along with Mike Stone’s engineering for Bohemian Rhapsody will never be forgotten.
“I regret slipping out of touch latterly with Roy,” May added. “I suppose life moves at such a pace these days that we imagine there will be plenty of time to rekindle a friendship, and then suddenly one day it’s too late.
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“Thank you, Roy for all the great work you did for us, and all the fun we had.
“Rest in Peace. Bri.”
The news of Baker’s death was confirmed yesterday, April 22, in a statement from his publicist, who revealed that the producer died at his home in Lake Havasu City, Arizona. A cause of death has not been announced.
In addition to his iconic work with Queen, Baker produced recordings by Foreigner, Alice Cooper, Cheap Trick, Ozzy Osbourne, Sammy Hager, Devo, Guns N’ Roses, The Darkness, Smashing Pumpkins and more.
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
Babymetal have delayed the release of their new album.
The kawaii metal trio announced via social media today (April 23) that Metal Forth, the follow-up to 2023’s The Other One, will come out on June 27 via Capitol Records, not June 13 as originally planned.
The band say in their statement that the change was made to synchronise their domestic and international plans. “Due to changes in the overseas release date, the domestic release date has also been changed from 2025.6.13 (Fri) to 2025.6.27 (Fri),” they explain.
Babymetal announced Metal Forth on March 31 and revealed a tracklisting stacked with guest stars. Poppy, Spiritbox, Polyphia, Bloodywood and Slaughter To Prevail will appear. The band’s previously-released collaborations with Electric Callboy, Ratatata, and Rage Against The Machine’s Tom Morello, Metali!!, will also be on the album. The single From Me To U, featuring Poppy, came out on April 4.
The Metal Forth song featuring Bloodywood, Kon! Kon!, will mark the second time Babymetal have hooked up with the Indian nu metal sensations. In December, they released the collaborative single Bekhauf, which later became part of Bloodywood’s second album Nu Delhi.
Babymetal also have history with Polyphia. The Texan band joined the kawaii collective to play Brand New Day at the Saitama Super Arena in Tokyo in June 2024. Polyphia guitarist Tim Henson recently shared that his outfit have two Babymetal collaborations in the pipeline, with one being the Metal Forth entry Sunset Kiss and the second set to show up on Polyphia’s next album.
Metal Forth will mark the recording debut of Babymetal’s newest member, Momometal. Previously a back-up dancer/vocalist for the trio, she was promoted to the main ensemble in 2023. Her predecessor, Yuimetal, departed in 2018 and the band functioned as a two-piece in the interim.
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Babymetal will tour Europe, supported by Poppy, in May. See dates and details below.
May 10: Brussels Forest National, Belgium May 12: Hamburg Barclays Arena, Germany May 13: Amsterdam Ziggo Dome, Netherlands May 16: Frankfurt Jahrhunderthalle, Germany May 17: Berlin Velodrom, Germany May 19: Krakow Tauron Arena, Poland May 20: Nüremberg Arena Nürenberger, Germany May 22: Zurich The Hall, Switzerland May 25: Madrid Vistalegre, Spain May 26: Barcelona Poble Espanyol, Spain May 28: Paris Zénith Paris, France May 30: London O2 Arena, UK
Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Prog and Metal Hammer, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, NME, Guitar and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.
“They can steal pretty much everything. They haven’t figured out a way of stealing the live experience. And they still have to pay for that!” Adrian Belew on survival, orchestra music and Frank Zappa
In 1977 you joined Frank Zappa’s band. What, if push came to shove, are your favourite Zappa tracks?
Zoot Allures [from Zoot Allures, 1976]. The soaring feedback guitar lines over modal chord changes make this one of his most direct, even accessible musical pieces of Frank’s vast catalogue, and the effect is hauntingly beautiful.
With all the skills Frank had people sometimes overlook his voice. On Po-Jama People [One Size Fits All, 1975] I love the way he sings like a cartoon character might. I’ve sung it to each of my children growing up and they’ve all adored it.
One of the tracks Frank gave me to learn as an audition piece was Andy [One Size Fits All]. Another stunning piece of music which happens to be a song as well – and it certainly gave me pause to wonder what I was getting into!
Peaches en Regalia [Hot Rats, 1969] will always remain dear to me. It was often the first song of our performances together. Frank and I played the guitar parts in unison. What an honour that was.
You clearly love working in your power trio, featuring Julie Slick on bass, and Marco Minnemann on drums. What does it allow you to do that you can’t do in King Crimson?
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First of all, it’s my vehicle more than Crimson. Obviously when when it’s you and Robert Fripp, you share ideas, and you can’t play all the time. Secondly, the trio gives me a different platform to work from. When you’re the only guitarist you have to fill in and really shine. I think it makes me a better player and gives me room to move around.
The trio have played all over the world. Any stand-out moments for you?
Chile was truly mind-blowing – all of South America was, but the first show in Chile was absolutely amazing. They turned away hundreds of people. The traffic was stopped and everything! I’d only played there once before with David Bowie in 1990; that’s a long time ago and I wasn’t expecting there to be much of an audience!
The coolest thing was that before we started playing they were pounding on the floor, a thousand people strong – incredible. We came out and we were like, “It can only go downhill now!”
Meinl Cymbals – The Adrian Belew Power Trio – “E” – YouTube
You recently performed your 43-minute composition, e, on guitar with the Metropole Orchestra in the Netherlands. How did that come about?
I always dreamed of doing it, but I never thought I would because it’s a huge, very expensive undertaking, and I live in the US where they don’t fund these kinds of things! It took three years of writing on and off, and although it was definitely as a showcase for the power trio, in the back of my mind I kept thinking I’d like to have an orchestra play it.
I’d mentioned that in the press when the e album was released in 2009, and it just so happens that the guy who directs the Metropole Orchestra is a big fan. He called me out of the blue and said, ‘We’d love to do your orchestral piece!’
I don’t see myself stopping playing live right now… it’s the one thing left, and I’d like to continue it
“They’re funded partly by the government and partly by the largest broadcasting company in the Netherlands. So, in February 2010, I played guitar by myself, in front of the orchestra; and that was like a dream come true.
Where did your interest in working with an orchestra come from?
I joined the school marching band playing the drums. They’d take us over to Cincinnati Music Hall four times a year to hear great symphony orchestras playing all this really great, heavy duty music.
Before I had a pop ear – and all the things that followed from that – I really liked orchestral music first; it was the thing that really awed me. If you’re 12 years old and you hear a 70-piece orchestra in a perfect acoustic hall, it’ll do that!
King Crimson – Indiscipline (Live At The Warfield Theatre, 1995) – YouTube
In a culture of increasing expectations that music should be free, are you optimistic about being able to survive?
The glass is definitely half-full for me. The story has not been fully written on what’s going to happen with intellectual property; I don’t know how it’s going to turn out. But the thing that I realised is that although they can steal pretty much everything else, they haven’t yet figured out a way of stealing the live experience. If they want to see you play live, they’ve got to come along and see you – and they still have to pay for that!
No! No way. I don’t see myself stopping playing live right now because, as I said, it’s the one thing left, and I’d like to continue it. I don’t know what else I would do if I weren’t doing this.
Sid’s feature articles and reviews have appeared in numerous publications including Prog, Classic Rock, Record Collector, Q, Mojo and Uncut. A full-time freelance writer with hundreds of sleevenotes and essays for both indie and major record labels to his credit, his book, In The Court Of King Crimson, an acclaimed biography of King Crimson, was substantially revised and expanded in 2019 to coincide with the band’s 50th Anniversary. Alongside appearances on radio and TV, he has lectured on jazz and progressive music in the UK and Europe.
A resident of Whitley Bay in north-east England, he spends far too much time posting photographs of LPs he’s listening to on Twitter and Facebook.
Feature Photo: Daniel Åhs Karlsson, CC BY 3.0 , via Wikimedia Commons
Zara Larsson was raised in Solna, a municipality just outside of Stockholm, Sweden, where she began displaying a remarkable vocal talent from an early age. Her first major step into the public eye came in 2008 when, at the age of 10, she won the second season of Talang, the Swedish adaptation of the Got Talent franchise. Performing a rendition of Celine Dion’s “My Heart Will Go On,” Larsson stunned both judges and viewers, setting the stage for a career that would evolve rapidly over the following decade.
Following her victory on Talang, Larsson stepped back from the public spotlight for a few years, focusing on honing her skills and preparing for a professional music career. She signed with TEN Music Group in 2012, and by early 2013, she released her debut extended play Introducing. The EP’s lead single, “Uncover,” became a commercial sensation in Scandinavia, reaching number one in Sweden and Norway and earning multi-platinum certifications. The song’s success positioned Larsson as a rising star across the European pop scene.
Later that same year, Larsson followed up with her second EP, Allow Me to Reintroduce Myself, and soon began working on her first full-length album. Released in 2014, 1 was her debut studio album and contained several hits, including “She’s Not Me” and “Carry You Home.” The album was a commercial success in Sweden and earned her several music awards, including multiple Rockbjörnen and Grammis Awards, Sweden’s equivalent of the Grammy Awards. These accolades reflected not only her growing popularity but also the recognition of her artistic maturity despite her young age.
Her second international studio album, So Good, was released in 2017 and signified a major breakthrough on the global stage. Featuring chart-topping singles like “Lush Life,” “Never Forget You” (a collaboration with MNEK), “Ain’t My Fault,” and “So Good” featuring Ty Dolla $ign, the album cemented Larsson’s reputation as a formidable pop artist. “Lush Life” became one of her most enduring tracks, charting in over 20 countries and achieving multi-platinum status in several of them. The album’s blend of radio-friendly hooks and confident, upbeat themes resonated widely with international audiences.
Over the next few years, Larsson expanded her global reach by collaborating with a wide range of artists across genres. Her work included features with Clean Bandit (“Symphony”), David Guetta (“This One’s for You”), BTS (“A Brand New Day” with J-Hope and V), and Kygo (“Like It Is”). These collaborations broadened her musical footprint and demonstrated her versatility as both a solo performer and collaborative artist.
In March 2021, she released her third international studio album, Poster Girl. The album offered a more polished, mature sound and featured tracks like “Ruin My Life,” “Wow,” and “Look What You’ve Done.” It marked a stylistic evolution, emphasizing sleek production and more introspective lyrical content. The album was followed by a deluxe edition later that year. Though it didn’t match the commercial explosion of So Good, Poster Girl reinforced Larsson’s staying power and artistic growth in a competitive pop landscape.
In 2023, she made headlines again with the release of her fourth studio album, Venus, which arrived in February 2024. The record included singles such as “Can’t Tame Her,” “End of Time,” and “You Love Who You Love.” With Venus, Larsson took even greater creative control, releasing the album through her own imprint, Sommer House, in partnership with Epic Records. This move reflected not only her increasing independence as an artist but also her interest in shaping the business side of her career.
Outside of her music, Larsson has become known for her outspoken personality and activism. She frequently uses her platform to speak on feminist issues, gender equality, and social justice. Her candid opinions—often shared directly through interviews and social media—have sparked both praise and controversy, but have firmly established her as a figure unafraid to address difficult topics. She has consistently advocated for women’s rights and often aligns her public messaging with broader global movements.
Larsson has also contributed to philanthropic efforts, including performances at charity events and global benefit concerts. She performed at the opening and closing ceremonies of the UEFA Euro 2016 tournament and took part in the Global Citizen Live event in 2021, using her voice to bring awareness to global health and climate change issues. These actions have helped to broaden her impact beyond music, positioning her as a socially conscious entertainer with global influence.
As of 2024, Zara Larsson has released four international studio albums and multiple EPs. Her discography includes a long list of platinum-certified singles across Europe, North America, and Australia. She has received multiple Swedish Grammis Awards, MTV Europe Music Awards, and Nickelodeon Kids’ Choice Awards, in addition to dozens of nominations across international platforms. Her ability to balance commercial pop success with a distinct personal voice has made her one of the most prominent Scandinavian artists of her generation.
Larsson’s career trajectory—from child talent show winner to internationally recognized pop powerhouse—illustrates a combination of natural talent, strategic collaboration, and bold individuality. With her ongoing commitment to both music and advocacy, she continues to build a legacy that extends well beyond hit singles and award ceremonies. As she enters the next chapter of her career, Larsson remains an artist to watch not only for her vocal talent but for the clarity of purpose she brings to her work.
Complete List Of Zara Larsson Songs From A to Z
A Brand New Day (with BTS) – BTS World: Original Soundtrack – 2019
Ain’t My Fault – So Good – 2017
All the Time – Poster Girl (Japanese Deluxe Edition) – 2021
Ammunition – Venus – 2024
Bad Boys – 1 – 2014
Can’t Hold Back – 1 – 2014
Can’t Tame Her – Venus – 2024
Carry You Home – 1 – 2014 / Uncover EP – 2015
Cash Me Out – Allow Me to Reintroduce Myself EP – 2013
DarkSide – Allow Me to Reintroduce Myself EP – 2013
Feature Photo: Alice Cooper Paul Mann-Shutterstock.com
After more than half a century, Alice Cooper has reunited in the studio with the core lineup of his original band for the first time since 1973. Their long-awaited collaboration has resulted in The Revenge of Alice Cooper, scheduled for release on July 25 via earMUSIC. According to Cooper, the process of making the record felt surprisingly natural—like picking up right where they left off after Muscle of Love. “It was like this was the next album we were meant to make. It just clicked,” Cooper said from his home in Phoenix.
Producer Bob Ezrin, who has worked with Cooper since the early days, noted how familiar the dynamic remained among the band members. He remarked that despite aging and maturing, the group’s chemistry hadn’t changed. “When they’re together, it’s as if time rewinds. The way they talk, joke, and play music—it’s all still there,” Ezrin explained.
The 14-track project features guitarist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith, with the late Glen Buxton honored through two songs. One track, “What Happened to You,” grew out of a riff preserved on a tape Buxton and Dunaway recorded years ago. Another, “Return of the Spiders 2025,” is a reworked version of a song from Easy Action, originally released in 1970. The album also includes a remix of “Titanic Overunderture” from the band’s 1969 debut Pretties For You, and a fresh take on the Yardbirds’ “I Ain’t Done Wrong,” a staple from their earliest days as the Spiders in Phoenix.
The first single, “Black Mamba,” will debut April 22 on Cooper’s syndicated radio show Alice’s Attic. Featuring a guest appearance by Robby Krieger of The Doors—who has known Cooper since the late ’60s—the track came together organically during a jam session. Dunaway recalled that the song started spontaneously as they warmed up in the studio. “It took shape quickly—before we knew it, we had something slithery and dangerous, like the snake it’s named after,” he said.
Ezrin described “Black Mamba” as the turning point in the album’s development. “That was when it hit me—we’re really doing this. It had that strange, theatrical energy we had back in the ’70s. Alice was fully in character. The music had bite and grit. It sounded like us again,” he said. Cooper added that the song’s unexpected direction made them all laugh—and then keep going. “This wasn’t my solo album,” he emphasized. “We all had a voice. That’s what made it special.”
Work on the album had been simmering for years. Since the group’s 1974 breakup, they had gradually reconnected through a series of events and projects. Their split wasn’t fueled by hostility, Cooper explained—it was more of a natural drift than a dramatic falling out. “We were apart, but we never completely cut ties,” he said. Dunaway added that the unity they once had has long outlasted any disagreements.
The reunion had been building for more than a decade. Bruce and Smith took the stage in 1988 at the launch of Cooper’s restaurant in Phoenix. All surviving members performed together during their Rock and Roll Hall of Fame induction in 2011. That rekindled connection led to songwriting contributions on three of Cooper’s solo albums: Welcome 2 My Nightmare (2011), Paranormal (2017), and Detroit Stories (2021). The group even played a surprise set in 2015 at a Dallas record store to celebrate Dunaway’s memoir—an event later released as Live from the Astroturf.
In 2017, Bruce, Dunaway, and Smith joined Cooper on select UK tour dates. Dunaway described the experience as a family reunion more than a professional gathering. “We didn’t need to reintroduce ourselves. It just felt like home,” he said. When Cooper and Ezrin later proposed doing a full album, the original group jumped in. “We’ve had songs floating around for years,” Dunaway said. “It just felt like the right time to bring them to life.”
The songwriting process was collaborative from the start. Bruce, Dunaway, and Smith each came in with dozens of compositions. Bruce was impressed by how much his bandmates had grown as writers. “This isn’t the same old dynamic. Everyone’s bringing strong material now. It’s a battle of the songwriters—in a good way,” he said. Cooper agreed, noting that the darker tone and heavier sound of the original lineup brought out a different voice in him. “I sing differently with them. It’s not a solo act—it’s a true band again.”
The group made a conscious choice not to over-edit themselves. While Cooper and Ezrin normally make precise decisions in the studio, they let the songs evolve naturally with the band. “About 70 percent of a song would go where we expected,” Cooper said, “but the other 30 percent—those weird, wild turns—were what made it feel alive.” That spirit of spontaneity defines the entire album.
To fill the void left by Glen Buxton, the band brought in Nashville-based guitarist Gyasi Hues, who was suggested by music store owner Mike Grimes. Though initially unsure about finding someone to step into Buxton’s role, Dunaway and Smith were won over by Hues’ performance. Ezrin said the new addition didn’t try to replace Buxton but instead honored his legacy with skill and reverence. Additional contributions came from Rick Tedesco and others, adding layers to the sound without compromising its essence.
Recording sessions for The Revenge of Alice Cooper took place over several years in multiple cities, including Nashville, Phoenix, Los Angeles, Glendale, and Toronto, where Cooper recorded his vocals. The effort reflects both the logistical complexity and the collaborative energy that drove the project from start to finish.
While nothing has been confirmed about a full tour to promote the album, Cooper hinted at the possibility of special appearances in select cities. “We might hit a few key places and do club sets,” he said. “Nothing too heavy. But we never say never.” Bruce and Dunaway expressed readiness if the call comes. “Alice says the word, and I’m there,” Bruce said. “We’re always up for it.”
Though framed as a reunion, no one is calling this the end. Cooper himself said he doesn’t view the album as a one-time event. “I’ve got so many projects—solo stuff, Hollywood Vampires, charity bands—but this band? I’ll always make time for this band.”
The Revenge of Alice Cooper is available now for pre-order. Here is the complete track listing:
“Black Mamba”
“Wild Ones”
“Up All Night”
“Kill The Flies”
“One Night Stand”
“Blood On The Sun”
“Crap That Gets In The Way Of Your Dreams”
“Famous Face”
“Money Screams”
“What A Syd”
“Inter Galactic Vagabond Blues”
“What Happened To You”
“I Ain’t Done Wrong”
“See You On The Other Side”
“Return of the Spiders 2025” (bonus track)
“Titanic Overunderture” (bonus track)
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Peter Frampton was born in Bromley, Kent, England, and began his journey into music at a young age, inspired by a musical household and early exposure to instruments like the banjolele and guitar. By the time he was a teenager, his prodigious talent was already clear. He joined his first professional band, The Herd, at age sixteen, quickly gaining attention for his guitar skills and photogenic appeal, which earned him the nickname “The Face of 1968” in British pop media. Though The Herd achieved moderate success in the UK, Frampton was eager to stretch his artistic boundaries, which led to the formation of the blues-rock outfit Humble Pie with Steve Marriott of Small Faces fame.
Humble Pie gave Frampton a broader creative canvas and exposed him to American audiences. The band’s early records, such as As Safe As Yesterday Is and Rock On, fused hard rock with soul and blues influences. However, Frampton left the band in 1971 to pursue a solo career, desiring more artistic control and the ability to explore a softer, more melodic side of rock. His initial solo albums—including Wind of Change (1972) and Frampton’s Camel (1973)—showcased his songwriting and guitar abilities but met only modest commercial success.
Everything changed in 1976 with the release of Frampton Comes Alive!, a double live album that would not only redefine his career but become one of the most successful live records in music history. Featuring energetic performances of “Show Me the Way,” “Baby, I Love Your Way,” and “Do You Feel Like We Do,” the album captured the raw enthusiasm of his live shows and made innovative use of the talk box effect, which became his sonic trademark. The album topped the Billboard 200 for ten weeks, sold over eight million copies in the U.S. alone, and turned Frampton into an international superstar.
At the height of his fame, Frampton graced magazine covers and sold out arenas worldwide. However, the rapid ascent came with challenges. His 1977 follow-up, I’m in You, achieved commercial success—reaching No. 2 on the Billboard 200 and spawning a hit title track—but was seen by critics as overproduced. A near-fatal car accident in the Bahamas and a poorly received appearance in the 1978 film adaptation of Sgt. Pepper’s Lonely Hearts Club Band derailed his momentum. By the early 1980s, his commercial fortunes had declined, though he remained respected in the industry for his musicianship and integrity.
Throughout the 1980s and into the 1990s, Frampton continued to release albums and tour, though on a smaller scale. He experienced a resurgence in 1987 when his longtime friend David Bowie invited him to join his Glass Spider Tour as lead guitarist. Frampton had attended school with Bowie, and the tour helped reintroduce him to a new generation of fans. He released Peter Frampton in 1994 and followed it with Frampton Comes Alive II in 1995, capitalizing on the legacy of his classic live performances.
In 2006, Frampton released Fingerprints, an all-instrumental album that earned him his first Grammy Award for Best Pop Instrumental Album. The record featured collaborations with a range of top-tier musicians, including Hank Marvin, Warren Haynes, and Charlie Watts. This achievement reaffirmed his reputation as a master guitarist capable of transcending genres. His later albums, such as Thank You Mr. Churchill (2010) and Hindsight (2016), offered mature, introspective songwriting and continued to draw praise from critics.
Frampton revealed in 2019 that he had been diagnosed with inclusion body myositis (IBM), a degenerative muscle disorder. In response, he launched the Finale – The Farewell Tour, a celebration of his decades-long career. That same year, he released All Blues, an album of blues covers that topped the Billboard Blues Albums chart. In 2021, he released Frampton Forgets the Words, a follow-up to Fingerprints, featuring instrumental renditions of songs by artists like David Bowie, George Harrison, and Lenny Kravitz.
Over the course of his career, Frampton has released 18 studio albums, five live albums, and numerous compilations. His influence stretches across rock, pop, and blues, and he remains admired for his melodic guitar work, emotional phrasing, and genuine approach to songwriting. Despite the ups and downs of fame, Frampton has maintained a loyal fanbase and earned a place as one of the most respected guitarists of his generation.
In addition to his music, Frampton has been involved in various philanthropic causes, especially those related to health and education. His personal struggles have informed his work with muscular disease awareness, and he has used his platform to raise funds and visibility for research. His 2020 memoir, Do You Feel Like I Do?, provided a candid look at his life, offering fans a deeper understanding of his artistic journey and personal resilience.
Peter Frampton’s career is a testament to endurance, reinvention, and love for the craft. Whether performing in stadiums or small venues, his focus has always remained on delivering heartfelt music and impeccable musicianship. He has turned personal trials into creative triumphs and has remained humble through decades of shifting industry trends.
What makes Frampton so beloved is not just his technical skill but his sincerity. Audiences have long connected with the emotional honesty of his performances, from the joyful anthems of his breakout years to the contemplative work of his later career. His signature use of the talk box is more than a gimmick—it’s an extension of the personality and warmth he brings to his guitar.
Though his condition has limited his ability to tour, Frampton has said he will continue to record for as long as possible. His legacy is already secure, not only through the millions of albums sold but through the respect of his peers and the admiration of generations of listeners. His work lives on not just in his recordings but in the influence he has had on countless musicians who followed.
Complete List Of Peter Frampton Songs From A to Z
A Thousand Dreams – Thank You Mr. Churchill (Non North America Edition) – 2010
Above It All – Now – 2003
All Blues (Miles Davis) – All Blues – 2019
All Down To Me – Acoustic Classics – 2016
All I Wanna Be – Live In Detroit – 2000
Almost Said Goodbye – Frampton Comes Alive! II – 1995
All Eyes on You – Premonition – 1986
All I Want to Be (Is by Your Side) – Frampton Comes Alive! – 1976
All I Want To Be (Is By Your Side) – Acoustic Classics – 2016
All I Want to Be (Is By Your Side) (Live Acoustic) – Peter Frampton (2000 re-issue) – 1994
All I Wanna Be (Is By Your Side) – Wind of Change – 1972
All Night Long – Frampton’s Camel – 1973
Alright – Wind of Change – 1972
An Eye for an Eye – The Art of Control – 1982
Apple of Your Eye – Frampton – 1975
Are You Gonna Go My Way (Lenny Kravitz, Craig Ross) – Frampton Forgets the Words – 2021
Asleep at the Wheel – Thank You Mr. Churchill – 2010
Avalon (Bryan Ferry) – Frampton Forgets the Words – 2021
Baby, I Love Your Way – Acoustic Classics – 2016
Baby I Love Your Way – Live In Detroit – 2000
Back to Eden – The Art of Control – 1982
Back to the Start – When All the Pieces Fit – 1989
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