Billie Eilish and Spanish singer Rosalia will drop their long-awaited single this week.
According to the "Bad Guy" singer's social media accounts, "Los Vas A Olvidar" will drop Thursday (January 21st) at 9a.m. PT.
Eilish captioned the cover art and a short video clip with, "You guys have been waiting for this."
The song will be a part of the HBO series Euphoria's Part Two: Jules soundtrack.
Although by decade's end Jimmy Page was on top of the rock food chain leading Led Zeppelin -- he still looks back fondly on his pre-fame days as an early-'60s session guitarist. Page, who contributed he distinctive solos on Donovan's classic singles "Sunshine Superman" and "Hurdy Gurdy Man," was also on board playing rhythm guitar behind Pete Townshend on the Who's 1965 debut single, "I Can't Explain."
During a chat with GQ, Page recalled, "Pete plays lead and, by God, does he play the lead on 'I Can't Explain.' Again, this only took a couple of takes, but you can imagine what the energy was like in that room, being in an enclosed space playing along with the Who. I wasn't really needed or necessary, but it's okay to talk about those things now because Pete's fine with it. And he knows he played absolutely magnificently."
Page went on to say that session players were paid well -- and part of the gig was keeping your mouth shut about whose records you were on: "You didn't go around talking about it. I would get the recording date, turn up and I literally wouldn't know who was going to come in the door. Sometimes I would recognize the person, but more often than not I had no idea. It wasn't your business. You were contracted to do what you did and that's all."
Page said that the need to deliver on cue was constant: "If you were a young session musician and you mucked it up or made a mistake, so you've got to do another take. . . that means 15 minutes' overtime for everybody in the studio. You probably wouldn't be asked back. But I didn't think about the pressure at the time, I didn't even consider it. I found it really exhilarating to do these sessions and bring something to the party. Some guys couldn't hack it. Maybe their nerves got the better of them, but I always treated it as fun."
Jimmy Page told us that due to his offbeat musical interests, there was literally nothing he couldn't handle during his session-for-hire days: "Because I had such eclectic tastes. As a teenager, I was listening to classical music, I was listening to Indian music -- and Arabic music -- as much as I was country blues, which is, like, the acoustic guitar, and city blues with electric guitar, and bottleneck, etc. -- or slide, we'll call it slide, not bottleneck, or slide guitar. All of them styles I was taking on board. So. . . But when I started doing studio dates, because I had quite extensive roots, it wasn't just in one area -- it was right across the board. It put me in good stead. I was seven years younger than anybody else who was playing there at that time that I went in there and was excepted in and welcomed in, really."
AUDIO: JIMMY PAGE ON ECLECTIC MUSIC TASTES LEADING TO SESSION WORK
The Edge's guitar contributions to U2 have been ranked and rated by Guitar.com, which has posted a list of the "Top 20 Greatest Guitar Moments." Topping the list is "The Fly" from 1991's watershed Achtung Baby album, followed by 1987's "Bullet The Blue Sky" from the mega-platinum, The Joshua Tree, and the Top Three rounded out by that album's opening track, "Where The Streets Have No Name."
Prior to listing The Edge's Top 20 most essential moments on record, Guitar.com, posted, "At the heart of their sound, U2's guitarist has undergone his own process of constant reinvention. But even as his gear stash has grown from a couple of guitars, a handful of pedals, a Vox and some gaffa tape to become a touring rig that looks like a Guitar Center warehouse, he's stayed a step ahead of his imitators, managing to refine but never jettison the simplicity and directness of his playing."
The intro went on to read, "The Edge has often referred to being 'at odds' with the guitar; and has characterized his playing as a "struggle or a fight" with the instrument. Here, we choose 20 battles he most definitely won, some against all the odds, among an exhaustive back catalogue of sonic explorations."
When we last caught up with The Edge, he told us that in many ways -- as the band's primary instrumentalist -- he's responsible for the sound design surrounding the band: "Most of U2's songs, the kind of arrangement tonalities, are created by the guitar sounds, so it kinda falls to me to be able to recreate most of the studio sounds live, or at least -- if not the same sound as what we had going in the studio -- something that is as good or better."
The Edge says he's looking forward to experimenting with new guitar sounds in the studio: "My guitar playing has been fairly minimalist over the years -- I like to try and make as few notes as I can get away with, y'know, create as big an effect as I can, to really explore what guitar could be, y'know, and really push the boundaries of what guitar in a rock n' roll band can sound like."
The Edge's Top 20 "Greatest Guitar Moments" as ranked by Guitar.com:
1. "The Fly" - Achtung Baby, 1991
2. "Bullet The Blue Sky" - The Joshua Tree, 1987
3. "Where The Streets Have No Name" - The Joshua Tree, 1987
4. "Pride (In The Name Of Love)" - The Unforgettable Fire, 1984
5. "Beautiful Day" - All That You Can't Leave Behind, 2000
6. "Until The End Of The World" - Achtung Baby, 1991
7. "I Will Follow" - Boy, 1980
8. "Even Better Than The Real Thing" - Achtung Baby, 1991
9. "Sunday Bloody Sunday" - War, 1983
10. "Bad" - The Unforgettable Fire, 1984
11. "New Year's Day" - War, 1983
12. "Gone" - Pop, 1997
13. "Unknown Caller" - No Line On The Horizon, 2009
14. "Zooropa" - Zooropa, 1993
15. "Love Is Blindness" - Achtung Baby, 1991
16. "A Sort Of Homecoming" - The Unforgettable Fire, 1984
17. "Desire" - Rattle And Hum, 1988
18. "With Or Without You" - The Joshua Tree, 1987
19. "Mysterious Ways" - Achtung Baby, 1991
20. "One" - Achtung Baby, 1991
AUDIO: THE EDGE DESCRIBES HIS GUITAR PLAYING IN U2
AUDIO: THE EDGE SAYS HE'S RESPONSIBLE FOR U2'S SOUND
TRZTN has released a new track called "Hieroglyphs" from his soon-to-be-released album, Royal Dagger Ballet. The song features Karen O, while the new video stars dancer Victoria Dauberville.
Pitchfork.com reports that TRZTN's real name is Tristan Bechet. He first worked with Karen O on the Where the Wild Things Are soundtrack in 2009.
TRZTN said, "Without holding back, I embarked on a phantasmagorical way of production—sculpting sound more than composing conventionally. I recorded clangs and digital white noise. I re-shaped her voice, deformed the structure, and resampled her own vocals creating the main staccato vocal theme. The track disintegrates and falls back together like the push and pull of a rubber band stretching."
Royal Dagger Ballet will be released on Friday (Jan. 22nd). Other special guests on the project include Paul Banks of Interpol and Muzz, Jonathan Bree, YESH, and Eiko Hara.
Ron McGovney, Metallica's first bassist, took to Twitter to post the band's original business card. He captioned the photo, "Original Metallica business card. The phone number was the one I had in my bedroom in 1979. I moved to our rental house two doors down in 1981 and took the number with me. That house was where Metallica started. I lived in a condo 1983-1987 and had that same number."
McGovney was only a member of Metallica during the year of 1982.
The new live performance video for Greta Van Fleet's single "Age Of Machine" has been released. Their recorded version of the song will be included on their upcoming sophomore album, called The Battle At Garden's Gate, which will be released on April 16th.
Josh Kiszka recently recently told Radio.com, "We wanted to create a cinematic album. It's like, 'what movie would this album score?' Well, it would score 'The Battle at the Garden's Gate.'"
Sam Kiszka added, "We had time to reassess what world the album is and how it lives in all these different spots. We were able to take a step back from that for a while . . . We went in and recorded the two new songs that we felt captured the aesthetic of the album."
The Battle At Garden's Gate follows up Greta Van Fleet's 2018 debut album Anthem Of The Peaceful Army.
Foo Fighters have just released "Waiting On A War," their second video from the upcoming album, Medicine At Midnight, which drops on February 5th. The video follows the band's lead clip from the set, "Shame Shame."
Dave Grohl spoke about the song in a statement issued last week, which reads in full:
As a child growing up in the suburbs of Washington DC, I was always afraid of war. I had nightmares of missiles in the sky and soldiers in my backyard, most likely brought upon by the political tension of the early 1980's and my proximity to the Nation's Capitol. My youth was spent under the dark cloud of a hopeless future.
Last fall, as I was driving my 11 year old daughter to school, she turned to me and asked, 'Daddy, is there going to be a war?' My heart sank in my chest as I looked into her innocent eyes, because I realized that she was now living under that same dark cloud of a hopeless future that I had felt 40 years ago. I wrote 'Waiting On A War' that day.
Everyday waiting for the sky to fall. Is there more to this than that? Is there more to this than just waiting on a war? Because I need more. We all do. This song was written for my daughter, Harper, who deserves a future, just as every child does
Dave Grohl told us not long ago why it's important for the band to be engaged with what's happening in the world: "Before we were ever in this band, we were American citizens, we were human beings, and there's some things that are important to us outside of the band, like the future of the country and the future of the environment and the world that our children have to live in in 15 or 20 years. And it's our responsibility to do what we can to try to better that."
AUDIO: FOO FIGHTERS' DAVE GROHL ON BEING ENGAGED WITH THE WORLD