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KISS Look Back on 50 Years of ā€œRock and Roll All Niteā€ in New Vevo Footnotes Episode

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KISS cofounders Paul Stanley and Gene Simmons are marking the 50th anniversary of ā€œRock and Roll All Niteā€ with a new behind-the-scenes episode for Vevo Footnotes. The episode traces the song’s creation and long life as the band’s defining anthem, with Stanley recalling how the idea came from Casablanca Records president Neil Bogart. ā€œCasablanca President Neil Bogart brought up the idea of us writing an ā€˜anthem song,ā€™ā€ Stanley explains. ā€œAfter explaining the concept of a rallying song that would represent our connection to our fans, I went back to our hotel on Sunset Blvd. and came up with the chords, melody, and lyrics of the hook, which was ā€˜I wanna rock & roll all night and party every day.ā€™ā€

Simmons expands on the collaborative nature of the track, noting, ā€œIt was very much a collaborative effort, with Paul writing the chorus and me writing the verses that were pulled from a song I had previously written called ā€˜Drive Me Wild,’ which was actually a song about a car.ā€ He adds that friends, road crew, and fellow musicians were brought in to clap and sing, giving the recording its communal feel. The episode also captures the electricity of New York’s early rock and glam scenes, the chemistry that has powered KISS for decades, and rare footage from the 1987 film KISS eXposed. ā€œIt’s kind of a quintessential KISS song in our discography,ā€ Stanley says. ā€œThis song is such a big piece of our story. And it connects with people on all different levels across generations and generations of fans.ā€

Small-Town Country Swagger Meets Saturday-Night Chaos on Bailey Marie’s ā€œHonky Tonk Hallelujahā€

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A moment that could have ended quietly instead became fuel for a party-ready anthem as Bailey Marie releases her new single and music video ā€œHonky Tonk Hallelujah,ā€ now out on all streaming platforms. The song draws directly from a real-life incident tied to the legendary Coyote Joe’s, flipping potential disappointment into humor, grit, and celebration. ā€œWhen I got kicked out of school for singing at Coyote Joe’s, I could’ve written a sad song about it – but that’s not who I am,ā€ Bailey says. ā€œI wanted to turn it into something fun that people could sing and dance to. ā€˜Honky Tonk Hallelujah’ is my way of laughing through it all, celebrating the music, and reminding myself – and everyone else – to find joy even when things don’t go as planned.ā€

The track drops listeners straight into a small-town bar scene where faith, freedom, and loud music collide, carried by Bailey’s confident vocal and sharp, witty storytelling. The accompanying video leans fully into that energy, featuring social media personality Ginger Billy, whose humor and Southern charm add to the song’s playful spirit. Together, the song and video feel less like a statement and more like an open invitation, capturing the messy joy of late nights, loud choruses, and finding grace exactly where you’re told you shouldn’t.

Cut Copy Bring Dreamy Electronic Pop Stateside With ā€˜Moments’ and New ā€œBelong To Youā€ Video

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Cut Copy have returned to the U.S. in support of their new album ā€˜Moments,’ which is out now via Cutters Records / The Orchard. The band’s first full-length in five years, the album marks a confident new chapter, pairing emotional openness with the shimmering electronic pop sound they’ve refined over two decades. ā€˜Moments’ features some of the most detailed and revealing work of Cut Copy’s career, including fan favorites ā€œStill See Love,ā€ ā€œSolid,ā€ and ā€œWhen This Is Over.ā€

Alongside the tour, Cut Copy have also shared a new music video for ā€œBelong To You,ā€ a standout collaboration with indie-folk songwriter Kate Bollinger, featuring pedal steel guitar from Evil Graham Lee of The Triffids. Directed by Otium LaLiberte, the video stars Dan Whitford and Bollinger and leans into themes of observation and self-surveillance. ā€œI’ve always liked the concept of surveilling yourself, that there are parts of ourselves that are somehow inaccessible to the immediate conscious mind,ā€ LaLiberte says. Reflecting on the collaboration, band member Ben Browning adds, ā€œSomehow we thought this atmosphere could pair well with the glowing midnight feel of Belong to You… I love how their gentle performances guide us through a complex maze of duality and sinister surveillance.ā€

Chase Rice Brings Grit and Storytelling Home on ā€˜Circa 1943 – Live From Missoula’

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Chase Rice returns to the emotional core of one of his most personal songs with ā€˜Circa 1943 – Live From Missoula, Montana,’ a raw live recording captured in Big Sky Country. Recorded onstage, the performance places the song back in the landscape that inspired it, amplifying the rugged spirit at the heart of ā€œCirca 1943,ā€ a cinematic story of star-crossed lovers from Rice’s eighth studio album, ā€˜ELDORA,’ which is out now. Introducing the song from the stage, Rice calls it ā€œHands down my favorite song I’ve ever written in my entire life,ā€ before delivering the narrative in weathered vocals and smoky Americana tones. ā€œThis song is Montana,ā€ he adds, as the live setting gives the track a rough-edged, bar-band urgency.

Co-written with Wyatt McCubbin and Oscar Charles, ā€œCirca 1943ā€ was inspired by a visit to Superior, Montana, and real stories passed down through Rice’s family. The song sits at the heart of ā€˜ELDORA,’ a 12-track album written in a Colorado cabin and shaped by a solitary creative vision. Born in the afterglow of a career-defining performance at Red Rocks Amphitheatre, the record strips things back to their essentials, leaning into instinct, restraint, and the untamed authenticity of the American West. Recently, Rice also teamed up with Jack Daniel’s and the McLaren Formula 1 Team for a special performance ahead of the Austin Grand Prix, continuing a chapter defined by independence and hard-earned clarity.

Lord Vinheteiro Performs Queen’s “Bohemian Rhapsody” On Rubber Chickens…Wait…What?

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What starts as a visual joke quickly turns into a surprisingly thoughtful performance from Lord Vinheteiro, who swaps piano keys for an array of rubber chickens tuned to different pitches to perform Queen’s “Bohemian Rhapsody”. Lined up and organized with intention, each chicken is assigned a role based on melody, harmony, and mood, allowing familiar songs to emerge in full form. As always, Vinheteiro delivers the performance without breaking eye contact with the camera, letting the contrast between serious execution and ridiculous tools carry the humor.


Bill Nye Took on Morrissey With a Perfectly Deadpan ’90s Science Parody

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The closing credits of the 1994 ā€œMomentumā€ episode of Bill Nye the Science Guy delivered one of the show’s smartest musical jokes: a parody of Morrissey’s song ā€œThe More You Ignore Me, the Closer I Get.ā€ Retitled ā€œThe Faster You Push Me,ā€ the spoof reframed the original’s romantic misery as a lesson in physics, performed by a fictional artist named ā€œMomentisy.ā€ Sung in an unmistakable Morrissey-style croon, the parody leaned into melodrama while explaining momentum with straight-faced precision. It’s a perfect example of how Bill Nye’s end-credit songs blended sharp humor with real science, turning alternative rock angst into an unexpectedly memorable learning tool.


Editors Frontman Tom Smith Steps Into Solo Territory With New Single ā€œBroken Timeā€

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Nothing In The Dark Which Isn’t There In The Light,’ out now via Play It Again Sam. The song is the fourth release from the album, following ā€œLights Of New York City,ā€ ā€œLife Is For Living,ā€ and ā€œLeave.ā€ Speaking about the track, Smith explains: ā€œā€˜Broken Time’ is a song Iain and I wrote together in the studio, essentially from scratch. As like much of the record, love heals all ills and is the hope through harder times. A love that endures, an everlasting love, a love that has broken time.ā€

Best known as the voice of Editors, Smith turns inward on his solo debut, trading arena-sized urgency for an intimate, acoustic-led indie folk approach. Working closely with producer Iain Archer, the album focuses on emotional clarity, restraint, and human connection. From the minimalist ache of ā€œBroken Timeā€ to the cinematic sweep of ā€œLife Is For Living,ā€ the record explores memory, resilience, and fleeting intimacy, closing with ā€œSaturday,ā€ a quiet reflection that underlines Smith’s evolution as a songwriter stepping out on his own.

SOEN Unleash ā€œMercenaryā€ From New Album ā€˜Reliance’

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SOEN have released ā€œMercenary,ā€ the crushing second single from their new studio album ā€˜Reliance,’ out now via Silver Lining Music. The band’s seventh full-length sees vocalist Joel Ekelof and drummer Martin Lopez continuing to push deeper into the contrasts that define SOEN’s sound, moving fluidly between light and dark, heaviness and restraint. Honesty sits at the core of the album’s writing, where emotional gravity and raw power coexist without compromise. That balance is especially present on ā€œMercenary,ā€ which confronts inherited violence, betrayal, and the personal cost of belief. ā€œā€˜Mercenary’ is about the violence we inherit, which then sees hatred seeping into lives—and life—which in turn shapes generations,ā€ explains Ekelof. Lopez adds, ā€œIt also addresses betrayal, about how that can see us ā€˜crowning vultures into kings.ā€™ā€ Ekelof continues, ā€œAt its heart, ā€˜Mercenary’ speaks to the cost of belief,ā€ before Lopez concludes that ā€œmusically, it carries the essence of SOEN – heavy yet melodic and built on power and precision.ā€


Revis Return With Long-Awaited Sophomore Album ‘Killing Time’

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After more than two decades and several false starts, Revis have finally released their long-awaited sophomore album, ā€œKilling Time,ā€ via Lo-Fi Music. Produced by Justin Holman and Robert Davis, with additional production from Davis and consultation from legendary producer Michael Beinhorn, the album marks Revis’ first full-length follow-up to their early-2000s breakthrough. Previously released tracks include ā€œCool Blacktop,ā€ ā€œStardust (All Around Us),ā€ and the title track ā€œKilling Time,ā€ a lyrical reflection on the band’s long and uneven journey. The focus track ā€œHoney Castleā€ expands on those themes, with Holman describing it as an abstract meditation on desire, illusion, and the limits of happiness.

Formed by teenage friends Justin Holman and Robert Davis in Carbondale, Illinois, Revis rose quickly after relocating to Los Angeles, signing with Epic Records and releasing their debut album ā€œPlaces for Breathing.ā€ The record topped Billboard’s Heatseekers chart and produced radio hits including ā€œCaught in the Rainā€ and ā€œSeven,ā€ before years of lineup changes and stalled momentum followed. Aside from scattered singles and a brief comeback attempt in 2010, the band remained largely quiet until reuniting with drummer David Piribauer to release the EP ā€œBottles of Lightning.ā€ That reunion ultimately led to ā€œKilling Time,ā€ a record shaped by persistence, restraint, and hard-earned clarity, and widely seen as the strongest work of the band’s career.

Dokken Share Video For ā€œHard Rock Womanā€, A Long-Hidden Early Recording

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Dokken release a music video for their digital single ā€œHard Rock Woman,ā€ bringing renewed attention to an early recording from the band’s formative years. The track was originally recorded during Don Dokken’s earliest professional studio sessions and remained largely unavailable outside of a limited vinyl release tied to the archival collection ‘The Lost Songs: 1978-1981’.

ā€œIn a few blocks from my house there was a vintage music store called Drake’s Music,ā€ Don Dokken recalls, explaining how the recording came together after befriending its owner, Drake Levin. Levin arranged late-night studio time and brought in drummer Bill Lordan and bassist Rusty Allen, both of whom were playing with Robin Trower at the time. Together, they recorded ā€œHard Rock Womanā€ and ā€œBroken Heart,ā€ capturing an early snapshot of the sound and ambition that would later define Dokken’s legacy.