Slipknot Mark Summer’s Last Stand Tour With ‘Custer’ Live Video

Slipknot recently wrapped up their joint Prepare for Hell tour with Korn but the masked metal act will continue to support their "devastating" new record .5: The Gray Chapter with a North American trek called Summer's Last Stand, where Corey Taylor and company will hit the nation's amphitheaters with Lamb of God and Bullet for My Valentine in tow. To celebrate their just-announced tour, Slipknot shared a live video of .5's "Custer" filmed live from their Knotfest this past October.

Post by Slipknot.

During a Prepare for Hell performance at London's Wembley Arena this January, Korn were joined onstage by members of Slipknot for a surprise cover of Beastie Boys' Ill Communication single "Sabotage." In a Q&A session with fans after announcing Summer's Last Stand, Taylor discussed how the Beasties cover happened.

"Well, me and Jonathan [Davis] did not come up with that idea, actually. That was [Korn bassist] Fieldy's idea," Taylor told fans (via Blabbermouth). "We had been kinda joking about doing something together at one of the shows, and Fieldy was, like, 'Why don't we just do 'Sabotage'?' We all kinda dug it, we got together, we jammed it out, and the rest is history."

The Summer's Last Stand tour will kick off July 24th at West Palm Beach, Florida's Cruzan Amphitheater and loop around the country before concluding September 5th at Dallas' Gexa Energy Pavilion. Tickets for the tour are on sale now.

Summer's Last Stand
July 24 - West Palm Beach, FL @ Cruzan Amphitheater
July 25 - Tampa, FL @ MidFlorida Credit Union Amphitheater
July 26 - Atlanta, GA @ Aaron’s Amphitheater at Lakewood
July 28 - Detroit, MI @ DTE Energy Music Theatre
July 29 - Darien, NY @ Darien Lake Performing Arts Center
July 31 - Saratoga Springs, NY @ Saratoga Performing Arts Center
August 1 - Wantagh, NY @ Nikon at Jones Beach Theater
August 2 - Hartford, CT @ Xfinity Theatre
August 4 - Boston, MA @ Xfinity Center
August 5 - Holmdel, NJ @ PNC Bank Arts Center
August 6 - Pittsburgh, PA @ First Niagara Pavilion
August 8 - Toronto, ON @ Molson Amphitheater
August 11 - Washington, DC @ Jiffy Lube Live
August 12 - Virginia Beach, VA @ Farm Bureau Live
August 14 - Indianapolis, IN @ Klipsch Music Center
August 15 - Chicago, IL @ First Midwest Bank Amphitheater
August 16 - St. Louis, MO @ Hollywood Casino Amphitheater
August 19 - Denver, CO @ Red Rocks Amphitheater
August 21 - Salt Lake City, UT @ USANA Amphitheater
August 24 - Vancouver, BC @ Rogers Arena
August 26 - Concord, CA @ Concord Pavilion
August 28 - Las Vegas, NV @ MGM Resort Festival Lot
August 29 - Phoenix, AZ @ Ak-Chin Pavilion
August 30 - Albuquerque, NM @ Isleta Amphitheater
September 2 - Austin, TX @ Austin 360 Amphitheater
September 4 - Houston, TX @ Cynthia Woods Mitchell Pavilion
September 5 - Dallas, TX @ Gexa Energy Pavilion

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Jack White Performs With Q-Tip at Sold-Out Madison Square Garden Gig

Jack White's sold-out gig at New York's Madison Square Garden Friday night turned into an all-star affair as the Lazaretto rocker brought out A Tribe Called Quest's Q-Tip during the encore. On top of that, Run the Jewels, White's opening act and the duo behind Rolling Stone's Best Rap Album of 2014, had their own surprise guest in store for the MSG stage: Rage Against the Machine's Zack de la Rocha.

After performing a dozen-song set that jumped between solo work, White Stripes tracks and a pair of Raconteurs tunes, White opened up his encore with Lazaretto's "The Black Bat Licorice." Midway through the song, White stepped to the microphone to introduce "New York's own" Q-Tip, who joined White for the remainder of the song.

White's band then seamlessly locked into the groove of "Excursions," the opening track off A Tribe Called Quest's landmark The Low End Theory, with White painting the performance with some six-string flourishes and giving the track a more rock-edge. The Q-Tip appearance came two nights after White recruited Loretta Lynn for his Nashville concert. 

However, the biggest surprise of the night came before the majority of the Madison Square Garden crowd even hit their seats as Zack de la Rocha made a rare live appearance to help El-P and Killer Mike deliver their collaborative Run the Jewels 2 cut "Close Your Eyes (And Count to Fuck)."

While this isn't the first time the Rage Against the Machine rapper had joined Run the Jewels onstage – he also performed with the duo at their November 2014 gig at Los Angeles' Echoplex – it was perhaps the first time de la Rocha has held a mic in front of a New York audience since Rage headlined the Rock the Bells fest on Randalls Island in 2007.

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Watch A Thousand Horses Go ‘Girls, Girls, Girls’ in New Video

With their debut single "Smoke" lighting a fire at radio, country-rock outfit A Thousand Horses have released a video for the woozy ballad. And it takes a page right out of Mötley Crüe's "Girls, Girls, Girls," with a stripper working it in a way you don't often see in country videos. (Watch the burlesque show above.)

It's not all T&A, however. The Stones-y sounding band, along with its three female backup singers, performs in an alley outside the club and has a few cold ones while playing pool inside. The big reveal? The dancer's name is "Smoke." Hey now.

The track is the first single off A Thousand Horses' upcoming album Southernality, produced by Dave Cobb (Sturgill Simpson) and due June 9th on Republic Nashville, under the Big Machine Label Group umbrella.

"These songs are written about being from the south. It's a southern personality thing," says guitarist Bill Satcher. "Looking at the whole album, that's the common thread between all the songs. It's the attitude. It's why we sound the way we sound and play what we play and do what we do."

The video was shot in a dive bar in East Nashville, across the street from a theater that was converted into a studio where artists like Johnny Paycheck once recorded.

A Thousand Horses — one of Rolling Stone Country's Artists You Need to Know — will join Darius Rucker on tour in May.

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Music Industry Execs Sees Vinyl Rise as More ‘Fad’ Than ‘Explosion’

Last year's 52 percent jump in vinyl sales has been fantastic for record stores — "and growing more important by the day," Carl Mello, senior buyer for New England music chain Newbury Comics tells Rolling Stone — but the record industry isn't quite so enthusiastic. The vinyl explosion has been so pronounced that pressing plants can't keep up with demand, putting retailers in the awkward position of running out of hit LPs such as Taylor Swift's 1989, Sam Smith's In the Lonely Hour and even Jack White's Lazaretto, which sold more than 86,000 copies and was 2014's best-selling vinyl album.

But managers and record labels clearly see vinyl as a fad — vinyl makes up just 6 percent of overall album sales, according to Nielsen Soundscan. This may explain why record executives aren't rushing to prop up the roughly 15 remaining record plants in the U.S. "It's a great marketing opportunity. While we do expect growth to continue, it'd be hard to project exactly what that's going to be," says Candace Berry, general manager of Universal Music Distribution, part of the world's biggest record label. "I know a lot of people in the business who've gotten back into vinyl the last couple years. But I'm not sure they're playing their vinyl every single day like they're listening on their device."

This sentiment of "we love vinyl but . . . " is common among top record executives. "We welcome it. It's a sexy, cool product. It represents an investment in music that's an emotional one," says Tom Corson, president of Sony-owned RCA Records, home of Usher, Justin Timberlake and Sia. "It is a small percentage of our business. It's not going to make or break our year. We devote the right amount of resources to it, but it's not something where we have a department for it."

That disconnect — fans who love old records but listen to music via streaming or downloads — has made the industry skeptical of going all-in on vinyl. (CD sales dropped 15 percent last year and digital tracks were down 12.5 percent after a decade of growth; by contrast, on-demand streaming, via Spotify and others, jumped 54 percent.) "On a personal level, I love it. I grew up with vinyl. I have a record player. I buy records. It sounds better to me," says Jonathan Daniel, co-manager of Fall Out Boy, Sia and Wavves. "On a business level, I don't think it means anything. It's so small relative to Fall Out Boy or Sia or any of our artists. It's still not a meaningful part of their business."

In Omaha, Nebraska, Robb Nansel operates a longtime indie label, Saddle Creek, as well as a small, vinyl-only record store. He says vinyl has been consistent for years — LPs recently made up 50 percent of overall sales for Pujol, one of the label's newer acts — which helps cover for decreasing CD sales. But he doesn't expect the LP boom to continue: "It's always going to be a niche. It's great, obviously, that people are buying records. Not to be negative about it, but I feel like it's going to peak, if it hasn't already.

"From a label perspective, it's expensive. You've got to ship it. There are environmental concerns," Nansel continues. "But we love vinyl. It's our preferred format."

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How the Music Industry Learned to Love Leaks

In 2004, when U2's How to Dismantle an Atomic Bomb leaked online two weeks earlier than planned, the band's label scrambled to contain the damage by hastily streaming it on MTV's website. Those weeks are an eternity compared with how Björk and Madonna handled their music's premature arrivals over the past month: After Björk's Vulnicura leaked in mid-January, her label rushed it onto iTunes within three days, and Madonna did the same with six Rebel Heart tracks after a December leak. "We were running as fast as we could to get the music ready," says Guy Oseary, Madonna's manager. "She had the foresight to say, 'I don't care, I'm putting this out now.' "

In the old days of CDs, warehouses and record stores, album leaks could be far more destructive. In the age of Spotify and iTunes, though, leaks can help build buzz. Madonna called her leak, traced to a suspected hacker in Israel, "deeply devastating," but the Rebel Heart tracks sold a solid 146,000 downloads. (Reps for Björk's label, One Little Indian, had no comment.) "Obviously, it's not what you want to happen," says Tom Corson, president of RCA Records, which has dealt with leaks for artists like Kelly Clarkson. "But one of the good byproducts of digital distribution is that, when necessary, you can recover more quickly."

Almost every star has to deal with leaks these days, from Nicki Minaj to Fall Out Boy, whose American Beauty/American Psycho recently appeared online before its scheduled release. "It's kind of like if you open the present before Christmas," says FOB co-manager Jonathan Daniel. "But it's less of a big deal than ever."

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Hear Carrie Underwood’s ‘Waiting All Day for a Super Bowl Fight’

Two days before the Big Game, the NFL has released Carrie Underwood's "Waiting All Day for a Super Bowl Fight," Super Bowl XLIX's official theme song.

Stacked high with synthesizers, power chords and banjo, "Waiting All Day for a Super Bowl Fight" is a reworked version of NBC's Sunday Night Football theme, which Underwood began singing during the 2013 season. Previous Sunday Night Football vocalists include Faith Hill, who logged six years with the show, and Pink, who originated the theme song in 2006. Although the lyrics tend to change with each season, all versions of the theme song are based on Joan Jett and the Blackhearts' 1988 hit,  "I Hate Myself for Loving You," much in the same way that ABC's Monday Night Football theme was based on a revised recording of Hank Williams, Jr.'s "All My Rowdy Friends Are Coming Over Tonight," from 1989 to 2011. 

Hill made several appearances at the Super Bowl between 2007 and 2012, performing the theme song before kickoff. It's unclear if Underwood will also perform live, although the country singer — who grew up rooting for the Dallas Cowboys — is a self-professed football junkie. 

Listen to Underwood's Super Bowl XLIV theme below, and catch the game Sunday at 6:20 p.m. ET on NBC.

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Missy Elliott Will Join Katy Perry for Super Bowl Halftime Performance

Missy Elliott will make a "surprise appearance" during Katy Perry's Super Bowl XLIX halftime show performance, according to The Associated Press, citing an anonymous "person familiar with the plans." (Consider the surprise ruined.) The rapper made a cameo on a remix of Perry's 2011 single "Last Friday Night (T.G.I.F.)," though it's unclear which track she'll perform. The show takes place Sunday, February 1st at the University of Phoenix Stadium in Glendale, Arizona.

Perry seemed to tease Elliott's involvement during a news conference on Thursday, stating that the halftime show would feature an "old school" female artist. "When you hear the first ring of the chord," Perry said, "I think jaws will drop and faces will melt." The singer also revealed a planned appearance from singer-songwriter Lenny Kravitz, whom she called "an incredible rock & roll icon, a guitar god." When asked if the duo would perform Kravitz' Grammy-winning cover of the Guess Who's "American Woman," Perry responded, "We'll see."

In her newly revealed Billboard cover story, Perry offers a backstage close-up of her Super Bowl preparation – and the pressure that comes with such a high-profile gig. "Everyone has been asking me if I'm going to be nervous before the halftime show," she says. "I'm like, I'm fucking human. This is the biggest event of my career."

She also mentions studying recent halftime show gigs – including Madonna in 2012 ("I like Madonna for the graphic effects she brought") and Beyoncé the following year. "[Beyoncé] brought so much strength, so much sassiness and just the right amount of sex," she says. "She's an icon. Elvis, The Beatles, Michael Jackson – she's in that category. I'm not. She's like five notches above me, and those levels are compounded in difficulty."

She even reached out via text message to Bruno Mars – who unexpectedly teamed up with Red Hot Chili Peppers at last year's Super Bowl – for advice. "Hello, exclusive Super Bowl club member!" she wrote. "I was wondering if you are in L.A. at all this month and would have tea with a sister who is about to throw up with nervousness re: [football emoji]. I've heard about your process through our managers, but am wondering if you had more insight on important things like, spray tan the night before or three nights before? JK, or maybe not!"

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Jay Z Enters High-Quality Music Streaming Industry

After tackling the world of music, nightclubs, basketball team ownership and athlete representation, Jay Z has now set his sights on entering the gauntlet of high-quality streaming music. The New York Times reports that Jay Z has put in a $56 million offer for Aspiro, a Swedish company that controls high-quality streaming services Wimp and Tidal. The bid already receiving preliminary approval from the Aspiro board.

A spokesperson for Sean Carter Enterprises (SCE) confirmed that Project Panther Bidco, a company owned by SCE, was pursuing a possible acquisition of the Swedish music service. "Aspiro is a media technology company in the forefront of the ongoing redefinition of music consumption," the SCE spokesperson tells Rolling Stone. "Through the subscription services WiMP and TIDAL, Aspiro offers a complete experience of higher HiFi quality. The platform encompasses audio, video and integrated editorial features.

"Panther believes that the recent developments in the entertainment industry, with the migration to media streaming, offers great potential for increased entertainment consumption and an opportunity for artists to further promote their music," the statement continued. "Panther's strategic ambition revolves around global expansion and up-scaling of Aspiro’s platform, technology and services."

The SCE spokesperson concludes that the Aspiro acquisition is still subject to shareholder approval and therefore "there is no guaranty that a transaction will take place." The New York Times reports that Wimp had 512,000 paying users according to its last quarterly report. The number of Tidal users was not revealed but subscribers pay a monthly fee of $20 for the service, double that of Spotify's Premium rate.

Like Pono, Neil Young's upstart digital music player, both Wimp and Tidal offer lossless files, making for more high-quality sound than that of the usual streaming services. With streaming continuing to dominate a music industry hit by record low sales, Jay Z is firmly positioning himself in this burgeoning business should the Aspiro acquisition be completed.

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Miranda Lambert, Dierks Bentley Lead ACM Awards Nominations

With eight total nominations, including one for top prize Entertainer of the Year, Miranda Lambert leads all nominees at this year's 50th annual Academy of Country Music Awards. The nominations where announced this morning via Twitter.

Dierks Bentley, whose album Riser was both a commercial and critical success, follows his former touring partner Lambert with seven nominations, including Album of the Year and Male Vocalist. In a twist, a tie in the latter category necessitated six — instead of the customary five — nominees. Jason Aldean, Luke Bryan, Eric Church, Brad Paisley and Blake Shelton join Bentley in the Male Vocalist race. The Song of the Year category also resulted in a six-nominee field: Kenny Chesney's "American Kids"; Lambert's "Automatic"; Bryan's "Drink a Beer"; Kacey Musgraves' "Follow Your Arrow"; Church's "Give Me Back My Hometown"; and Bentley's "I Hold On."

The ACM nominations are often distinguished by the inclusion of newer artists: Brandy Clark, with little radio airplay, is up for Female Vocalist of the Year, Brothers Osborne and Maddie & Tae compete in Vocal Duo of the Year, and the Cadillac Three appear in the Vocal Event of the Year category for their anthem "The South."

But it's the Entertainer of the Year category that best illustrates the ACMs' wild card reputation. Garth Brooks, who returned last year from a lengthy retirement, and Florida Georgia Line, who released just their second album in October, are both up for Entertainer, against perennial nominees Lambert, Bryan and Aldean. The exclusion of Shelton, who co-hosts the ceremony with Bryan, is a shocker, as is the snub of Church, who has mounted one of the year's most in-demand tours.

Both the Entertainer category and the New Artist category winners are determined by fan voting. The final three New Artist nominees will be announced later, with voting to determine the victor beginning a few days before the show.

The Academy of Country Music Awards air Sunday, April 19th on CBS from AT&T Stadium in Texas.

Here is the full list of nominees:

Entertainer of the Year
Jason Aldean
Garth Brooks
Luke Bryan
Miranda Lambert
Florida Georgia Line

Male Vocalist of the Year (TIE)
Jason Aldean
Dierks Bentley
Luke Bryan
Eric Church
Brad Paisley
Blake Shelton

Female Vocalist of the Year
Brandy Clark
Miranda Lambert
Martina McBride
Kacey Musgraves
Carrie Underwood

Vocal Duo of the Year
Brothers Osborne
Dan + Shay
Florida Georgia Line
Maddie & Tae
The Swon Brothers

Vocal Group of the Year
Lady Antebellum
Little Big Town
Rascal Flatts
The Band Perry
Zac Brown Band

Album of the Year
Old Boots, New Dirt – Jason Aldean
Pain Killer – Little Big Town
Platinum – Miranda Lambert
Riser – Dierks Bentley
The Outsiders – Eric Church

Single Record of the Year
"American Kids" – Kenny Chesney
"Automatic" – Miranda Lambert
"Dirt" – Florida Georgia Line
"Drunk on a Plane" – Dierks Bentley
"I Don't Dance" – Lee Brice

Song of the Year (TIE)
"American Kids" – Kenny Chesney
"Automatic" – Miranda Lambert
"Drink a Beer" – Luke Bryan
"Follow Your Arrow" – Kacey Musgraves
"Give Me Back My Hometown" – Eric Church
"I Hold On" – Dierks Bentley

Songwriter of the Year
Rodney Clawson
Ashley Gorley
Luke Laird
Josh Osborne
Chris Tompkins

Video of the Year
"American Kids" – Kenny Chesney
"Cop Car" – Keith Urban
"Drunk on a Plane" – Dierks Bentley
"I'm Not Gonna Miss You" – Glen Campbell
"Somethin' Bad" – Miranda Lambert with Carrie Underwood

Vocal Event of the Year
"Lonely Tonight" – Blake Shelton featuring Ashley Monroe
"Meanwhile Back at Mama's" – Tim McGraw featuring Faith Hill
"Somethin' Bad" – Miranda Lambert with Carrie Underwood
"The South" – The Cadillac Three featuring Florida Georgia Line, Dierks Bentley and Mike Eli
"This Is How We Roll" – Florida Georgia Line featuring Luke Bryan 

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Bjork Likens Making Emotional ‘Vulnicura’ to ‘Open-Heart Surgery’

Björk's latest album, Vulnicura, was such a personal experience that she compared it to opening herself up — literally — in a new interview with The New York Times. "You feel like you're having open-heart surgery, with knives sticking in, so that everything is out, and you have this urgency and immediacy," she said. Regarding the overwhelming resolution she felt to make the album, she said, "You feel like you belong to another power. It's not yours. It's like the universal heartbreak energy current...that is taking you hostage."

The singer explained that the album was largely influenced by her separation with her romantic partner, artist Matthew Barney — with whom she has a daughter — and that the album's first six songs are a chronological account of the breakup. "Usually, I don't really talk about my private life, but with this album there's no two ways about what it is," she said. "I separated during this album, ended a 13-year relationship, and it's probably the toughest thing I've done." Barney declined to comment for the Times.

The experience, she said, inspired a fight-or-flight instinct within her. "Weirdly, I think the survivalist in me kicked in," she said. "When you're going through the most difficult things emotionally, the scientist kicks in to try to make sense of it all. Part of me wants just to hide it, and part of me is going, 'No — this could be a document of the heartbreak of the species, and could even be helpful to someone."

But before the album could come out, she experienced another kind of heartbreak when Vulnicura leaked online. So her instincts told her to put it online immediately — much to the chagrin of her label. "All the record companies around the world were just stubborn about keeping to the plan," she said. "I'm not just, 'Break the rules to break the rules,' but it had a strange smell to it. The chances people were going to wait a month and a half were zero." Ultimately, she decided that, despite the protests of her business partners, she should release the album because of its emotional content.

Next up for the singer, other than a run of intermittent New York dates, is her long-in-the-works exhibition at the city's Museum of Modern Art. The art institution had approached Björk with the idea of the exhibition back in 2000, but she didn't agree to it until 2012, telling a curator that she saw herself as a musician and not a visual artist.

Björk said she took many efforts to make the experience unique. Only 100 visitors will be allowed in at a time, wearing headphones, and will walk through rooms focusing on each of the singer's adult solo albums, while looking at the costumes and videos that surrounded each period and listening to audio commentary written by her occasional collaborator, poet and novelist Sjon. Björk recorded some of the narration herself along with Icelandic director and actress, Margrét Vilhjálmsdóttir. Björk described the whole experience as somewhat a "cacophony of sound."

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