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As it draws closer to the tenth anniversary of Faith No More’s most recent shows with vocalist Mike Patton, drummer Mike Bordin has claimed the singer is “unwilling” to perform with the band again.
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While Faith No More last performed two dates in 2016 with Chuck Mosley, Patton hasn’t fronted the group since the conclusion of their Sol Invictus Tour the year prior. However, while a global live return was slated to take place in 2020, the COVID-19 pandemic forced the band to cancel these dates.
The band were again scheduled to take to the stage in 2021, though Patton’s mental health issues (which he later explained was a diagnosis of agoraphobia) necessitated their cancellation also.
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In a new interview with the Let There Be Talk podcast, Bordin has expanded on the situation, discussing how their 2021 shows saw six months of instrumental rehearsing before Patton was set to join the band ahead of their live return.
“It came to pass that when the gear was in the truck, when it was rolling to Chicago, 36 hours before we were supposed to be on stage, and our guy [Patton] doesn’t show for the rehearsal, the one rehearsal that we’re gonna do,” Bordin recalled. “And we go to go see him and see what’s going on. ‘What the hell’s going on here? Our gear’s rolling already to the gig.’ And it was very clear that he was unable at that point to physically do it.
“We made the decision that, ‘Look, we’ve gotta support our guy,’” he adds. “It’s gonna be a s–t storm canceling f–king 75 shows, but none of us wants to be the guy that breaks his back and forces him to do something that he’s not in the position to be able to do. It wasn’t even an argument. The only argument was, ‘How the f–k did we logistically do this? Because we have to.’ I mean, we did support him in our way, and whether that’s perceived or not is beyond — I can’t control it.”
Since the cancellation of the dates, little positive information about a live return for Faith No More has been revealed. While Patton has been performing with Mr. Bungle regularly since their large-scale return to the live stage in 2022, Faith No More’s Roddy Bottum describing the band’s current status as being on a “semi permanent hiatus” in October 2024.
“So it’s my take, my position, my statement on it is that he’s gone from being unable to do the shows to clearly being unwilling to do shows with us,” Bordin continued. “And that’s heavy. That’s a big difference. That’s a big difference. And we haven’t really had much dialogue on it. … It doesn’t feel great to me. It honestly kind of hurts my feelings a little bit, but that’s personal. That’s a private thing. It’s business.
“We were never gonna force somebody to do something that they weren’t able to do,” he adds. “And now, as I say, it looks like it’s more really about being willing to do it.”
Sean Ono Lennon is confident that the One to One: John & Yoko documentary “is going to be very revelatory for everybody who sees it. For sure.”
Present company excepted, however. “I do think I know my parents pretty well,” says Ono Lennon, who co-executive produced the film (along with Brad Pitt and others) and served as its music producer. “I knew about that time. It was only a couple years before I was born. My mother spoke about it a lot. I know a lot about their story, including (this time period), so I would not frame it that I learned something necessarily.”
Other viewers, however, will get a thorough look into one of the most dramatic 18-month periods in the couple’s lives — which, for anybody who knows about them, is saying something — from their move to New York City’s Greenwich Village in 1971 to the One to One benefit concert at Madison Square Garden on Aug. 30, 1972, Lennon’s only full-length performances after the Beatles’ 1970 split. One to One premiered at the Venice Film Festival last August, also showing at the Telluride Film Festival and Sundance Film Festival before its IMAX rollout on April 11. One to One opens wide in theaters starting April 18 and will stream on Max later this year.
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Directed by Kevin Macdonald and distributed by Magnolia Pictures, One to One employs a montage-style collection of footage and sound recordings (some provided by the John Lennon Estate) to present Lennon and Ono primarily in their own words, without third-party narration. “Certainly Kevin and myself were sitting around in a room for quite a few weeks, scratching our heads — not in a bad way — deciding what direction we wanted to go in,” says co-director and editor Sam Rice-Edwards. “We didn’t want to make just another Beatles or Lennon documentary; there’s plenty out there, and this needed to be original and fresh.
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“Kevin came up with the concept of presenting the world as John and Yoko would have seen it in 1972; we felt if you did that, and we also spent time with them, in a way, that was really what people hadn’t done before. We found moments where we felt like the camera wasn’t on them…which gave us a fresh look at John and Yoko and allowed (the viewer) to be with them in a way you hadn’t before.”
Ono Lennon — who acknowledges that left to his own devices “I probably would’ve made a live concert film” — felt the approach was “really effective in telling their story. It’s not easy to maintain such a complex story, but (One to One) does it very beautifully. If it was narrated it would’ve been more of an op-ed. This is a true documentary in that it allows the subjects to tell their own story.”
Using other period footage — snippets of TV shows, commercials, news footage, etc. — to provide a context for the time, One to One finds Lennon and Ono embroiled in strident political activism, including an association with Jerry Rubin, that made them targets for FBI surveillance and, ultimately, attempts to deport Lennon by the administration of then-President Richard Nixon. “It’s really a beautiful story because you realize they were willing to risk everything, their careers and even their personal safety, to fight for their political and moral beliefs,” Ono Lennon says. But, he adds, only to a point.
“I think an important message to glean from the film has to do with the way my parents reacted to the more extreme elements of the radical activists they were working with at the time,” he explains. “At a certain point they realized the people they we working with, or some of them — Jerry Rubin specifically — were proposing to do things that were not necessarily aligned with my parents’ philosophy of pacifism and peace and love. You witness the trajectory of my parents experimenting with the radical groups and then realizing that they’d sort of gone too far, and they had to pull back — not just because it became dangerous for them but because people who were arguing for potentially violent activism were basically becoming as bad as the people they were fighting, which is really an important message for today, too.”
Ono Lennon says that as a youth his mother spoke frequently about that particular time, including being “freaked out” about the FBI wiretaps on the couple’s phones. “My early childhood was chaotic, obviously, and a lot of stuff that was happening in the film, the echoes were still resounding throughout my childhood,” he recalls — which includes the FBI planting an agent with the family after Lennon’s assassination in 1980. He adds that Ono “never believed activism was worth losing your life over. She always felt like it’s important to protect yourself so you can keep on doing good. If you’re not alive, what’s the point? Some people glamorized certain revolutionary kinds of characters willing to resort to violence. She never admired those people, and I don’t, either.”
The grail find for the One To One documentarians was an unlabeled box of reel-to-reel tapes that held recordings of Lennon and Ono’s phone calls, which they began making when they discovered their lines were bugged. The conversations, with manager Allen Klein as well as a variety of employees and friends, were discovered by Simon Hilton, vice president of Multimedia Projects for the Lennon Estate, amidst the Lennon archives in New York. Rice-Edwards recalls that “we knew pretty quickly this was really important. Listening to John and Yoko, or the people around them, when they thought they weren’t being listened to was extremely revealing about who they were. And a lot of what they were talking about in the phone calls was relevant to events we were covering in the film.” Ono Lennon, meanwhile, considers the tapes “a pot of gold,” for the film as well as for himself.
The One to One concert materials have been released before, but Ono Lennon and the filmmakers went to great pains to correct shortcomings from the original source material, which was initially released as a TV special directed by Steve Gebhardt and featured appearances by some of the other acts, including Stevie Wonder, Roberta Flack and Sha Na Na. “There was some really crazy camera work,” Rice-Edwards says. “A lot of people working on the film, the camera people, were really high, so we had to work with that. But there was some really great stuff as well. That fact it was shot on film originally — in lovely 35mm — helped, and it was certainly good. We just treated it in the right way and made it the best we could.”
On the audio side, Ono Lennon found that “the recordings themselves were quite chaotic…. There were mics that were misplaced, and a lot of mics were moved between the matinee and evening shows. It seems like things were done in an improvised and last-minute manner. But we didn’t mind because it was more fun to have the challenge. I don’t want to give away too many of the tricks. I think there’s a reasonable amount of movie magic in there, let’s put it that way; it was a great time, technologically speaking, for us to reinvestigate the mixes. We have more tools than ever to bring out the best and turn down what’s undesirable. It did take a lot of work to get it where it is now, but that was part of the joy of doing it.”
He did come away with favorites among the performances, including sharpening the mixes of “Cold Turkey” and “Come Together” and hearing his father’s performances of the song “Mother.” “To see him sing that song, which is a very different style from Beatles music…His voice is so incredible and so moving,” Ono Lennon says. “It’s kind of shocking, honestly, and it’s very sweet as well…very vulnerable, but also powerful at the same time.”
His mother’s aggressive rendition of “Don’t Worry Kyoko” also resonated with him. “She had several styles (of music), but ‘Don’t Worry Kyoko’ is the more challenging, punk rock stuff…there wasn’t even (punk rock) yet. Some people might not have liked listening to it on the stereo, but when you see the show and see the audience live, it really does translate. It’s all about the energy, and the groove is there. It’s undeniably rockin’.” He adds that Ono, retired at 92, was not deeply involved with One to One but is “not unhappy with anything” about the film.
ONE TO ONE: JOHN & YOKO
Courtesy of Magnolia Pictures
Ono Lennon has finished work on a One to One soundtrack release slated for Oct. 9 in several formats and packages. The full two concerts will definitely be part of it, while additional performance content from the period — such as songs from Lennon and Ono’s stint on The Dick Cavett Show during September 1971 — is currently being discussed and licensed.
“Whatever we can put on we’re putting on,” says Ono Lennon, who’s also finishing work on a new album of his own. “I think we’ll put on basically everything that would make sense to put on it…to satisfy the hardcore fans.”
Wisp performed for the first time at Coachella, and she shares her experience of debuting her new single “Get Back to Me” at the festival, her favorite part of Coachella and more!
Are you excited for her new single? Let us know in the comments below!
Tetris Kelly:So from the Hot Hard Rock songs No. 10. Like, you were top 10 there, and now playing Sonora stage with so many other amazing rock acts. How was it?
Wisp:It was amazing. I had so much fun.
And then, what is that … the vibe over there? Because I feel like in that specific stage, like everybody’s just having a good time.
Yeah, I was so relieved that I was playing Sonora stage because it’s so enclosed and it’s dark, and I feel like that’s the perfect vibe for my music. So it was really fun. It was packed, too.
Yeah, it was packed for your set. And I mean, you also debuted some new music.
I did!
So how was it to play “Get Back to Me”?
It was amazing. I love that song, and I’m really excited for it to come out.
And then, what have your fans felt when they were … how did you feel when they’re, like, did you debut a new song and like, they’ve never heard it before?
Yeah, I don’t know. Sometimes it’s hard to tell what people are thinking, but I feel like they were pretty well received today, so I’m happy.
And then, how has Coachella been, in general? Because this is your very first Coachella.
It is.
So, like, how has it been walking around? What’s been your favorite part?
It’s been so fun. My friends are here as well. So we’ve seen a couple sets yesterday. Clairo was my favorite. She was amazing.
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Bruce Springsteen dropped the second preview of his upcoming sprawling Tracks II: The Lost Albums collection on Thursday morning (April 17). The beat-heavy mid-tempo song “Blind Spot” will appear on the box set as part of the Streets of Philadelphia Sessions, a 10-song LP that a release noted has long been referred to by fans as the Boss’ “loops record.”
Opening with a sampled voice grunting over a mechanical-sounding drum beat, it finds Springsteen singing, “We inhabited each other/ Like it was some kind of disease/ I thought that I was flyin’/ But I was crawlin’ on my knees,” in a haunted cadence. The chorus leans into the notion that it’s the things we miss in love that are our undoing: “Everybody’s got a blind spot that brings ’em down/ Everybody’s got a blind spot they can’t get around.”
“That was just the theme that I locked in on at that moment,” Springsteen said in a statement about the song exploring doubt and betrayal in relationships that became the thesis for the Philadelphia Sessions. “I don’t really know why. [Wife and bandmate] Patti [Scialfa] and I, we were having a great time in California. But sometimes if you lock into one song you like, then you follow that thread. I had ‘Blind Spot,’ and I followed that thread through the rest of the record.”
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The song was written following the rock icon’s 1994 Oscar- and Grammy-winning song “Streets of Philadelphia,” which accompanied the 1993 Tom Hanks and Denzel Washington movie Philadelphia, Jonathan Demme’s legal drama about an attorney suing his former employer for his firing after the firm discovers he’s gay and has AIDS.
The never-released companion album “found Springsteen exploring an interest in the rhythms of mid-1990s contemporary music, and particularly West Coast hip-hop,” according to the release. “Initially poring over CDs of drum samples at his home in Los Angeles, Springsteen began making his own loops with engineer Toby Scott — which formed a rhythmic base he’d build on with keyboards and synthesizers. Both a revelation and departure in his home recording, Springsteen is the primary instrumentalist throughout most of Streets of Philadelphia Sessions.” Among those lending an assist during the sessions were his 1992-1993 touring band, as well Scialfa, E Street band members Soozie Tyrell and Lisa Lowell.
Though it never saw the light of day, the album was completed, mixed and slated for release in the spring of 1995, then shelved when Springsteen opted instead to reunite with the E Street Band after a seven-year hiatus. “I said, ‘Well, maybe it’s time to just do something with the band, or remind the fans of the band or that part of my work life,’” the Rock and Roll Hall of Famer said. “So that’s where we went. But I always really liked Streets of Philadelphia Sessions’… during the [2017-2018] Broadway show, I thought of putting it out [as a standalone release]. I always put them away, but I don’t throw them away.”
Earlier this month, Springsteen announced the June 27 release of Tracks II, which will contain seven previously unheard full-length records. The 83-track collection will “fill in rich chapters of Springsteen’s expansive career timeline — while offering invaluable insight into his life and work as an artist,” according to a release, which noted that some of the LPs got so far as the mixing stage before being put on hold.
Among the albums included are the lo-fi LA Garage Sessions ’83, described as a “crucial link” between the stripped-down Nebraska and the rocking Born in the U.S.A., the sonically experimental Faithless film soundtrack he wrote for a movie that was never made, the country-leaning Somewhere North of Nashville and the border tales LP Inyo, as well as the “orchestra-driven, mid-century noir” Twilight Hours.
The box set covering the years 1983-2018 was previewed by the first single, the turbulent “Rain in the River.” The Lost Albums will be issued in a limited-edition 9-LP set , as well as 7-CD and digital formats, with distinctive packaging for each, along with a 100-page cloth-bound hardcover book with rare archival photos. A 20-track compilation, Lost and Found: Selections From The Lost Albums, will be released on June 27 on two LPs and one CD.
Listen to “Blind Spot” below.
Ethel Cain’s Preacher’s Daughter debuts at No. 1 on Billboard’s Top Alternative Albums chart dated April 19 nearly three years after the album, her debut, was first released.
Preacher’s Daughter earned 39,000 equivalent album units in the U.S. in the week ending April 10, according to Luminate. Of that sum, 37,000 units are via album sales, begetting a No. 1 debut on the all-genre Top Album Sales list.
In fact, nearly all of its sales are vinyl copies, as Preacher’s Daughter benefits from its first-ever vinyl release, 35 months after it first premiered on May 12, 2022. That count also leads to the set debuting at No. 1 on the Vinyl Albums chart.
Cain becomes the first act to rule Top Alternative Albums in their first appearance on the tally since Olivia Rodrigo’s Guts premiered atop the Sept. 23, 2023, list. As Rodrigo’s was not her debut album, Cain is the first to do so with a first release since The Smile, with A Light for Attracting Attention, in July 2022.
Preacher’s Daughter also begins at No. 2 on the Top Rock & Alternative Albums and Top Rock Albums charts, and on the all-genre Billboard 200, it bows at No. 10.
In addition to its album sales, Preacher’s Daughter also earned a total of 2.8 million official U.S. streams in the week ending April 10.
The chart-related activity around Cain is her first, with the majority centered around Preacher’s Daughter, though she also debuts on the Billboard Artist 100 chart at No. 4.
Cain followed Preacher’s Daughter with the nine-song ambient/drone release Perverts earlier this year, with a new album, Willoughby Tucker, I’ll Always Love You, also expected in 2025.
Zak Starkey has spoken out about his apparent firing from The Who after a nearly 30-year run, saying in a statement that he was shocked to hear that, according to reports, singer Roger Daltrey had taken issue with his playing at a recent Royal Albert Hall show in London.
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“I’m very proud of my near 30 years with The Who,” Starkey said in a statement on Wednesday (April 16) according to People. “Filling the shoes of my Godfather, ‘uncle Keith’ [Moon] has been the biggest honor and I remain their biggest fan. They’ve been like family to me.”
The veteran session and live drummer and son of former Beatles timekeeper Ringo Starr and his first wife Maureen Starkey noted that he suffered a “serious medical emergency” in January when he was treated for blood clots in his right calf. “This is now completely healed and does not affect my drumming or running.”
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In a statement to The Guardian earlier this week, a spokesperson for the group said: “The band made a collective decision to part ways with Zak after this round of shows at the Royal Albert Hall. They have nothing but admiration for him and wish him the very best for his future.”
The shows in question took place on March 18 and 20 in benefit of the Teenage Cancer Trust, a charity that singer Roger Daltrey has long been a patron of. According to Metro, Daltrey — who recently revealed that he is losing his hearing and eyesight — appeared to get frustrated about Starkey’s playing and stopped several songs mid-performance after saying he was having trouble hearing the band over Starkey’s drums.
During the band’s first-ever run through the show-ending Who’s Next track “The Song Is Over,” Daltrey reportedly told the audience, “To sing that song I do need to hear the key, and I can’t. All I’ve got is drums going boom, boom, boom. I can’t sing to that. I’m sorry guys.”
In his statement, Starkey expressed shock that “anyone” would find fault with his playing that night. “After playing those songs with the band for so many decades, I’m surprised and saddened anyone would have an issue with my performance that night, but what can you do?” Starkey said in seeming reference to the Metro report. “I plan to take some much needed time off with my family, and focus on the release of ‘Domino Bones’ by Mantra Of The Cosmos with Noel Gallagher in May and finishing my autobiography written solely by me. 29 years at any job is a good old run, and I wish them the best.”
Starkey, who first began playing with the Who in 1996 when they got back together for a reunion tour on which they played their 1973 double album Quadrophenia in its entirety, seemed to predict his sacking in an Instagram post on Saturday, in which he said he thought Daltrey, 81, was “unhappy” with him.
“HEARD TODAY FROM INSIDE SOURCE WITHIN WHOSE HORSES NOSE THAT TOGER DAKTREY LEAD SINGER AND PRINCIPAL SONGWRITER OF THE GROUP UNHAPPY WITH ZAK THE DRUMMER’S PERFORMANCE AT THE ALBERT HALL A FEW WEEKS AGO,” he wrote alongside a pic of him sitting next to a smiling Daltrey. “IS BRINGING FORMAL CHARGES OF OVERPLAYING AND IS LITERALLY GOING TO ZAK THE DRUMMER AND BRING ON A RESERVE FROM ‘THE BURWASH CARWASH SKIFFLE ‘N’ TICKLE GLEE CLUB HARMONY WITHOUT EMPATHY ALLSTARS’ THIS HAS BEEN CONFIRMED BY WHOSE LONG TIME MANAGER WILLYA YOUWONTYOUKNOW.”
Starkey got his start behind the kit when the Who’s original drummer and close family friend, Keith Moon, gave him a drum set for his eighth birthday. In addition to his longtime gig with the band, he has also played with Oasis, Johnny Marr, Paul Weller and Graham Coxon and also performs with the new supergroup Mantra of the Cosmos, which features Happy Mondays/Black Grape members Shaun Ryder and Bez and Andy Bell of Oasis and Ride.
Actress Daryl Hannah has spoken about the issues faced by husband Neil Young in his journey to becoming an American citizen, claiming “every trick in the book” was used to delay the process.
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Hannah, who has been married to Young since 2018, made the claims in a new interview with the BBC, alleging that the process was delayed purposefully. “They tried […] every trick in the book to mess him up, and made him keep coming back to be re-interviewed and re-interviewed,” Hannah explained. “It’s ridiculous [because] he’s been living in America and paying taxes here since he was in his 20s.”
Indeed, Young was born in Toronto in 1945 but relocated to the U.S. in 1966. In a 1975 interview with Rolling Stone, Young admitted that he had lived in the country illegally until he obtained a green card in 1970.
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In November 2019, Young discussed some of the delays his citizenship application had faced, noting that a policy update from earlier that same year meant that his previous use of marijuana had not seen him meet the standard for “good moral character.”
“When I recently applied for American citizenship, I passed the test,” Young wrote at the time. “It was a conversation where I was asked many questions. I answered them truthfully and passed. Recently however, I have been told that I must do another test, due to my use of marijuana and how some people who smoke it have exhibited a problem.”
Ultimately, Young was granted U.S. citizenship in January 2020, though he would later relocate to Canada that same year.
Recently, Young’s criticism of the U.S. government has seen him share fears that he may be blacklisted from a return to the U.S. based upon the “latest actions of our US government.”
“When I go to play music in Europe, if I talk about Donald J. Trump, I may be one of those returning to America who is barred or put in jail to sleep on a cement floor with an aluminum blanket,” Young wrote on his website on April 1. “If I come back from Europe and am barred, can’t play my USA tour, all of the folks who bought tickets will not be able to come to a concert by me.”
“If the fact that I think Donald Trump is the worst president in the history of our great country could stop me from coming back, what does that say for Freedom?” he added. “I love America and its people and its music and its culture.”
Despite these comments, Hannah noted that she doesn’t share the same fear that Young might be detained at the border, largely due to his status as a U.S. citizen.
“They’ve been detaining people who have green cards or visas – which is hideous and horrifying – but they have not, so far, been refusing to let American citizens back in the country, so I don’t think that’s going to happen,” she stated.
Tracy Chapman’s 1988 self-titled debut album comes charging back onto Billboard’s album charts (dated April 19), following its vinyl reissue on April 4. The Billboard 200 chart-topper and Grammy Award-winning effort had been out-of-print on vinyl in the United States since at least the early 1990s.
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In the week ending April 10 in the U.S., Tracy Chapman sold 14,000 copies across all configurations, with about 13,500 on vinyl.
On the Top Album Sales chart, which launched in 1991, the set reenters at a new peak of No. 4. It also debuts on Vinyl Albums (No. 2) and Indie Store Album Sales (No. 3); and reenters Americana/Folk Albums (No. 4), Top Rock Albums (No. 10), Top Rock & Alternative Albums (No. 11, new peak), Catalog Albums (No. 12) and the Billboard 200 (No. 51). On the latter chart, the set – which spent a week atop the list in 1988 – reaches its highest position since 1989.
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Tracy Chapman yielded three Billboard Hot 100-charting songs in 1988: the Grammy-winning “Fast Car” (No. 6), “Talkin’ Bout a Revolution” (No. 75) and “Baby Can I Hold You” (No. 48).
The new vinyl reissue was prepared for release by Chapman and the album’s original producer, David Kershenbaum and sourced from an analogue master. It was released as a widely-available 180 gram black vinyl edition, along with three retailer-exclusive color variants (opaque deep red for Walmart, transparent orange for indie stores, and opaque orange for Urban Outfitters).
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.
Chapman’s album is one of seven debuts or reentries in the top 10 on the latest Top Album Sales chart, which is led by the debuting Preacher’s Daughter from Ethel Cain at No. 1. It’s her first No. 1 and chart entry. The 2022 album was released on vinyl for the first time on April 4, and in total, the set sold 37,000 copies for the week – nearly all from vinyl purchases.
Elton John and Brandi Carlile’s Who Believes in Angels? enters at No. 2 with 36,500 sold; ZEROBASEONE’s Blue Paradise starts at No. 3 with nearly 20,500 and Ariana Grande’s eternal sunshine rounds out the top five, falling 1-5 with 10,500 (down 83%).
Black Country, New Road’s Forever Howlong debuts at No. 6 (nearly 9,000), Djo’s The Crux starts at No. 7 (8,000), xikers’ House of Tricky: Spur bows at No. 8 (nearly 8,000), Sabrina Carpenter’s former leader Short n’ Sweet slips 6-9 (a little over 7,500; down 16%) and Kendrick Lamar’s chart-topping GNX falls 5-10 (about 7,500; down 19%).
Sleep Token earns its first No. 1 debut on Billboard’s Hot Hard Rock Songs chart, bowing atop the April 19-dated survey with “Caramel.” Released April 4, the track drew 11.2 million official U.S. streams, 30,000 in radio airplay audience and sold 3,000 downloads in the week ending April 10, according to Luminate. Sleep Token tallies […]
It starts with one … then two, then three, and eventually 2 billion. Linkin Park‘s “In the End” music video has officially surpassed the 10-digit view-count milestone two times over, becoming the band’s second visual to do so. Uploaded in October 2009, the “In the End” video finds the group’s iconic original lineup of Chester […]
