Ted Nugent Slams ‘Dumb F—’ Label Execs Who Bungled Damn Yankees


Ted Nugent knows who to blame for Damn Yankees‘ failed attempt at a third album – and he’s not afraid to call them out.

After a pair of successful LPs in the early ‘90s, the supergroup – featuring Nugent, Styx’s Tommy Shaw and Night Ranger’s Jack Blades – was poised to record a third album. However by the time the band was ready to hit the studio, grunge had invaded the world. As a result, record executives suggested Damn Yankees evolve their sound – something the rockers bristled with.

“If AC/DC goes into the studio, if somebody goes, ‘That sounds like your other stuff’ in a negative way, you might want to sucker punch that motherfucker,” Nugent declared during a recent conversation with UCR. “That’s who we are! Of course it sounds like us! We’re us you dumb fuck!”

READ MORE: Ted Nugent Albums Ranked Worst to Best

“We were let down by the de-balling of the third Damn Yankees album by presumed musical influences,” Nugent continued, adding his belief that the situation hastened Damn Yankees’ demise. “A couple of influences were so contrary to what the Damn Yankees believed in, that instead of arguing, we just went off with our next chapter of dreams.”

Ted Nugent: Damn Yankees Members Were ‘Eager and Horny’ to Return to Their Old Bands

Shaw recently said Damn Yankees was “pulling away at the seams” during the group’s final days. Nugent agreed with the assessment, albeit with a slightly different interpretation.

“Coming apart at the seams wasn’t like we weren’t getting along,” the guitarist noted. “Coming apart at the seams mean that we were eager and horny to pursue the foundation that brought us together in the first place. Styx, Night Ranger, Ted Nugent. That’s what brought us together.”

READ MORE: Tommy Shaw Says Damn Yankees ‘Wasn’t Meant to Be Forever’

With Damn Yankees suddenly feeling heavy influence from their record label, a return to their previous bands held extra appeal to the musicians.

“We want to go back and nurture and mine,” Nugent explained. “Mine like in gold mining you want to mine those musical solo dreams, or in the case of Styx and Night Ranger, of the band dreams.”

Rock’s Forgotten Supergroups

Here’s a rundown of would-be supergroups that the world at large has forgotten over the years.

Gallery Credit: Nick DeRiso





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Why Steve Stevens Refused Offer to Join David Lee Roth’s Band


Steve Stevens revealed he’d had artistic, spiritual and physical reasons for refusing to join David Lee Roth‘s solo band after the singer left Van Halen in 1985.

Stevens, Billy Idol‘s longtime guitarist, had already built up a friendship with Eddie Van Halen, which was one argument against taking part in Roth’s project.

In a recent interview with Guitar World, Stevens explained what else he felt was stacked up against the move.

READ MORE: Steve Stevens on the Eddie Van Halen Compliment That Michael Jackson Recycled

“Ed’s tone…I always looked at it as sacred ground,” he explained. “I can appreciate other guitar players, but I’ve never been one of those guys to mimic other players. I was approached to join David Lee Roth’s band initially, and I didn’t want to be Eddie part two, you know?”

He praised Steve Vai, who eventually took the job, saying: “I think [he] has a strong enough personality, and as a stylist, to make it his own. But I was in fear of falling into…hearing Dave’s voice and hearing Ed’s tone.”

Asked if he regretted rejecting Roth’s approach Stevens said: “Not really – by the time I met Dave I had already played with Eddie and hung out with him. I really liked the friendship and I just thought, ‘I’m not the right guy.’ And I didn’t want to leave Billy either.

“I was approached while we were finishing up Billy’s third album, Whiplash Smile, and I’m a committed band guy. I just thought, ‘It’s not the right thing for me.'” He added: “Plus, I’m too short – those guys are all tall!”

Billy Idol’s 2025 Album Will Return to His Punk Roots

Stevens also confirmed that Idol is working on his first new album since 2014, with a tentative release date in the coming year.

“In some respects it’s a return to the aggressive punk rock,” the guitarist reported. “Nobody does late ’70s, early ’80s punk better than Billy Idol. There’s a lot of bands that are influenced by that, so we might as well own it.”

He allowed that the record will feature “some incredible heartfelt ballads,” but added: “There’s a lot of experimental guitar sounds on it. We shied away from the keyboards, so it’s the same approach as Rebel Yell – to provide a soundscape, ideas and an environment that originally comes from the guitar. We’re really excited.”

You Think You Know Billy Idol?

Billy Idol Albums Ranked

A stage name like Billy Idol isn’t chosen just because it sounds cool.

Gallery Credit: Eduardo Rivadavia





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Art Garfunkel Admits He ‘Wanted to Hurt’ Paul Simon During Feud


With the hatchet finally buried, Art Garfunkel has opened up about his long standing feud with Paul Simon.

The famed folk rock duo have a tumultuous history, having broken up and reconciled several times during their career. The most recent discourse was sparked in 2015 when Garfunkel called his former bandmate a “jerk”, an “idiot” and a “monster” during an interview with U.K. outlet the Telegraph. While it certainly wasn’t the first time the musicians had traded barbs, it seemed to be the final nail in the coffin for their relationship. However, earlier this year the duo was able to end “years of estrangement with a lot of sweet candor,” as Garfunkel recalled during a recent interview with NME.

“Paul’s ex-wife, Peggy Simon, had moved into the place where I live, and their son, Harper, ran into me in the halls. I knew this was going to happen sooner or later,” Garfunkel explained of how the reconciliation came together. “Harper set up a lunch with Paul and I.”

READ MORE: Rock Feuds: Paul Simon vs. Art Garfunkel

The two old collaborators laid everything out on the table, leading Garfunkel to admit his own motives.

“Paul said to me, ‘Arty, it’s not that you spoke to the British press and that you didn’t do it well. I know you said you wanted to put spice into the image of Simon and Garfunkel. I know you felt that we were too conservative,’” the singer recalled. “Well, my idea of spice meant a certain candor that must have hurt Paul’s feelings. I realized; I did hurt his feelings.”

“He said, ‘I felt you wanted to hurt me. That’s what got me,’” Garfunkel continued. “And I thought, ‘That’s true’. I wanted to hurt him. The next thing I knew, I burst into tears.”

Reconciliation Was a ‘Wonderful Moment for Simon & Garfunkel’

Garfunkel further examined the emotion of the moment, noting how it felt to reconnect with his longtime friend.

“The admission of the truth is psychological. You give it up and admit that you wanted to hurt somebody,” he explained. “You’re touched by your own confession. And then there were hugs. It was a wonderful moment for Simon & Garfunkel. It basically ended the years of detachment.”

READ MORE: Top 10 Simon & Garfunkel Songs

The singer also revealed the foundation of the duo’s unique relationship.

“Paul’s very funny. The basis of the Simon & Garfunkel relationship is laughter and jokes – even more than music,” Garfunkel noted. “We’re both Lenny Bruce fans. We love Mike Nichols and Elaine May. We love Mel Brooks. Right from the beginning, we laughed all the time, and it was the source of our connection.”

Garfunkel’s new album, Father and Son, is out now.

Rock’s Greatest Duos





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U2 Drummer’s Disability Makes Counting ‘Like Climbing Everest’


U2 drummer Larry Mullen Jr. has revealed a learning disability that causes him to struggle with counting.

“I’ve always known that there’s something not particularly right with the way that I deal with numbers. I’m numerically challenged,” the rocker explained during a conversation with The Times. “And I realized recently that I have dyscalculia, which is a sub-version of dyslexia. So I can’t count [and] I can’t add.”

Dyscalculia is a learning disability that impacts a person’s capacity to comprehend all things number-related, including math, telling time and – most notably in Mullen’s case – reading music. As a result, the drummer often struggles while performing.

“When people watch me play sometimes, they say, ‘you look pained’. I am pained because I’m trying to count the bars,” Mullen said. “I had to find ways of doing this — and counting bars is like climbing Everest.”

READ MORE: 10 Best U2 Songs

Mullen was only recently diagnosed with dyscalculia, but he has been struggling with the issue for most of his life. In addition to music, he noted the “counting challenges” impacted his education as a child.

Mullen further addresses his struggle with dyscalculia in a new documentary called Left Behind. The film chronicles five mothers’ efforts to establish the first state school in New York City for children with dyslexia.

According to studies, dyscalculia affects roughly 5-8% of the U.S. population.

Is U2 Working on New Music?

Mullen wasn’t able to participate in U2’s celebrated 2023 residency at the Sphere as he recovered from surgery, but he’s back with the Irish band now as they prep their next album alongside producer Brian Eno.

“We’ve got [Mullen] in the studio,” guitarist the Edge reported during a recent conversation with BBC Radio 2. “He’s good. He’s taking it easy, but he’s back in the saddle on the drums [and] doing some recording with us. And so we’ll be doing a bit more of that before the end of the year.”

U2 Albums Ranked

U2 don’t inspire weak reactions in people. There are passionate U2 fans, and passionate U2 haters, and very little in between.

Gallery Credit: UCR Staff





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The Stories Behind All 12 ‘Friday the 13th’ Movies


Since slashing his way into horror movie lover’s hearts in 1980’s Friday the 13th, Jason Voorhees has killed somewhere between 163 and 20,000 people in his 12 big-screen adventures.

It’s a journey that has seen the hockey mask-wearing machete enthusiast mow down van after van full of horny drunk teenagers, cross blades with Freddy Krueger and travel to New York City, outer space and hell itself. Here are the best, scariest or funniest stories behind all 12 Friday the 13th movies.

Friday the 13th (1980)

Released on May 9, 1980, the first Friday the 13th was an unabashed attempt to duplicate the holiday-themed horror success of 1978’s Halloween. The movie was a giant success, earning nearly $60 million against a budget of less than $600,000, but film critics hated it. Gene Siskel, in particular, actively tried to sabotage the film’s success by openly breaking the generally accepted rules of newspaper reviews in rather amazing ways:

Read More: How Gene Siskel Tried to Sabotage the Original ‘Friday the 13th’

 

Friday the 13th Part 2 (1981)

Naturally, the big box office success of Friday the 13th guaranteed a sequel would be made as quickly as possible, with Part 2 arriving less than a year later. You may remember that Jason Voorhees wasn’t the killer in the first movie, and he almost wasn’t in the second either. Sean S. Cunningham, the producer and director of the first movie, planned to tell a completely different story with different characters the second time around. But the studio stepped in:

Read More: How Jason Almost Wasn’t the Villain in ‘Friday the 13th Part 2’

 

Friday the 13th Part 3 (1981)

Although Part 2 only made about one-third of what its predecessor did, that was still about 20 times what it cost to make, so sure enough the 3-D sequel Part 3 arrived the following year. Even with the arrival of Jason’s iconic hockey mask (he wore a burlap sack in Part 2), the formula was starting to wear thin. Changing shooting locales to an artificial, studio-set lake and prioritizing the 3-D effects over actual performances also took their toll:

Read More: How Jason Took a Big Wrong Turn With ‘Friday the 13th Part 3’

 

Friday the 13th: The Final Chapter (1984)

Jason Voorhees was well-established as an all-time movie bad guy by the time the fourth (and supposedly last, ha!) entry in the Friday the 13th series arrived in 1984. But the actor behind the hockey mask proved to be a noble hero when one of his co-stars was allegedly put in a dangerous situation by the filmmakers:

Read More: How Jason Saved the Girl in ‘Friday the 13th: The Final Chapter’

 

Friday the 13th: A New Beginning (1985)

Although the Friday the 13th movies remained highly profitable, some of the actors hired for 1985’s A New Beginning said they were surprised – and even disappointed – to learn the movie they had successfully auditioned for was not entitled Repetition, but instead was the fifth movie in the horror franchise:

Read More: How Actors Were Tricked Into Starring in a ‘Friday the 13th’ Movie

 

Friday the 13th Part VI: Jason Lives (1986)

Fans didn’t react particularly well to the twist of a “fake” Jason being responsible for all the murders in A New Beginning, so 1986’s Jason Lives not only brought the main man back in a glorious “lightning meets grave” sequence, it continued to hit all the right notes and delivered a classic monster movie that very well might be the best in the series:

Read More: Why ‘Friday the 13th Part VI’ is the Best Jason Movie Ever

 

Friday the 13th Part VII: The New Blood (1988)

The seventh Friday the 13th movie – in just eight years! – attempted to spice up the formula by giving one of Jason’s typically helpless victims the power to fight back. Enter Tina, a young woman with initially unrealized telekinetic powers quite similar to Stephen King’s Carrie:

Read More: When Jason Met Carrie in ‘Friday the 13th Part VII’

 

Friday the 13th Part VIII: Jason Takes Manhattan (1989)

OK, here’s where things really go off the rails. For the first of what would be three ill-fated trips away from his normal Crystal Lake killing grounds, Jason boards a cruise ship for New York City. Alas, budget constrictions murdered director Rob Hedden’s grandiose plans before filming ever began, and Jason only spends about one-third of the movie in the Big Apple. “It’s not ‘Jason Takes Manhattan,’ it’s ‘Jason Takes a Cruise Ship,” he later admitted:

Read More: How ‘Friday the 13th’ Wasted Jason’s Trip to New York City

 

Jason Goes to Hell: The Final Friday (1993)

When is a Jason movie not a Jason movie? When the main attraction is blown to bits seven minutes in, and doesn’t re-emerge until five minutes before the credits roll. Jason Goes to Hell: The Final Friday instead finds the evil spirit of Jason jumping from one civilian body to the next, in one of the most disjointed and unsatisfying entries in the series. But the final scene does offer a hint at a legendary horror crossover:

Read More: Why ‘Jason Goes to Hell’ Was ‘A Disaster’

 

Jason X (2001)

After trips to hell and New York City, where else is a mass-murderer to go? Into outer space and the distant future, if Jason X is to be believed. Our villain gets an extremely corny-looking cybernetic upgrade in a movie so great the studio let it sit on the shelf for two years before releasing it:

Read More: How Jason Got Stranded in Space

 

Freddy Vs. Jason (2003)

16 years after the idea was first attempted, and after 18 script drafts were written at a reported cost of $6 million, Jason went up against A Nightmare on Elm Street star Freddy Krueger in one of the most anticipated horror movie crossovers in recent history. Luckily, it was worth both the time and the money:

Read More: Why ‘Freddy Vs. Jason’ Was Worth a 16-Year Wait

 

Friday the 13th (2009)

Nearly thirty years after his debut, Jason’s story got its first ever reboot. 2009’s Friday the 13th works a bit like a re-recorded greatest hits album, played on fast forward. The movie condenses elements from the first three series in the franchise, for example showing Jason move from innocent child to burlap sack-wearing killer to hockey mask-wearing icon in one fell swoop. Also, he’s a lot smarter, faster and seemingly even more sadistic now:

Read More: ‘Friday the 13th’ Reboot Makes Both Jason and His Story Faster

The Best Horror Movie From Every Year

Counting down a century’s worth of monsters, demons and things that go bump in the night.

Gallery Credit: Michael Gallucci





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Springsteen, Stones, Metallica Among Top 10 Touring Acts of 2024


Bruce Springsteen, the Rolling Stones and Metallica ranked among the top 10 worldwide touring acts of 2024, according to a new Pollstar report.

Springsteen and his E Street Band were rock’s biggest earners, landing at No. 5 overall with a gross of $251 million from 44 shows. (Pollstar tabulated this data for all worldwide shows played between Nov. 16, 2023, and Nov. 13, 2024.) With an average ticket price of $150.69, the Boss averaged 37,900 tickets and $5.7 million per night and moved 1.667 million tickets total.

The Stones were hot on Springsteen’s heels, landing at No. 6 overall with $235 million in gross ticket revenue. They played less than half as many shows as Springsteen on their 2024 Hackney Diamonds Tour (20 total, though Pollstar only counted 18), but their tickets cost much more, with an average price of $277.28. Mick Jagger and Co. averaged 47,100 tickets and $13 million per night, and they sold 847,800 tickets total. These figures were also enough to make the Stones the top North American touring act of the year.

Landing at No. 9 on the list of top worldwide touring artists, Metallica grossed $179 million across 24 shows. They had the lowest average ticket price of all three rock acts at $119.64. But the metal legends also had a far higher per-show attendance, averaging 62,512 tickets a night for a total of 1.5 million tickets sold. They grossed an average of $7.479 million per show, landing between the Stones and Springsteen.

READ MORE: Rolling Stones Dazzle at ’24 Hackney Diamonds Tour Kickoff: Review and Photos

And the Top Global Touring Act of 2024 Is …

These are impressive figures for three of rock’s biggest names, but they pale in comparison to the biggest global touring act of 2024. To the surprise of absolutely nobody who pays attention to the concert industry, that honor went to Taylor Swift, whose record-smashing Eras Tour grossed $1.043 billion across 80 shows, extending its reign as the highest-grossing tour in history. The pop superstar averaged 65,126 tickets and $13 million per show, with an average ticket price of $200.27. Coldplay landed at a distant second with $421 million in gross revenue, averaging 60,990 tickets a night across 54 shows.

2025 Rock Tour Preview





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Elton John Names Most Embarrassing Thing About His Rehab Stint


Elton John is still upset about the amount of hurt he caused while using drugs from the mid-’70s until 1990.

His longtime co-writer, lyricist Bernie Taupin, could only look on in horror as John’s downward spiral sabotaged their creative partnership. They were left making music he admitted was “not the best.”

Thankfully, John recovered following a stint in rehab – but not before having a particularly mortifying experience. “It was the most embarrassing thing in my life when I went into treatment that I couldn’t work a washing machine,” John, 77, tells Time magazine, which named John their icon of the year.

READ MORE: The Story of Elton John’s 1975 Suicide Attempt

“I thought, ‘Fuck. Here you are at 43 years of age, and you can’t work a washing machine. That shows you how you’re fucked up.’”

He added: “You make terrible decisions on drugs. I wanted love so badly, I’d just take hostages. I’d see someone I liked and spend three or four months together, and then they would resent me because they had nothing in their life apart from me. It really upsets me, thinking back on how many people I probably hurt.”

Taupin also dealt with his own addiction issues after seeing how bad John had become. “I was terrified for him,” he admitted. “It was absolutely horrible.

“A lot of the work that we did in the times when he was at his worst wasn’t the best of both of us. I wasn’t able to creatively invest any time in writing material that related to him until he actually found himself, and then it was easier for me to reflect upon it.”

Bernie Taupin On What People Missed About Elton John

“What people didn’t realize in the ’70s and ’80s and ’90s, but I think they realize now, is that he’s one of the best fucking piano players on the planet,” Taupin argued. “There are a lot of people that have great catalogs and great songs, but I don’t think anybody of our peers has songs that are so varied.”

Taupin also noted: “Do you know how many requests I get a day for the use of our songs on things like America’s Got Talent, The Voice or the silly show where they dress up as poodles?

“I don’t think Bob Dylan gets a lot of requests [from] The Masked Singer.”

Ten Times Elton John Rereleased His Songs With Other Artists

Elton John has made a habit of revisiting old tracks with new friends.

Gallery Credit: Corey Irwin

Odd Couples: Alice in Chains and Elton John





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Aerosmith’s Tom Hamilton Looks Back at Their Final Shows


Aerosmith’s Peace Out farewell tour with the Black Crowes was supposed to be a celebration of their legacy of more than 50 years. Unexpectedly, Steven Tyler’s vocal cord injury changed everything and the shows, which were initially postponed, were canceled earlier this year.

But the three concerts that the Boston rock legends did play in September of 2023 presented a stunning look at just how good they were. It proved the band was going out on a high note, which made it heartbreaking how things wrapped up.

Inside the group, they were also feeling the good mojo. “[Everyone] worked so hard, participating in the design of the production, the set list and especially, rehearsing,” bassist Tom Hamilton tells UCR in a new interview. “We worked really hard individually and then worked really hard as a band, getting the songs down. By the time we got to those first few shows, we were really at the top of our game.”

“I was looking forward to coming out there and showing the world,” he continues. “We only got to do three shows, but it was a blast. It was really awesome.”

READ MORE: Aerosmith’s 10 Most Memorable Concerts

Earlier this year, Hamilton admitted, “We don’t know what the future holds, but it won’t include touring.” The individual members would likely continue to make music on their own, he suggested. “It will manifest itself in ways that we haven’t planned yet.I’ve been playing in a band with some good friends.”

“We have a bunch of really good songs and we hope to be putting them out soon and hopefully doing some gigs,” he continued. “Right now the amenity that I most want is more music and more time with family.”

Hamilton Was Nervous During His First Post-Aerosmith Gig

True to his word, the bassist eventually revealed details about his new band, Close Enemies. As he tells UCR now, he had some butterflies during their first show in Nashville in October. “I was a little bit nervous, you know. But that feeling, it energizes you. It doesn’t hold you back. It makes you want to dive in deeper and deeper.”

Close Enemies features a powerhouse lineup with Hamilton on bass, plus guitarists Trace Foster, Peter Stroud, drummer Tony Brock and singer Chasen Hampton. Following their initial Nashville performance, the band is now set to embark on its first proper tour in January, with shows beginning Jan. 8 in Philadelphia.

Hamilton says he’s looking forward to the concerts, which will be a flashback to his early days with Aerosmith. “This is like going back to the beginning,” he says. “You know, we don’t have any previous albums. We’re going to be riding around in vans, probably and flying commercial, just like when Aerosmith started — and I’m looking forward to that. There’s a certain camaraderie with that.”

New music is set to arrive from Close Enemies starting in January when they’ll unleash an initial single. Distribution will be handled by TLG / Virgin Music Group with additional songs following their first release.

Aerosmith Albums Ranked

Any worst-to-best ranking of Aerosmith must deal with two distinct eras: their sleazy ’70s work and the slicker, more successful ’80s comeback. But which one was better?

Gallery Credit: Ultimate Classic Rock Staff





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20 Classic Rock Guilty Pleasures From the ’70s


The term “guilty pleasure” tends to be cast in a negative light, but in many ways, it is a term of endearment.

Take music, for example. If you believe a song is terrible, you just don’t listen, casting it aside and never giving it the time of day again. However, guilty pleasure songs are tunes you return to time and time again, even if they may not be the coolest tracks to have on your playlist.

Of course, songs don’t usually arrive as a guilty pleasure. More commonly, they evolve like a haircut that has since gone out of fashion. When you got it, you thought you looked great, but now you pull out old photos and mutter, “What the hell was I thinking?”

The ’70s offered plenty of guilty pleasures, from straight-ahead rockers to folk and disco. Below, we’ve ranked our 20 favorites. Time may not have been kind, but we still love them.

20. Nazareth, “Love Hurts”
In its original form, “Love Hurts” was a heartbreaking tune recorded by the Everly Brothers in 1960. However, 15 years later, Scottish rock band Nazareth got ahold of the song and turned it into a power ballad. The single was an international success and peaked at No. 8 in America. Though it’s generally regarded as overdramatic and cheesy, the track continues popping up everywhere, appearing in TV shows like Scrubs and Superstore, as well as an array of commercials.

 

19. Pilot, “Magic”
Credit where credit is due, Pilot’s 1974 hit “Magic” is versatile. Catchy yet nondescript, fun yet inoffensive, the tune has been featured in everything from the blockbuster hit Guardians of the Galaxy to commercials for diabetes medication. Despite the chorus’ sing-ability – “Oh-ho-ho it’s magic, never believe it’s not so” – there’s something slightly puzzling about the track. Maybe it’s because the tune sounds like a halfhearted ELO ripoff, or maybe it’s the faint falsetto “la-la-las” in the background.

 

18. Kiss, ‘Rock and Roll All Nite’
There is something inherently cliche about a rock and roll song whose sole purpose is to proclaim how cool it is to rock and roll. Throw in grown men wearing makeup and spandex and you have all the ingredients necessary for one of music’s great guilty pleasures. “Rock and Roll All Nite” is not Kiss’ greatest song, but it may be their greatest party starter.

 

17. Blue Swede, “Hooked on a Feeling”
It’s not the words that make Blue Swede’s rendition of “Hooked on a Feeling” a guilty pleasure, it’s the noises – namely, “Ooga-Chaka Ooga-Ooga Ooga-Chaka.” The weirdly tribal chant is fun to sing along to alone, or perhaps with a toddler still learning how to speak. But there’s no way you’ll find us ooga-ing in public around otherwise respectable members of society.

 

16. Carl Douglas, “Kung Fu Fighting”
Before “Gangnam Style,” “The Fox” or any of the many other viral novelty songs that have come and gone in recent memory, there was “Kung Fu Fighting.” Culturally speaking, Jamaican-British singer Carl Douglas seemed unlikely to deliver a disco classic about kung fu, but that’s exactly what he did in 1974. The single sold more than 11 million copies worldwide, yet these days nobody is willing to admit they bought it.

 

15. Buggles, “Video Killed the Radio Star”
The Buggles’ loan hit is a quirky remnant from the era in which it was made. Music videos’ impact was on the horizon, and “Video Killed the Radio Star” was appropriately the first clip played on MTV (albeit two years after the song’s release). With its layers of synths and peculiar vocals, the tune is unabashedly odd. But its chorus is pure nostalgia, and we can’t help but grin every time we hear it.

 

14. Starland Vocal Band, “Afternoon Delight”
Maybe it was the Anchorman a cappella rendition, or perhaps it was the uncomfortable duet in Arrested Development. Regardless, at some point, Starland Vocal Band’s “Afternoon Delight” evolved from a forgotten one-hit wonder to a modern guilty pleasure. We blame the lighthearted song’s giggle-inducing lyrics. Never has a midday romp sounded so tame.

 

13. Rupert Holmes, “Escape: (The Pina Colada Song)”
Hey, look! It’s that song everyone mistakenly thinks was recorded by Jimmy Buffett! Rupert Holmes’ 1979 hit certainly connected with Parrotheads, what with its similar appreciation for iced mixed cocktails. Some have even criticized the English singer for copying Buffett’s mellow, good-time style. Regardless, much like the titular beverage, “The Pina Colada Song” is a tasty treat that we’ll never admit to enjoying (even though we do).

 

12. Partridge Family, “I Think I Love You”
If the Bradys had a band, they’d be the Partridge Family – that’s not necessarily a good thing. While the sitcom was popular during its four-season run in the early ‘70s, The Partridge Family was more about sugary family entertainment than cool music. That’s what makes “I Think I Love You” such an outlier. The 1970 single was a No. 1 hit for the fictitious family band and has since been covered by a broad spectrum of artists, including Olivia Newton-John, Less Than Jake and Tenacious D.

 

11. Lipps, Inc., “Funkytown”
Lips Inc.’s classic “Funkytown” is incredibly repetitious. The phrase “Gotta move on now” is sung six times, while “Won’t you take me to Funkytown” is repeated an astonishing 14 times in the song. Despite the simplicity, we can’t help but get swept up by the intoxicating disco beat.

 

10. Barry Manilow, “Copacabanna”
We don’t know a single person who openly admits to being a Barry Manilow fan. Yet we’re pretty sure you know the words to “Looks Like We Made It,” “Mandy” or the cream of the guilty pleasure crop, “Copacabana.”

 

9. Harry Chapin, “Cat’s in the Cradle”
It’s pure heartstring fodder, the kind of song inherently designed to stir emotions from deep inside. We know that going in, we even expect it, yet every time “Cat’s in the Cradle’ gets played, our eyes well up just a little bit. Now, please excuse us for a moment, we’ve got to go call our dad.

 

8. ABBA, “Dancing Queen”
Yes, we hear you when you complain that ABBA doesn’t belong on a classic rock list. But we also see you when “Dancing Queen” begins to play – your hips sway, your head bobs to the beat and you try to hide the fact that you’re quietly singing along to every word. Let’s all just accept that this 1976 song is a classic guilty pleasure and agree to move on, OK?

 

 

7. Gary Wright, ‘Dream Weaver’
Too spacey for standard rock, too mainstream sounding to be called prog, Gary Wright’s “Dream Weaver” falls awkwardly in music’s no man’s land. The song’s synthesizers, while modern at the time, sound cheesy more than 40 years later, and the celestial sound effects don’t help rein in the tackiness. Still, the chorus remains emphatic enough to keep us coming back time and again.

 

6. The B-52’s, ‘Rock Lobster’
Let’s briefly analyze the absurdity of the B-52’s “Rock Lobster”: The lyrics make no sense, the vocals feature animalistic squawks and could anyone really confuse a crustacean with a rock? Despite all of these factors, the 1978 single is a beloved bop. It’s even remained an unlikely pop culture reference point, appearing in everything from Family Guy to Knocked Up.

 

5. Foreigner, “Hot Blooded”
We’re card-carrying Foreigner fans, but even we can recognize the problems with “Hot Blooded.” Besides being lyrically simplistic, the tune simply doesn’t fit with Foreigner’s persona. Unlike many other frontmen of his time, Lou Gramm was (refreshingly) not a sex-crazed lothario. His attempts to go against character in this song feel uncomfortable, like a tabby cat pretending to be a tiger. Though “Hot Blooded” feels a bit too fabricated to be cool, the catchy chorus and melody keep it on our playlist.

 

4. The Knack, ‘My Sharona’
One of the ‘70’s greatest guilty pleasures only barely made it into the decade. Released in 1979, the Knack’s “My Sharona” is an undeniable earworm. From the perfectly utilized “M-m-m-my” stutter to the instantly familiar guitar riff, the chart-topping single is built to get stuck in your brain. Sure, rhyming lines like “thighs Sharona” and “eyes Sharona” may seem a little simplistic, but we can’t help but love the Knack’s classic tune.

 

3. Doobie Brothers, “What a Fool Believes”
If there’s one type of music that embodies the concept of a guilty pleasure, it’s yacht rock. And captaining the genre’s ship is Michael McDonald, with his distinctive voice and perfectly groomed facial hair. “What a Fool Believes” was a chart-topping hit for the Doobie Brothers in 1979 and even earned a pair of Grammys. It’s proof that a song can be both timeless and a guilty pleasure.

 

2. Elton John & Kiki Dee, “Don’t Go Breaking My Heart”
Few musicians can compete with Elton John’s impressive resume of work. We’ll happily play 99% of his hits on full blast, but we’re turning the volume down for “Don’t Go Breaking My Heart.” The 1976 duet is certainly catchy, and we’ve even been known to sing it at karaoke after a couple of beers. Problem is, it’s always sounded like a karaoke tune. And singing along to the saccharine track while sober can be embarrassing.

 

1. Bay City Rollers, “Saturday Night”
The cheese-factor is turned to 11 on this Bay City Rollers track, originally released in 1973. By ‘76, the infectious chant of “S-A-T-U-R-D-A-Y… Night!” was ubiquitous around the globe. Given that the Bay City Rollers were essentially a teen idol boy band, it’s understandable that “Saturday Night” was never considered “cool” despite its popularity. Still, its remained a guilty pleasure for decades, and became a surprising influence to one of punk’s greatest tunes: The Ramones’ “Blitzkrieg Bop.”

Top 100 ’70s Rock Albums

From AC/DC to ZZ Top, from ‘Bridge Over Troubled Water’ to ‘London Calling,’ they’re all here.

Gallery Credit: UCR Staff





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How Foreigner’s ‘Agent Provocateur’ Sent Them on a Tough Mission


Foreigner’s Agent Provocateur album helped the powerhouse AOR rockers scale new heights and achieve an important milestone. But internally, friction was building between the band’s main collaborators.

It had been more than three years since the release of their previous album, 1981’s Foreigner 4. Produced by Mutt Lange, that record showed a different side of the band to the masses, thanks to the commercial success of the ballad “Waiting for a Girl Like You.” The mesmerizing synths (courtesy of Thomas Dolby), paired with an emotional vocal by singer Lou Gramm, helped Foreigner nail down their next huge hit single — even though it peaked at No. 2, held out of the top spot by both Olivia Newton-John and Hall & Oates.

So when Agent Provocateur arrived in December of 1984, guitarist Mick Jones wanted a second shot at the top spot and pushed for another ballad, the gorgeous and moving “I Want to Know What Love is,” to be released as the first taste of their fifth album. “I told him I wasn’t comfortable with this philosophically, that we were selling our souls,” Gramm wrote in his 2013 memoir. Jones, he said, didn’t seem to care.

READ MORE: Mick Jones Looks Back on ‘I Want to Know What Love is’

The success of “Waiting,” Gramm argued, had been set up by the “great rock songs” they had produced. Releasing “I Want to Know What Love is,” he suggested, would “do irreparable damage to our rock image.” Jones forged ahead and the track was issued as the initial offering, giving Foreigner their first and only No. 1 single. The cost of making that choice is something that music fans have been passionately discussing since that moment.

Watch Foreigner’s Video for ‘I Want to Know What Love is’

“It’s such a paradigm shift in their sound. Of course, it begins in a way that that made sense ifs you were a fan of ‘Waiting for a Girl like You,'” Nick DeRiso pointed out on the UCR Podcast. “But then it brings in this gospel overtone, and then an actual gospel choir. If you tuned in about midway through that single, you might not even guess it was Foreigner.”

Jones himself, as you might expect, had a different view of the whole picture, compared to how Gramm felt. “To me, if you listen back to the first four albums leading up [to Agent Provocateur], each of them had the same basic proportion of ballads on them,” he told UCR in 2016. “It’s just that on those two albums, back to back, the Foreigner 4 album and then the Agent Provocateur album, which was almost like a four or five year period of time, the ballads got overwhelmingly pushed by the record company.”

READ MORE: Top 10 Foreigner Songs

“I followed their lead at the time. It was a time when the market was starting to change in music a bit and getting rock tracks really played and being able to breathe in that time, it was just the circumstances,” he continued. “I had certainly never made any conscious decision to go soft or to become a keyboard-oriented band. It was just a phase we were going through.”

Agent Provocateur certainly had its share of strong rock material, songs like the album opener, “Tooth and Nail” and subsequently, “Reaction to Action,” are among the standouts. Mid-tempo tracks like “A Love in Vain” and particularly, “That Was Yesterday,” which also performed well and just missed the Top 10, are additional highlights.

Watch Foreigner’s Video for ‘That Was Yesterday”

In the years since Agent Provocateur was released, Gramm has clarified that he wasn’t necessarily against the ballads they were recording, but the structure and placement was important. He had more of an issue with something he saw becoming a regular thing. “I felt that a good strong ballad or an easy listening song was something that should come periodically in the band’s life,” he explained to UCR in 2015. “But I was feeling that it actually was a direction that we were heading towards at that point and I was vocally very resistant. I like the song, but you know, if you place that between a couple of rockin’ songs, it’s a good thing, but if you’re doing an album of songs like that, I was very reluctant to be a part of that.”

The strife was an unfortunate part of what had been a long and difficult cycle in the Agent Provocateur era. The band had first begun working on the album in the fall of 1983 with producer Trevor Horn. “I couldn’t go on, because we didn’t get on, so I walked out” Horn later detailed during a conversation with Red Bull Music Academy. Gramm expanded on the situation in his memoir, claiming that the producer was unfocused. “It wound up being a waste of our time and money.”

However things began, on paper, the huge worldwide success of “I Want to Know What Love is” should have brought a satisfying end to the results of their long struggle. But it came at a huge cost internally, perhaps in ways that Gramm and Jones themselves couldn’t have predicted. The frontman broke away from the band after touring for Agent Provocateur wrapped up and began working on his first solo album, which became 1987’s Ready or Not. Though he was coaxed back into the fold for Inside Information, released at the end of that same year, to paraphrase one of the band’s own songs, the damage was done.

READ MORE: Lou Gramm Goes Solo With ‘Ready or Not’

By the end of the decade, Jones and Gramm went their separate ways again and though they reunited periodically starting in the ’90s, they would break apart again at the beginning of the next decade. “[It] was a tough time for the band, definitely,” Jones concluded in 2016, looking back at Agent Provocateur and the events that followed. “That reared its head a couple of more times before we eventually decided to go our own ways.”

Listen to UCR’s Roundtable Discussion Regarding Foreigner’s ‘Agent Provocateur’

Foreigner Albums Ranked

It’s hard to imagine rock radio without the string of hit singles Foreigner peeled off in the ’70s and ’80s.

Gallery Credit: Jeff Giles





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Hear Tom Petty on Snoop Dogg’s New Version of a Heartbreakers Hit


Snoop Dogg‘s new album, Missionary is out now. It features a cameo by the late Tom Petty on one of his own songs, “Last Dance With Mary Jane.”

Though titled after the original Heartbreakers song, it includes new lyrics performed by Snoop and the song’s other guest, Jelly Roll.

You can listen to the track below.

Other guests on the album include Sting, who appears on a track called “Another Part of Me,” 50 Cent and the LP’s own producer, Dr. Dre, who worked with Snoop on his debut album Doggystyle back in 1994.

READ MORE: Underrated Tom Petty: The Most Overlooked Song From Each Album

“We [still] in love with what we do. I’m peaking right now and Dr. Dre see that,” Snoop said in a recent press release. “He brings the best out of me because he’s particular about everything I say, the way I deliver it, the fuckin’ music and the concept of the songs.”

Is ‘Last Dance With Mary Jane’ Really About Weed?

Last month, Snoop, whose name is arguably one of the world’s most associated with all things marijuana, described his Petty cover as a “weed song.”

But according to Petty himself, that wasn’t what was on his mind when he wrote “Last Dance With Mary Jane.” Or at least he was pretty sure it wasn’t.

“I don’t think I was writing about pot. I think it was just a girl’s name. I can’t imagine that I’d write a song about pot. I don’t think there’s enough there to write about,” Petty said with a laugh in 2005’s Conversations With Tom Petty.

The Best Song From Every Tom Petty Album

There’s a common thread running through Tom Petty’s catalog, and it’s the Heartbreakers. 

Gallery Credit: Nick DeRiso

Odd Couples: Tom Petty and Dave Stewart





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‘Friday the 13th’ Reboot Makes Both Jason + His Story Much Faster


After taking most of the ’90s and ’00s off, a tan, rested and ready Jason Voorhees got back to work in the 2009 reboot Friday the 13th.

The 12th and to date final movie in the Friday the 13th franchise re-introduced Jason as a leaner, faster and more creative killer. It also moved the story up to a modern-day setting and leaned hard on the fast-forward button while recapping the masked killer’s evolution.

“We tried to take elements from all three [of the first] movies to create one reboot,” co-producer Brad Fuller told Shock Till You Drop a year before his Friday the 13th arrived. For example, in the original series, Jason wasn’t even the murderer in the first movie, and didn’t don his famous hockey mask until 1982’s Friday the 13th Part 3. “You will see Jason put on the hockey mask for the first time,” Fuller promised. “How and why. And you’ll actually see him do it. Not just come out with it on.”

Read More: Why It’s Been Over a Decade Since Jason or Freddy Killed Anybody

The new Friday the 13th showcased a more evolved Jason Voorhees, who moved faster, had built a large underground lair for himself and developed an even more sadistic streak. In one example, he zips a young woman up in a sleeping bag, then hangs her and the bag over a roaring campfire. When her boyfriend runs over to save her, he instead falls into the second part of Jason’s plan as a bear trap clamps onto his leg, leaving him helpless and screaming in pain as he watches her grisly death.

During a 2008 set visit by SuicideGirls, Fuller talked about the learning curve involved with including sex and nudity in a movie for the first time in his career: “The other night we were shooting a scene where a couple is having sex in a tent, and it’s in silhouette, and the studio exec was on set and the male character is…they’re having sex…and the studio guy says, ‘You can’t have him pump more than three times, the MPAA won’t let you get away with that.’ And I said, ‘I didn’t know there was a pump limit.’ We shot a lot more than three. I don’t know if that’s actually a rule, but let them tell us.” Still, he reassured fans: “No one will be disappointed with the lack of nudity in this film.”

Watch Jason Find His Hockey Mask in 2009’s ‘Friday the 13th’

After the franchise’s rather disastrous trips to New York City, hell and outer space (yeah, really), the back-to-basics, faster-paced take on Friday the 13th went over very well with fans, if not critics. The movie grossed $92 million worldwide, $30 million more than what any of the previous stand-alone Jason movies had made.

Plans for a 2010 sequel were announced but then quickly cancelled without any clear explanation. Partly because of legal battles over rights to the character and story, the 2009 film stands as the last entry in the franchise to date, although a prequel TV series named Crystal Lake is set to premiere on Peacock by Halloween 2025.

20 Meanest ’80s Movie Bullies

In no era in American movies was there a more fruitful and entertaining trade in that great cinematic tradition, the ’80s big screen bully.

Gallery Credit: Dennis Perkins





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What We Know So Far


Even in a world where rock biopics have become commonplace, talk of films chronicling the incredible career of the Beatles has generated plenty of buzz.

While exact details of the project have been carefully guarded, we do know that four separate films are planned, with each one telling the band’s story through the respective perspectives of John Lennon, Paul McCartney, George Harrison and Ringo Starr.

A press release earlier this year confirmed that the movies are scheduled for release in 2027, and reports have indicated filming will begin in summer 2025. This marks the first time that the band has granted the rights to their life stories and music for a feature film.

Who Will Direct the Beatles Movies?

Academy Award-winning director Sam Mendes will be tasked with the challenge of bringing the Beatles to the big screen. He brings an impressive resume with him, including American Beauty, Road to Perdition, Jarhead and the James Bond films Skyfall and Spectre.

READ MORE: Nine Movies That Almost Starred the Beatles

“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes said in a statement.

“We intend this to be a uniquely thrilling, and epic cinematic experience: four films, told from four different perspectives which tell a single story about the most celebrated band of all time,” added Pippa Harris, Mendes’ production partner.

While Mendes is the biggest name officially tied to the project, strong rumors suggest who has been cast as each member for the Fab Four.

Who Will Play Paul McCartney in the Beatles Biopics?

One of Hollywood’s biggest rising stars is reportedly on board to play McCartney. Paul Mescal, the Irish actor who most recently played Lucius Verus Aurelius in Gladiator II, is reportedly on board to portray the Beatles’ bassist.

“It would be an incredible story to be attached to,” Mescal admitted to Entertainment Tonight when asked about the rumors. “The fact that Sam Mendes is attached to direct, like truly, it would be a dream come true.”

However, a different source was far less coy. Ridley Scott, who directed Mescal in Gladiator II, noted the actor won’t be appearing in his next project due to another commitment.

“Paul is actually stacked up, doing the Beatles next,” Scott revealed during a Los Angeles Q&A.

If Mescal is indeed the man who’ll embody McCartney, he’ll bring with him an extensive musical background. The Irish star is a multi-instrumentalist who performed is musical theater productions of Phantom of the Opera and Les Miserables in his youth. He also flexed his vocal chops during a recent appearance on Saturday Night Live.

Central Press/Hulton Archive/Slaven Vlasic, Getty Images

Central Press/Hulton Archive/Slaven Vlasic, Getty Images

Who Will Play John Lennon in the Beatles Films?

According to rumors, Harris Dickinson is in line to play iconic rocker John Lennon. The British actor has appeared in such celebrated indie films as Beach Rats and Triangle of Sadness. He most recently starred opposite Nicole Kidman in Babygirl, which has been generating substantial awards buzz.

In a November conversation with Dazed magazine, Dickinson reportedly cracked a “knowing smile” when asked about the possibility of playing Lennon. “There’s nothing I can say about that; it might not be true, it might be, I don’t know… there’s a speculation culture,” the actor responded.

He echoed similar sentiments during a separate conversation with Variety.

“It would be amazing to do that,” the actor admitted.. “I think the idea of Sam teaming up to do something like that would be incredibly exciting. Obviously, John Lennon is a very complex role, a pretty formidable force to try to do. It would be cool.”

Central Press/Hulton Archive/Joe Maher, Getty Images

Central Press/Hulton Archive/Joe Maher, Getty Images

Who Will Play Ringo Starr in the Beatles Movies?

After scoring an Academy Award nomination for 2022’s The Banshees of Inisherin, Irish actor Barry Keoghan has continued to see his celebrity rise. He starred in Saltburn in 2023 and the acclaimed Apple+ miniseries Masters of the Air this year. Now, it seems the role of Ringo Starr could be in his future.

“I think it’s great,” the real Ringo admitted to Entertainment Tonight when asked about Koeghan’s casting. “I believe he’s somewhere taking drum lessons, and I hope not too many.”

Sony Pictures declined to comment on Keoghan’s involvement in the biopics, but Ringo’s comments sure seem to confirm it.

Central Press/Hulton Archive/Neilson Barnard, Getty Images

Central Press/Hulton Archive/Neilson Barnard, Getty Images

Who Will Play George Harrison in the Beatles Biopics?

While rumors for the other three Beatles strongly suggest a final decision has been made, there are conflicting reports regarding George Harrison.

English actor Charlie Rowe, who starred in the CBS series Salvation and Amazon miniseries Vanity Fair, was heavily rumored to be playing the quiet Beatle. However, his team came out and denied such claims, throwing cold water on the possibility of his involvement. For those who like contemplating multiverse cinematic scenarios, Rowe previously appeared in a different classic rock biopic. The actor played A&R executive Ray Williams in the Elton John film Rocketman.

The other name prominently linked with playing Harrison is Joseph Quinn. Like Mescal, Quinn most recently appeared in Gladiator II, still music fans likely remember him for a different role. In 2022, he played Eddie Munson in season 4 of Stranger Things, enduring one of the most memorable death scenes in the show’s history when he was killed by demobats while shredding Metallica’s “Master of Puppets.”

Central Press/Hulton Archive/Mike Coppola, Getty Images

Central Press/Hulton Archive/Mike Coppola, Getty Images

Beatles Albums Ranked

From the cheery ‘Please Please Me’ to the kinda dreary ‘Let It Be,’ we rank all of the group’s studio LPs.

Gallery Credit: Michael Gallucci





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Ted Nugent Insists There Was ‘No Friction’ in Damn Yankees


Ted Nugent has responded to Tommy Shaw’s recent comments regarding the end of their supergroup, Damn Yankees.

“It was one of those things that wasn’t meant to be forever,” Shaw explained during an interview with UCR. “It’s something that we had a great time doing. We made two records and you could kind of feel it pulling it away at the seams after that.”

Now, in his own conversation with UCR, Nugent has added clarity to Shaw’s remarks.

“I know he didn’t mean that in the terms of friction,” Nugent declared. “There’s no friction. There was moments of where we — I don’t even think it elevated to an argument — about a bridge, a chord injection. I would come up with something spicy, they would contemplate it, and if I could make the case, they’re smart guys. They’re musical animals. So we all make the case for our musical inflections, injections, recommendations, and we’re all respectful of each other.”

READ MORE: When Damn Yankees Took a Final Stand With ‘Don’t Tread’

The core members of Damn Yankees — Nugent, Shaw and bassist Jack Blades — have reunited twice since the supergroup’s 1994 breakup. They most recently shared the stage together at the NAMM convention in 2010.

Ted Nugent Says Damn Yankees Wanted a ‘Next Musical Step’

Rather than friction, Nugent asserted that Damn Yankees ended due to the members’ desires to return to their respective previous bands.

“Coming apart at the seams was [Shaw] couldn’t wait to revitalize Styx,” the guitarist noted, adding that he was supportive of the idea. “And I couldn’t wait for him to revitalize Styx. I couldn’t wait to hear what [Blades’ band] Night Ranger would do with the team.”

READ MORE: Top 10 Ted Nugent Songs

Nugent admitted he had similar feelings, including a desire to revisit his solo work.

“So we were coming apart at the seams because I couldn’t wait to get back on stage and play my favorites every night. My ‘Stranglehold,’ my ‘Hibernation,’ my ‘Cat Scratch,’ my ‘Wang Dang,’ my ‘Wango Tango,’ ‘Great White Buffalo,'” he explained. “I was fulfilled every day with the Damn Yankees, but I also had these cherubs, naked cherubs coming out of the clouds where I’s going, ‘Stranglehold’ is really fucking cool. So I couldn’t wait to unleash those. Plus I had more musical ideas. So when he said coming apart at the seams, no, it wasn’t a friction development. It was a next musical step desire by musical forces.”

Rock’s Forgotten Supergroups

Here’s a rundown of would-be supergroups that the world at large has forgotten over the years.

Gallery Credit: Nick DeRiso





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Gene Simmons, Justin Hawkins, Billy Gibbons on New Stylistics LP


Soul veterans the Stylistics announced the release of their first album in 17 years, featuring guest appearances from some big rock names.

The 21-track Falling in Love With My Girl includes contributions from Gene Simmons, Justin Hawkins, Billy Gibbons, Ron Wood, Steve Lukather, Shania Twain and others. The full list can be seen below.

Arriving on Feb. 21, It’s their first album since 2008’s That Same Way. Co-founders Airrion Love and Herb Murrell remain in the band after 56 years, along with Jason Sharp, who joined in 2011.

READ MORE: 20 Rock Songs with Secret Guests

Lead single “Yes, I Will” will be released on Feb. 14, featuring Twain, Lukather, Ray Parker Jr. and Nathan East. It was written by Twain, who said in a statement: “I’m so happy that this song… has found a home on the Stylistics’ album. That is just so exciting. It’s a special song that came together on one special day at my home where I was hanging out with some friends and musicians.”

Love added: “I fell in love with Shania Twain the first time I heard You’re Still The One – a great song that I still love. When we heard there might be a chance to do something with her we said, ‘Hell yeah!’”

The Stylistics – ‘Falling in Love With My Girl’ Track and Guest List

1. “Falling In Love With My Girl” – with Justin Hawkins
2. “Who Am I” – with Ron Wood and Jay Graydon
3. “Leave So Soon”
4. “Sad Tomorrows”
5. “Infatuation”
6. “Yes, I Will” – with Shania Twain, Steve Luthaker, Ray Parker Jr., Nathan East
7. “Jealousy”
8. “Whatever Happened to Our Love” – with Nigel Olsson, Bill Champlin and The Real Thing
9. “You’ll Live Forever” – with Billy F. Gibbons
10. “Endless Days”
11. “Take Me Back to Rainbows”
12. “Lost and Alone”
13. “Don’t Leave Me Here” – with Gene Simmons and Tower of Power
14. “Holy Water”
15. “Rock and a Heartbeat” – with Tower of Power
16. “I Could Never Leave Her” – with Tower of Power
17. “Debbie”
18. “Sonnet 18”
19. “I Get a Feeling”
20. “If I Fail”
21. “Take Me Back to Rainbows” – Operatic Version with Carly Paoli

Top 25 Soul Albums of the ’70s

There’s more to the decade than Marvin Gaye and Stevie Wonder, but those legends are well represented.

Gallery Credit: Michael Gallucci





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Alex Lifeson Has Changed His Mind About Guitar Solos


Former Rush guitarist Alex Lifeson‘s art-rock group Envy of None has released a video for their latest track. “Under the Stars” offers good news for those who were worried about his recent reluctance to play solos.

This is the second advance single from Envy of None’s upcoming second album, though no release details have been released. Lifeson and bassist and lead songwriter Andy Curren are joined by guitarist-keyboardist, producer Alf Annibalini and vocalist Maiah Wynne, with drums supplied by guest artist Joe Vitale.

Besides guitar, Lifeson also adds mandola and oud to “Under the Stars,” which Curren said features a Rush-style solo partway through. 

READ MORE: Top 10 Alex Lifeson Rush Songs

“Alf and I toiled over this one for months and really felt, even at its rough demo stage, that we had something special,” Curren reported in an official statement. “We left a ton of space for Maiah in the verses and there’s such a cool mood shift when the chorus hits. Joe Vitale’s drum track and percussion added an almost trance-like vibe – and the icing on the cake is an unmistakable Alex guitar solo.”

Why Alex Lifeson Cut Back on Playing Solos

Curren said he’s “a romantic at heart and the message here is universal. Soul mates – two against the world!”

Envy of None released their self-titled debut album in 2022. After the launch, Lifeson suggested that he might have played his last solo. Only one song on the LP, “Spy House,” featuring one of his trademark leads.

“That was the first song I wrote at the end of the Rush tour,” he said. “It has a solo because it was [still] a natural thing for me to go into. … I feel like I’ve fully explored the whole area of soloing.”

“Under the Stars” follows Envy of None’s previous single “Not Dead Yet,” which arrived in November.

Rush Albums Ranked

We examine Rush’s 19 studio albums, from 1974’s muscular self-titled release to a series of remarkable late-career triumphs.

Gallery Credit: Eduardo Rivadavia

You Think You Know Rush?





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Why ‘Freddy vs. Jason’ Was Worth a 16-Year Wait


It took 16 years of anticipation, lots of corporate wrangling and $6 million dollars in script development, but in 2003, Freddy Kruger and Jason Voorhees finally squared off in one of the most satisfying and successful crossovers in horror movie history.

New Line Cinema, home to the A Nightmare on Elm Street series, and Paramount, original home of the Friday the 13th franchise, first tried to get their famous murdering maniacs together on the big screen in 1987, according to Daily Dead. The studios were unable to strike a deal, and numerous aborted crossover proposals were shot down over the next few years.

In the early ’90s, New Line got the rights to the Jason Voorhees character and teamed up with Sean S. Cunningham, the producer and director of the original Friday the 13th with the goal of making Freddy vs. Jason. However, A Nightmare on Elm Street mastermind Wes Craven instead decided to return to that franchise for a stand-alone Freddy movie, 1994’s Wes Craven’s New Nightmare, delaying Cunningham’s plans.

Read More: ‘Dream Warriors’ Reveals Freddy Krueger’s Backstory

In an attempt to resuscitate Jason’s dormant box office career while awaiting his dream crossover, Cunningham instead helped craft 1993’s rather shitty Jason Goes to Hell, which concluded with a surprise appearance from Kruger, openly teasing a full-fledged matchup.

Despite the fan excitement created by that scene, it still took 10 years for the studio to come up with a Freddy vs. Jason script that did justice to both characters. According to the book Crystal Lake Memories, the process included 18 drafts by 12 different writers, at a cost of $6 million dollars before the cameras ever rolled.

“Originally, New Line was very excited: ‘Whoa! Freddy vs. Jason! That’s going to be kick-ass!'” development executive Noel Cunningham explained. “But then you really have to sit down and think about it, and ask, “Okay, what happens? You have two main characters – both of whom are villains. One of them [Freddy] doesn’t exist in the real world, and the other one [Jason] doesn’t talk. How do you create a movie around those two characters? It’s damn near impossible.”

The writers finally cracked the code, coming up with a clever scenario in which Freddy had been forgotten, robbing him of the “fear power” he needed to resume his killing spree. He tricks Jason into killing the children on Elm Street instead of the hockey mask-wearing lunatic’s normal Crystal Lake haunt, making Freddy’s hometown think Krueger was back. This creates the required terror for the knife-glove-wearing, wisecracking murderer to actually return. Conflict arises when Jason proves to be a bit too good at his job, robbing Freddy of the chance to make his own kills.

The two eventually battle in both Freddy’s dream world and in a climactic real-world showdown. Instead of an early plan to have two separate endings with different victors, Freddy vs. Jason concludes with a pretty clear winner in a very close and bloody fight – until, in true horror movie cliffhanger fashion, the last frames suggest maybe things aren’t what they seem.

Freddy vs. Jason was filmed on three times the budget of any previous Freddy movie, and more than seven times the budget of any of the first nine Jason movies. This allowed director Ronny Yu to deliver some of the most cinematic sequences in either franchise’s history, including a particularly stunning scene where Jason carves up a bunch of teenagers at a rave in a cornfield – despite being covered in flames himself.

Watch the ‘Freddy vs. Jason’ Cornfield Rave Scene

Released on Aug. 15, 2003, Freddy vs. Jason went on to gross $116 million, more than double the earnings of any previous film from either franchise. You would think those numbers would guarantee a sequel, and the idea was of course discussed. Bruce Campbell, star of the Evil Dead franchise, said he was approached about having his character Ash join in on the fun in the follow-up.

“We were like, ‘Great, Ash can kill ’em both.’ There was a long pause, ‘Well, actually, that’s not something we can entertain.’ And we couldn’t control any other character, only control Ash – what these guys said or what they did and you couldn’t kill either one,” Campbell told ScreenRant. “So right from the start, it’s creatively bankrupt. Economically, now you’re splitting the pot with two other partners – nah. We’re good.” Freddy vs. Jason vs. Ash was instead made into a six-part comic book series in 2007. (Spoiler alert: Ash kicked both their asses.)

Jason and Freddy instead went their separate ways, with the franchises both opting for complete reboots. The revamped Friday the 13th arrived first in 2009, with A Nightmare on Elm Street debuting the following year. Both were financially successful, with Friday earning $92 million and Nightmare earning $116 million, but neither Freddy nor Jason has returned to the big screen in over a decade due to separate legal battles over the rights to their characters and franchises.

In 2019 Bloody Disgusting reported that the rights to the Nightmare franchise had reverted to Craven’s estate, but there has been no word on a new film since that time. A Friday the 13th prequel series named Crystal Lake is scheduled to debut on NBC’s Peacock streaming network on Halloween 2025. In May 2024, Cunningham said that Jason’s return to the big screen was at least several years away.

Watch the ‘Freddy Vs. Jason’ Trailer

The Best Horror Movie From Every Year

Counting down a century’s worth of monsters, demons and things that go bump in the night.

Gallery Credit: Michael Gallucci





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Jon Anderson Set to Release Live Album Packed With Yes Classics


Jon Anderson says he’s open to a reunion with his former Yes bandmates. In the meantime, he’s revisiting some of the best-known music they made together with a group of collaborators found on YouTube.

He’s been appearing with the Band of Geeks for a few years, most recently on a well-received tour dubbed “Yes: Epics, Classics and More.” They recorded and filmed an entire show in August at the Arcada Theater in St. Charles, Illinois, and are now set to release Jon Anderson and the Band Geeks Live: Perpetual Change on March 14 through Frontiers.

The album will be available in 2CD/DVD or triple vinyl editions. Preorders are already underway. See a complete track listing below and preview their update of “And You And I” from 1972’s career-defining Close to the Edge.

READ MORE: Ranking Every Yes Album

In June, Anderson released “Shine On,” his first original single with the Band of Geeks. The track was produced by Anderson and Blue Oyster Cult‘s Richie Castellano, who also serves as bass player and musical director of the Band of Geeks. Their full-length debut, True, followed in August.

Anderson discovered Castellano in the summer of 2018 after he posted a cover of the title track from Close to the Edge. The song was called “Close to the Edge: A Band Geek Yes Cover with Chris Clark,” and that eventually inspired the new group’s name.

Anderson’s last album with Yes was 2001’s Magnification. The Band of Geeks also includes keyboardists Clark and Andy Ascolese, bassist Andy Graziano, guitarist Robert Kipp.

‘Jon Anderson and the Band Geeks Live: Perpetual Change’ Track Listing
“Yours Is No Disgrace”
“Perpetual Change”
“Close to the Edge”
“Heart Of The Sunrise”
“Starship Trooper”
“Awaken”
“And You and I”
“Your Move / I’ve Seen All Good People”
“Gates of Delirium”
“Roundabout”

Top 50 Progressive Rock Artists

From Kansas and Can to King Crimson and Curved Air. 

Gallery Credit: Ryan Reed

Revisiting Yes’ First LP Without Chris Squire





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30 Wintertime Songs That Aren’t Holiday-Related


According to a 2023 poll by Yahoo, 54% of people think holiday music has been starting “too early” over the past few years.

If you’re in the 46% percent of people who are perfectly okay with holiday music starting somewhere around the end of Halloween, this article is not for you. For you, might we suggest something like Rock’s Biggest Christmas Songs: The Stories Behind 15 Classics?

But there is no law saying that just because it’s winter one must listen to holiday music — there are other options available. This December, think kindly, if you would, of those folks who aren’t in love with songs about Christmas and Santa and the like but still want to get into the seasonal spirit. Here are 30 Wintertime Songs That Aren’t Holiday-Related.

1. “Cold as Ice,” Foreigner
From: Foreigner (1977)

Yes, Foreigner’s “Cold as Ice” is meant to be a metaphor for a stony-hearted lover, but there was also a literal aspect to it. “It wasn’t aimed at anyone specific,” Mick Jones explained to Classic Rock in 2021. “Well, there was one girl at school that dumped me, so maybe that trauma stayed with me over the years and subconsciously filtered in! The other contributing factor was that it was about minus 20 degrees in New York at the time we were writing it, which may have fed into the atmosphere.”

 

2. “Snowballed,” AC/DC
From: For Those About to Rock We Salute You (1981)

There’s a few different ways you could interpret AC/DC’s “Snowballed.” It’s not out of the realm of possibilities that it refers to cocaine — “Snowballed out of my mind.” But perhaps it’s more like the old saying, the one used to describe circumstances that accelerate or accumulate quickly — “The howl of the wolf, snow in his eye / Waiting to take you by surprise.”

 

3. “Snowblind,” Black Sabbath
From: Vol. 4 (1972)

Okay, this one is actually a very clear reference to cocaine  — “Fill my dreams with flakes of snow / Soon I’ll feel the chilling glow.” Black Sabbath has admitted so themselves. In fact, at one point they wanted to call Vol. 4, the album it appeared on, Snowblind, but, according to Tony Iommi‘s autobiography Iron Man: My Journey Through Heaven and Hell With Black Sabbath, the higher-ups at Vertigo Records wouldn’t allow it.

 

4. “A Hazy Shade of Winter,” Simon & Garfunkel
From: Bookends (1968)

There’s something mournful about the period of time in which fall fades into the beginning of winter. “Hang on to your hopes, my friend,” Simon & Garfunkel sing in “A Hazy Shade of Winter,” which went to No. 13 on the Billboard Hot 100. “That’s an easy thing to say.” When you’re done listening to this version, check out the Bangles’ 1987 cover of it, an even bigger chart hit.

 

5. “Wintertime Love,” The Doors
From: Waiting for the Sun (1968)

You’ve heard of a summer love. How about a wintertime one? It’s essentially the same thing, but with the seasons flopped and instead you have a lover to keep you warm during the cold months. “The piano and guitar interplay is absolutely beautiful,” Ray Manzarek said in the liner notes to 1997’s The Doors: Box Set. “I don’t think Robby [Krieger] and I ever played so sensitively together. It was the closest we ever came to being Bill Evans and Jim Hall.”

 

6. “Snow Blind,” Ace Frehley
From: Ace Frehley (1978)

If you ever listened to Ace Frehley’s “Snow Blind” when you were a kid — or essentially any age before you were exposed to the seeder underbelly of life — you may have thought he was just singing about being lost in a blizzard. As you got older, you likely came to terms with the fact that that was probably not the kind of white stuff Frehley was referring to when he sang “I’m snow blind, think I’m lost in space

 

7. “Trapped Under Ice,” Metallica
From: Ride the Lightning (1984)

There’s two ways you could look at Metallica’s “Trapped Under Ice.” On the one hand, the lyrics could be considered metaphorically as being about someone who feels confined in some way emotionally — “Frozen soul, frozen down to the core / Break the ice, I can’t take anymore.” Or if you’d like to get a little more morbid with it, maybe the narrator is quite literally cryogenically frozen in time — “Crystallized as I lay here and rest / Eyes of glass stare directly at death.”

 

8. “Winter,” The Rolling Stones
From: Goats Head Soup (1973)

You would not guess it based on the lyrics and subject matter, but the Rolling Stones penned “Winter” while in balmy Jamaica. This is a rare track in the sense that Keith Richards does not play on it at all — the rhythm guitar is Mick Jagger‘s doing, while the lead and slide guitar was done by Mick Taylor. The delicate piano part is courtesy of Nicky Hopkins, and the strings are the work of Nicky Harrison, who also arranged the strings in the song “Angie.”

 

9. “A Winter’s Tale,” Queen
From: Made in Heaven (1995)

Freddie Mercury did not live to see the release of “A Winter’s Tale,” which appeared on 1995’s Made in Heaven. According to Brian May, Mercury wrote the song at a lake house in Montreux, Switzerland, a place that is certainly no stranger to snow. May recorded his guitar solo after Mercury’s 1991 passing. “It was one of those things where I could hear it in my head, long before I actually got to play it,” May later said to Mojo (via uDiscover Music). “And when I recorded it, at my home studio, in my head I was there with Freddie in Montreux in those moments, even though this was happening long after he was gone.”

 

10. “Winterlude,” Bob Dylan
From: New Morning (1970)

“Winterlude” isn’t exactly Bob Dylan’s most his most intellectually stimulating song, and actually, “Winterlude” is meant to be a girl’s name in the lyrics — “You’re the one I adore, come over here and give me more / Then Winterlude, this dude thinks you’re fine.” But fun fact: years after this song was released on 1970’s New Morning, an annual wintertime festival called Winterlude began in Canada’s National Capital Region.

 

11. “Cold,” Annie Lennox
From: Diva (1992)

Just watching Annie Lennox’s music video for “Cold” makes one feel a little chilly. Her skin is so pale it’s nearly white and her lips appear a frosty blue-gray. “Cold is the color of crystal,” she sings. “the snowlight that falls from the heavenly skies.”

 

12. “Snowbound,” Genesis
From: …And Then There Were Three… (1978)

To be honest, Genesis has a few songs that probably could fit in on this list. “Snowbound” is one of them. “We tried to make this song a bit different,” Mike Rutherford explained to BBC Radio One in 1978, “a verse/chorus romantic acoustic song and the drums were slowed down, if you listen, they have a funny sound. It was an easy one to record, a romantic song about a guy who gets inside a snowman outfit to hide from everybody, he was paranoid, and he gets stuck!”

 

13. “Winterlong,” Neil Young
From: Decade (1977)

Neil Young did an excellent job of distilling down the distinct sense of yearning that seems to come along with the season in “Winterlong,” which happens to be a favorite of Black Francis from Pixies. “There’s not really a chorus in the song, but it sounds like a really chorus-y song,” Francis once told Songfacts. “It has very classic/traditional kind of chord shapes in it, like ’50s rock, but it has a much more nuanced arrangement than you would think, kind of like a Roy Orbison song or something like that.”

 

14. “Writes of Winter,” Jimmy Page
From: Outrider (1988)

There’s nothing really about Jimmy Page’s “Writes of Winter” that screams winter aside from the title, given that it’s an instrumental song. But who cares? It’s a fun listen anyway. “I’m not trying to be flippant here, but I just play the guitar, don’t I?” Page said to Guitar World in 1988, the year his one and only solo album, Outrider, was released, which included “Writes of Winter.” “That is my characteristic and it’s my identity as you hear it. I suppose as far as this album goes, in a way it’s almost like a back-to-basics album. And with the guitar, as you’ve heard, I’ve limited the guitar effects as such, and in fact the ‘effects’ are the layering — the textures of the things. That was the basic idea of it.”

 

15. “December,” Weezer
From: Maladroit (2002)

“December” is the closing song on Weezer’s 2002 album Maladroit. The intertwining guitars? Pure artistic coincidence. “That was a total miracle,” Rivers Cuomo told Guitar World back then. “I had my solo mapped out, and Brian [Bell, Weezer co-guitarist] had his counterpoint line, but we had never heard each other’s parts. We just mashed them together to see what would happen, and it sounded beautiful.”

 

16. “February Stars,” Foo Fighters
From: The Colour and the Shape (1997)

Below is the 1997 version of “February Stars,” as recorded by Foo Fighters. But the song dates back several more years to Dave Grohl‘s Nirvana days. Somewhere out there is an early version with only Grohl and Krist Novoselic, who made a demo of it during Nirvana’s last recording session.

 

17. “Cold Rain and Snow,” The Grateful Dead
From: The Grateful Dead (1967)

Before the Grateful Dead officially began, Jerry Garcia could often be found playing folk music — he played acoustic guitar and banjo in bluegrass groups like the Sleepy Hollow Hog Stompers. So it makes sense that some traditional folk songs carried over into the Grateful Dead’s catalog. “Cold Rain and Snow” was one of them, which dates back to 1917.

 

18. “40 Below,” David Lee Roth
From: A Little Ain’t Enough (1991)

Leave it to David Lee Roth to turn a song about cold temperatures into some kind of sexual metaphor. “Call me 40 below and I’ll be whippin’ in your window,” he sings. “I’ll be lickin’ round your knees / I can drop below zero any moment, baby / I’m talkin’ 40 degrees.”

 

19. “Out in the Cold,” Tom Petty and the Heartbreakers
From: Into the Great Wide Open (1991)

“It’s not a bad album,” Tom Petty once said of 1991’s Into the Great Wide Open. “I don’t think it was the best way to work with the Heartbreakers.” Petty was almost certainly referring to the fact that Jeff Lynne co-produced the album, lending a style that not everyone in the band loved. Still, there’s some great rock ‘n’ roll songwriting on it — “Out in the Cold” is one example.

 

20. “California Dreamin,'” The Mamas and the Papas
From: If You Can Believe Your Eyes and Ears (1966)

If you live in California or someplace else with a similar climate, this entry is not for you. This is for the people who live where sheets of snow fall every winter, which can sometimes lose its magic after shoveling it out for weeks on end. Those people deserve a little sunshine and a warm breeze. The Mamas and the Papas sang about this exact feeling in “California Dreamin.'”

 

21. “2000 Miles,” The Pretenders
From: Learning to Crawl (1984)

Chrissie Hynde penned “2000 Miles” following the passing of Pretenders guitarist James Honeyman-Scott, who died of a drug overdose at 25 years old. “The snow is falling down / Gets colder day by day / I miss you,” she sings. The accompanying music video shows Hynde out in the elements, plus a…person in a polar bear costume.

 

22. “Winter Time,” Steve Miller Band
From: Book of Dreams (1977)

“Winter Time” by Steve Miller Band features Bob Glaub on bass, whose resume of rock collaborations ranges from John Lennon to Journey, Bob Dylan to the Bee Gees and so many more. A special shout out should be given to Norton Buffalo who provides the haunting harmonica solo at the beginning of the song while the wind fades.

 

23. “Bare Trees,” Fleetwood Mac
From: Bare Trees (1972)

Bare Trees, Fleetwood Mac’s sixth studio album, was the last to include Danny Kirwan, meaning “Bare Trees” the song was one of the last Kirwan-penned numbers the band recorded. (Kirwan also sang the lead vocal on it.) “Danny was a quantum leap ahead of us creatively,” Mick Fleetwood later told Music Aficionado. “He was a hugely important part of the band.”

 

24. “Mandolin Wind,” Rod Stewart
From: Every Picture Tells a Story (1971)

Why does Rod Stewart always seem to be singing about a lost lover? “Through the coldest winter in almost 14 years, I couldn’t believe you kept a smile,” he sings in “Mandolin Wind,” which features — you guessed it — a mandolin part by Ray Jackson. A year after Stewart’s version came out, the Everly Brothers recorded the song for their 1972 album Stories We Could Tell.

 

25. “A Winter’s Tale,” The Moody Blues
From: December (2003)

Queen is not the only band with a song called “A Winter’s Tale.” But actually, the Moody Blues recording below is a cover of a 1982 song originally recorded by the English singer-songwriter David Essex, who took it to No. 2 on the U.K. singles chart. The Moody Blues’ version appeared on their 2003 album — and their last ever – December.

 

26. “The White Snows of Winter,” REO Speedwagon
From: Not So Silent Night … Christmas with REO Speedwagon (2009)

Oddly enough, like the Moody Blues above, REO Speedwagon’s last album was also a holiday one. Most of the tracks on 2009’s Not So Silent Night…Christmas With REO Speedwagon are, well, Christmas-related. But “The White Snows of Winter” is an exception.

 

27. “Latitude 88 North,” Electric Light Orchestra
From: Out of the Blue (2007 Reissue)

ELO’s “Latitude 88 North” surfaced on the 2007 reissue Out of the Blue. For you geography fans out there, the title is a reference to what’s known as 88th parallel north, the particular circle of latitude located in the Arctic Ocean. Pretty damn cold up there.

 

28. “Sometimes in Winter,” Blood, Sweat & Tears
From: Blood, Sweat & Tears (1968)

The person primarily responsible for lead vocals in Blood, Sweat & Tears was David Clayton-Thomas, who joined the band in time for their second album. “David had that commercial voice,” his bandmate Steve Katz once said. “We felt it was going to work.” But there was one track on that 1968 self-titled release that featured Katz as the lead vocalist instead: “Sometimes in Winter.”

 

29. “End of the Season,” The Kinks
From: Something Else by the Kinks (1967)

In “End of the Season,” Ray Davies uses the changing of the weather as a metaphor for the departure of his lover: “Summer birds aren’t singing since you went away / Since you’ve been gone, end of the season, winter is here, close of play.” (It’s made particularly literal though with some real bird sounds at the beginning of the track.)

 

30. “Urge for Going,” Joni Mitchell
From: 1972 B-side

Like the Kinks above, Joni Mitchell uses the shift of the seasons to drive home the feeling of drifting apart from a partner in “Urge for Going.” The song was first recorded by Tom Rush in 1968 — Mitchell’s own version finally arrived in 1972 as the one and only non-album B-side of her entire career.

Great Classic Rock Christmas Memories

As you’ll see, rock stars celebrate Christmas in their own rock star ways.

Gallery Credit: Nick DeRiso





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Half of Kansas’ Classic Lineup Reunites for 2024 Tour Finale


Kansas celebrated the end of its Another Fork in the Road 50th Anniversary tour by putting the band — or at least some of it — back together again.

Original bassist Dave Hope reunited with co-founding guitarist Rich Williams and drummer Phil Ehart – playing only his second date since suffering major heart attack in February — and the current Kansas lineup on Wednesday at the Benedum Center in Pittsburgh. It was an appropriate venue to close the 18-month tour; the city has been a Kansas stronghold since early in the group’s career, thanks to the efforts of promoter Rich Engler — who produced Wednesday’s show — and local radio during the 70s.

You can see the full set list and exclusive photos of the show below.

Read More: Kansas Drummer Phil Ehart Recovering From ‘Major’ Heart Attack

The Benedum also hosted the latest tour’s first show on June 2, 2023 and, as the Stanley Theatre, was the site of a much bootlegged 1975 concert broadcast on radio.

“It’s a special relationship,” Williams told UCR before the show, noting that Kansas was “more famous in Pittsburgh in particular, and across Pennsylvania, when we couldn’t draw flies back home.”

Ehart joined the group partway through “Lonely Wind,” which finished a four-song semi-unplugged segment of the show, while Hope and Ehart were both part of the subsequent “Hold On” and the encore of “Carry on Wayward Son.” Fellow co-founder Kerry Livgren had intended to be at the show, too, but elected to stay home with his wife, Vicki, who recently suffered a broken collarbone; their daughter Kate played viola on “Dust in the Wind” in his stead. Current violinist Joe Deninzon soloed on a white instrument owned by the late Robbie Steinhardt, whose widow and daughter were also in attendance for the show.

The potent 20-song, two-hour and 10-minute concert found Kansas still in strong form after at the end of the 118-date tour, which Williams said was initially planned to be just 50 shows. Other hits, such as “Point of Know Return” and “The Wall,” were mixed with deep catalog favorites like “Glimpse of Home,” an epic “The Pinnacle” and “Reason to Be,” and the John Elefante era of the band was also represented with “Play the Game” and “Fight Fire With Fire.”

Conspicuously, but not surprisingly, absent was original singer-keyboardist Steve Walsh, who served two stints with Kansas and left for good in 2015. “He’s not interested — he’s made it clear, and that’s his prerogative,” Williams said. “He’s retired, and it’s kind of in the rearview mirror now.” But the guitarist said having any assemblage of Kansas’ old guard together is always special. “They’ve done it several times with us over the years, and it’s always great,” he said. “We have so many great memories together, and it’s always great to see them and play with them again.”

Hope, who left the band during 2000 but has made several guest returns over the years – and still plays in a cover band “for fun” at home on Florida’s Gulf Coast — said after the show that, “It’s got a strong family thing to it. These are my high school friends. It’s hard to say if it’s the music or this or that – it’s all of the above.” He added that he chose to play “Hold On” and “Carry On Wayward Son” because “I don’t have to practice much to do those…I’m not gonna take on ‘Song For America.”

Watch Kansas Perform ‘Carry On Wayward Son’ in Pittsburgh

Ehart, meanwhile, reported that he’s been improving steadily since the heart attack and was cleared by his cardiologist to play on Wednesday. “This (was) a special show,” he noted. “Coming here tonight, seeing the band and getting up and playing, that’s what I’m supposed to do. This is my life. It’s 50 years of drumming. I’m happy to be here.”

Prior to the show Ehart – joined by Kate Livgren and her brother Kyle — was presented with BMI certifications of nine million radio plays for “Carry On Wayward Son” and seven million for “Dust in the Wind.” Eric Gold, whose father Wally Gold signed Kansas to Kirshner Records in 1973, also shared some memories with the crowd.

With the 50th anniversary celebration in the books, Williams said Kansas will now go about the business of, well, carrying on. The group returns to the road during January in Florida with a Kansas Classics show, and a co-headlining amphitheater tour with .38 Special is on tap for the spring and summer. But Williams added that “the odds are stacked again” a new album, following 2020’s The Absence of Presence.

“Never say never, ’cause I’ve said no before,” Williams explained. “There’s a couple things in the can, but we’ve been so darn busy (touring) there hasn’t been any opportunity for the creative process. We’ve got a creative bunch of guys in the band, but the rub on that in today’s reality is it won’t get on the radio. It might get bought by our hardcore fans, but it won’t be played. Meanwhile we’ve got 17 people on the road (whose) families we have to support. Taking off a year to write and record and release an album takes out of the (touring) marketplace, and…if we took that much time off, we’re gonna lose people.”

Ehart, who’s been Kansas’ manager for the past 40 years, echoed the sentiment. “My philosophy right now is just keep the boat afloat, keep doing what we’re doing,” he said. “Let’s concentrate on what’s working, which is (playing) live. Why are we going to go in the studio, come off the road from all these people and go into the studio and make something nobody’s gonna buy? That’s a model for failure.” Ehart and Williams did, however, hold out the possibility that Kansas could record and release something shorter than a full album.

“I’ve been pushing for that for a long time,” he said. “In these times when everything is streaming and very little hard product is sold, why not just release it ourselves, just put it out on the Internet for a 99 cent download. It makes sense to me. So, yeah, that’s quite possible — and quite likely.”

Kansas, Dec. 12, 2024 Benedum Center, Pittsburgh Set List:

“Belexes”
“Point of Know Return”
“Play the Game”
“Fight Fire With Fire”
“Icarus”
“Icarus II”
“Throwing Mountains”
“Glimpse of Home”
“The Pinnacle”

Semi-Acoustic:
“People of the Southwind”
“Dust in the Wind” (with Kate Livgren)
“Reason to Be”
“Lonely Wind” (with Phil Ehart)

“Hold On” (with Ehart and Dave Hope)
“Song For America”
“Can I Tell You”
“Down the Road”
“The Wall”
“Miracles Out of Nowhere”

Encore:
“Carry On Wayward Son” (with Ehart and Hope)

Kansas 2024 Reunion Show

Kansas celebrated the end of its Another Fork in the Road 50th Anniversary tour by putting the band — or at least some of it — back together again.





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The Cure Have Two More Albums on the Way


Robert Smith said The Cure have two albums on the way to follow this year’s Songs of a Lost World.

Their 14th LP, which arrived in November, was their first in 16 years. But in a recent interview with Absolute Radio (video below) the frontman revealed there was more on the way in the near future.

“There’s another album which is pretty much ready to go,” he said. “It’s sort of a companion piece [to Songs of a Lost World].”

READ MORE: The Cure Reach Pop Heaven With ‘Kiss Me, Kiss Me, Kiss Me’

He continued: “There’s a third one, which is completely different. It’s really kind of random stuff – like late-night studio stuff. But some of it is really good, actually. It’s just very very different.”

The singer described Lost World as “a really emotional pice of work,” and said the next release would be “not quite as dark, but it explores other subjects a little bit more.

“The third one is very odd, actually,” he emphasized. “I haven’t finished the words to that one because my headspace has been much more focused on performing those ones.

“I don’t really want it to end because it’s been so good. The reaction to the new music has been so, so great. It’s been really lovely to feel people giving us all the love.”

Is This Why the Cure Took 16 Years to Launch New Music?

In an interview with the BBC last month, Smith appeared to hint at why the Cure had waited so long to release new music, with 2008’s 4:13 Dream having been their last release before Lost World.

“[T]he one thing that as I’ve grown older, I’ve found much much harder to do, [is] write words that I want to sing,” he explained. “I can write words, but I don’t really feel like singing them.

“So to arrive at that point where I think that it’s worth singing these songs, it has become really, really hard.”

The Cure Albums Ranked

Gloomy, gothy, punky, poppy – this multidimensional band’s albums are among the best of the era.

Gallery Credit: Michael Gallucci





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The Hit Iron Maiden Song Smith Didn’t Think Harris Would Like


One of Iron Maiden‘s most popular hit songs is one that Adrian Smith originally didn’t even want to introduce to Steve Harris, assuming the bassist and founder wouldn’t like it.

That song is “Wasted Years” off 1986’s Somewhere in Time, which Maiden just finished celebrating on The Future Past Tour and its split focus on that record and the band’s latest, Senjutsu. It also wound up being the last song Nicko McBrain played with Iron Maiden, as the 72-year-old drummer officially retired on Saturday (Dec. 7) in Sao Paulo, Brazil.

In a new interview with MusicRadar, Smith recalls the unique circumstances that led to the guitarist solely authoring three of the album’s eight songs.

The Writing Process for Somewhere in Time

Singer Bruce Dickinson was famously absent from the songwriting process, burnt out from the 13-month gauntlet of a world tour supporting 1984’s Powerslave. His idea, at the time, was for Maiden to head in a different musical direction and had introduced acoustic songs he had written for the Powerslave successor.

“That tour took a lot out of Bruce. It took a lot out of everybody. Bruce had gotten really into fencing. He used to go off and do these tournaments. And when he brought in these songs he’d written, it was all acoustic stuff. Some of it was good, but I guess it wasn’t what everyone else wanted to do,” Smith notes.

The guitarist recalls the band residing in New Jersey during the winter, idling in a hotel and spending the days “just drinking.”

Smith underwent a root canal procedure during this time and, during a taxi ride back to the hotel while it was raining, “the riff for ‘Stranger in a Strange Land’ just came into my head.” He quickly got to work once he returned to the hotel.

“We were also trying new ideas with that album,” he explains, “I always wanted to make an album that sounded really produced – as opposed to kind of live with a little bit of little bit of fairy dust on it.”

Somewhere in Time famously found Iron Maiden experimenting with guitar synthesizers, which also served as the catalyst for another one of Smith’s standouts on the record — “Wasted Years.”

The song, which was released as the album’s lead single, has been performed live over 700 times and, according to setlist.fm, is Iron Maiden’s 14th most-played song live.

“I got this Roland guitar synth out of the box from Japan,” Smith recalls, “and when I switched it on it started making this crazy noise and I just played along to it. It was like a rhythmic thing. So it gave me a song straight away.”

Spencer Kaufman, Loudwire

Spencer Kaufman, Loudwire

The guitarist says that his four-track demo of the song “sounded a little bit like U2” and, for that reason, he didn’t even plan on showing it to Harris for consideration on the album.

“But he heard me playing it in a rehearsal, and he said, ‘That’s good. We should do that,'” Smith explains. “Steve’s funny like that. You might think he wouldn’t go for it, but he was like, ‘Let’s try it!’ And because Bruce wasn’t around, I just dashed off the words as well.”

He reasserts, “But if Steve hadn’t heard it by accident, I would never have played it to him.”

Watch Iron Maiden Perform ‘Wasted Years’

Every Iron Maiden Song Ranked

Ranking every Iron Maiden song from worst to best, across 17 albums and other rarities.

Gallery Credit: Loudwire Staff





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Why Tom Petty’s ‘Long After Dark’ Still Feels Very Current


Tom Petty hosted a fantastic radio show for years called Buried Treasure and we’re learning now as fans, the late singer-songwriter also had plenty of undiscovered gems in his own catalog.

1982’s Long After Dark is in that category, an album which arrived on the heels of the previous year’s Hard Promises. It was arguably the third record in what was ultimately an impressive trilogy of work from Tom Petty and the Heartbreakers between 1979 and 1982.

[Long After Dark] feels very prescient for this moment. It feels like it was written at a very big soulless moment of uncertainty,” Adria Petty tells UCR now. “In a lot of ways, we thought it was fun to dive in here and look at how they were dealing with that moment. Looking at the archives and all of it, it’s like the medicine that Tom left behind for us.

The first chapter in that cycle, 1979’s Damn the Torpedoes, followed a protracted legal battle, which left Petty and the members of the group frustrated and disillusioned. But if anything, the turmoil just strengthened their resolve.

The album’s title fit their general credo in that moment, borrowing from the famous quote, “Damn the torpedoes…full speed ahead!” Two albums later, Long After Dark found Tom and the Heartbreakers still loaded for bear — and the recent expanded reissue of Long After Dark offers ample proof. Tracks like the shimmering “Never Been You” and “Don’t Make Me Walk the Line” are just a couple of highlights on the second disc, which revisits a bevy of previously unavailable material that finally has been sprung from the vault.

It’s a good year to be a Petty fan. In addition to the Long After Dark expansion, fans can now access every episode of the previously mentioned Buried Treasure radio show via Petty’s newly relaunched fan club, which now offers free membership. They’re promising an ongoing wave of exclusive content from the archives as well as advance notice and special surprises. One of those surprises arrived with the announcement of the upcoming Live in Edinburgh 1982 official bootleg, which was released and quickly sold out.

During a recent conversation, Adria Petty and Heartbreakers keyboardist Benmont Tench discussed Long After Dark — and Petty offered a glimpse at what’s ahead for fans to look forward to.

As a starting point, how do you look back on Long After Dark now?
Benmont Tench: Long After Dark, I remember that Ron Blair did his last track with us, “Between Two Worlds,” which was one of my favorite things we ever did. Howie Epstein [joined the band], so I remember having Howie there. I loved Howie from the first second….I loved Ron too, but I loved Howie from the first second. We became very close. We were [also] in a different studio. We weren’t in Sound City, we were at the Record Plant. That changed things up and brought in a slightly different vibe.

All of the records were a really good experience. None of them were not a really good experience. Sometimes, as with the legal interruptions for Damn the Torpedoes, they were frustrating. I don’t remember any such frustrations with Long After Dark. It was traditional back then, they’re going to get rid of Stan [Lynch], he’ll be gone for a week, we’re going to get no tracks, no matter how great the other drummer is they bring in. He’s going to come back and we’re going to get two tracks the day he comes back and everything’s fine. [Laughs] So, that happened on that record too. But apart from that, it was a really happy time.

Adria Petty: Look, to me, Tom Petty’s just my dad. He’s a normal dude. But when you look at [him] and the band as a musical entity that created music for 40 years on their own terms, swimming upstream against culture, holding some sort of the tenant of what was cool and what was important to study and interpret as a band and a group, this to me, is like, the band record. It’s not just them trying to make a hit record with Jimmy Iovine. This is this band that has so much grit. They have so much staying power. They’ve been playing like a locomotive for seven years and they’re just in this flow.

Every record is a revelation. I think in the case of this record, there was more of a revelation there maybe than we thought, in terms of the importance of where the band was at and where the harmonies were going. Where Tom was going acoustically, which I think Cameron really succinctly addresses that in the extras for Heartbreakers Beach Party. This is a period of time where Tom was recording acoustic music — really important acoustic music with “Keeping Me Alive,” “Turning Point” and things like that. Looking at the record, knowing that it had that duality, the other roots, what they were calling a “too country” side to it, it’s interesting.

READ MORE: The Gift Tom Petty Gave to Cameron Crowe

It’s really great hearing the extra material on this new expanded edition of Long After Dark.
Tench: I loved having French TV come in and the performances that they captured. I love that once again, we have Phil Jones playing percussion live with us. Everything that Stan Lynch and Phil Jones [did] as a team together was something really, really special. They’re very special on their own. Jones played drums on Full Moon Fever, but as a percussion drum team, they were so much of a joy to play with.

Tom kept on bringing in really good songs as always. Sometimes, he’d bring in demos, more so than he’d done before. We could play fast and loose with them — except on a few songs, like “A Wasted Life,” where he would have played something specific on the demo. Often, it would be very random and he’d say, “I want you to play this.” I’d be like, “You played that off the top of your head. It’s completely random. How am I going to copy that?” He’d say, “You can do it.” And I did. He would push me out of my comfort zone like that. He brought in so many good songs. That’s why we have so much bonus material. I believe that for him and Jimmy and Mike to figure out what belonged on the record and made it a complete [album], I think it was probably pretty daunting, because some of the songs that didn’t wind up on the record, to me, are some of his best and some of our best.

Petty: Tom was a very disciplined songwriter and he was very disciplined about being a band leader too — rehearsing his band, playing with his band — and they were prolific. I mean, they really were. They were aiming for a very high bar and most of the time they hit it when their lives didn’t get in the way. I think for dad and the band in particular, this is a really nice moment. Because Mike gets to go back and see how great “Finding Out” is, “Between Two Worlds,” “You Got Lucky” and really kind of take some credit for innovating in that way at the time. “Straight Into Darkness” [is another example]. I think it’s such a Benmont record, really, “Never Be You” coming out. Because it’s one of the only singles that I think Benmont really got a lot of credit for. It’s got such a big haunting piano line. “Never Be You,” “Ways to Be Wicked” and just the vibe of feeling disillusioned and dark but knowing that you’re going to make it through it. Being like, “I’m going to sit in this bummer for a second and just own it, I’m going to go straight into darkness.” That album feels very prescient for this moment. It feels like it was written at a very big soulless moment of uncertainty. In a lot of ways, we thought it was fun to dive in here and look at how they were dealing with that moment. Looking at the archives and all of it, it’s like the medicine that Tom left behind for us.

Watch Tom Petty and the Heartbreakers’ Video for ‘Never Be You’

Benmont, what are your memories about “Never Be You” in particular? It’s got some good history.
Tench: Yeah, Rosanne Cash cut it and Maria McKee [also] cut a lovely version for the Streets of Fire soundtrack. Tom sings it differently and I really love the way he sings it. He had the context for that song. I’d written a complete song and recorded a demo of it on a little four track. I think I played it for Jimmy and I think he said, “I love it.” I was really happy. He said, “Take the melody and the lyrics out and send it to Tom.” I was like, “Okay, I thought you loved it!” But he heard something in the instrumental track and I was happy for Tom to do what he would do with it. Tom wrote “Never Be You” and we went in and cut it. It’s such a lovely thing. It means a lot to me. I didn’t lobby for it to be on the record, because I thought, “God, that would be egotistical, because it’s my song. But I love the way it sounds and I’m really glad it’s finally out.

It’s cool seeing the extended footage of the band working on the “You Got Lucky” video in Heartbreakers Beach Party. Benmont, when it comes to the synthesizers on that song, how much did you enjoy messing around with that stuff at the time?
Tench:
I wasn’t a big fan of synths, mostly because I wasn’t in sympathy with them, musically. I didn’t know what to do with them. If they were used, what I thought was well, I thought they were great. Abbey Road, the Beatles used them a fair amount and its gorgeous. But Mike [Campbell] was always interested in technology. He wrote the track [for “You Got Lucky”] on a little Yamaha keyboard. That sound on the Yamaha keyboard, we were trying to emulate with an Oberheim synthesizer and a Prophet-5 synthesizer. It was interesting, because we got a guy in to program it for us. I didn’t know how to program a synth — nobody in our band knew how to do that — so a guy came in with an Oberheim and a Prophet and got the sound for us. Then, Michael had played it on the demo. I said, “Mike, you played it. Why don’t you play it?” He said, “No, I want you to play it.” So I essentially play what Mike wrote and played a few other melody lines over the top. But essentially, that was Mike.

Watch Tom Petty and the Heartbreakers’ Video for ‘You Got Lucky’

Adria, now that this Long After Dark set is out, what’s next on the drawing board? Just off the top of my head, there’s a good amount of video that hasn’t been properly released digitally. Things like the Pack Up the Plantation concert film, the Hard to Handle film with Bob Dylan and so on.
Petty: We don’t know. That’s the honest truth, is we don’t know. I’m so gloriously grateful to the Petty Country artists…

READ MORE: ‘Petty Country’ Earns Acclaim From Mike Campbell

That’s an unbelievable release.
Petty: Thank you so much. I can take very little credit for it. It’s really George [Drakoulias] and Randall [Poster] that put that together. Between Petty Country [and the music that’s been used on the television show] Bad Monkey, there’s like 35 new covers out this year. Which frankly, they weren’t supposed to come out this year. They were supposed to come out previous years or be separated from one another. There’s so much fan material coming out that I don’t want to overwhelm [with too many releases]. For me and also, the young, brilliant team that works with us at Petty Legacy and Red Light [Management], we felt that we really owed the fans a deep, archival dive that was affordable this year, something really cool and Tom-centric. Really from the heart of the band and not an interpreted [kind of thing]. I think I might take a year off next year. Seven years of this has been really intense for me as an experience and very wonderful in terms of getting to know my father better. Just knowing how much I love this music and how important I think this music is [means a lot]. You mentioned Hard to Handle and the Pack up the Plantation concert film?

Yeah and when it comes to Hard to Handle, I think fans are curious if there’s material to put out a box set of recordings from when Tom and Bob went out and did that touring?
Petty: There are great recordings. I don’t know what Bob’s plans are for them, though. We’d have to ask those guys. Tom, believe it or not, has so much more unreleased material that to me, it feels like there’s an importance to look at all of the ’80s music. You know, the band’s anniversary is coming up in 2026. There’s so many options. There’s an incredible Hyde Park concert from the final tour that we filmed. There’s some beautiful music from all of the different eras that we haven’t been able to properly [go through yet]. We have tapes to bake and things to listen to. I prioritize that based on the incredible resource that is the Heartbreakers and all of the engineers and original staff and crew that worked with Dad.

I really treasure having these years with them to dive through this stuff. It’s the way I have to do it, to prioritize their input. Pack Up the Plantation, you know, there’s some cool stuff on there for sure. Bob Dylan, the Australian tours, for sure, are pretty special and cool. But there is a secret record that I haven’t heard, that I’m excited to check out from the ’80s. I’ve heard about it for years now. So I think I might take some downtime to actually do some listening and thinking about what we want to put out next. Because it’s been nonstop. Even when we stop it, it feels like there’s a Record Store Day release or something else. I don’t regret doing that, because I’ll be driving home — even the other day — and be like, “God, I want to hear that song from Angel Dream that we found, ‘One of Life’s Little Mysteries.'” It will be something calling me from what we find that’s just got some warmth to it. I’m really grateful that exists, that we’ve unearthed [things like that]. It feeds me and it makes me feel motivated to keep doing it.

READ MORE: Tom Petty’s ‘Angel Dream’ Reworks ‘She’s the One’ Soundtrack

The Best Song From Every Tom Petty Album

There’s a common thread running through Tom Petty’s catalog, and it’s the Heartbreakers. 

Gallery Credit: Nick DeRiso





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Watch John Mulaney’s Steely Dan References Confuse ‘Fallon’ Crowd


Comedian John Mulaney paid a visit to The Tonight Show with Jimmy Fallon on Tuesday night, and he brought two of his favorite topics with him: fatherhood and Steely Dan.

“So I love Steely Dan,” the comedian proclaimed. “Some people don’t like Steely Dan. It’s a very divisive band. When I had a son I go, ‘Great, fresh person. Fresh ears.’ That’s one reason to have a baby, so you can test Steely Dan out on them.’”

The comedian then proceeded to detail his efforts to get his young son interested in the jazz rock band’s music.

“He loves dancing, my son loves music,” Mulaney explained. “So I put on the Steely Dan song ‘Hey Nineteen.’ Cause that’s fun.”

Typically, Fallon’s crowds look for any excuse to cheer pop-culture references, like name-drops of album or movie titles. However, in this instance they were silent, a fact Mulaney instantly noticed.

READ MORE: Steely Dan Albums Ranked Worst to Best

“Look at all the applause of recognition for ‘Hey Nineteen,’” the comedian sarcastically remarked before continuing with his anecdote. “I’m staring at Malcolm, he’s nine months old. I turn on ‘Hey Nineteen,’ he’s not dancing. So I turn on, I change it to the song ‘Gaucho’ from the album Gaucho.”

Once again, the audience was totally silent when Mulaney mentioned Steely Dan’s 1980 album by name.

“Again, folks, sit down. Stop applauding,” the comedian quipped, generating some laughs. “I turn on ‘Gaucho,’ still not dancing. My son looks at me and he says ‘Ee-I-Ee-I-Oh.’ And I go, ‘You want to listen to ‘Old McDonald’?” The child nodded and Mulaney responded by playing the nursery rhyme.

“So here’s what’s interesting about that story,” the comedian surmised. “He had never spoken before. That’s how much he hated Steely Dan.”

John Mulaney’s Son Prefers Elvis

Elsewhere in the interview, Mulaney noted that his son has developed an interest in Elvis Presley, to the point that his birthday party had an Elvis theme.

“He’s a really big Elvis fan,” the comedian noted, adding that the boy was “riveted” while watching the King’s 1968 comeback special. “More than any [kids movie], Inside Out, Moana, anything. Staring at Elvis in a leather suit in the late ’60s.”

Watch John Mulaney on ‘The Tonight Show with Jimmy Fallon’

The Best Song From Every Steely Dan Album

Steely Dan’s confidence kept growing as their songs gained more narrative complexity and musical depth.

Gallery Credit: Nick DeRiso





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Top 20 AC/DC Songs Never Played Live


When a band as massive and long-running as AC/DC goes on tour, they inevitably have to leave a lot of songs on the cutting-room floor.

That’s not quite as big a problem for the Aussie rockers as other bands of similar stature, because fans continue to embrace timeless classics such as “Hells Bells,” “Back in Black,” “Highway to Hell” and “For Those About to Rock (We Salute You).” Also, it’s hard to feel cheated or complain about a lack of diversity when nearly all of their songs follow the same blunt-force three-chord rock formula. (That’s not an insult: When accused of “making the same album over and over 12 times,” guitarist Angus Young proudly quipped, “The truth is, we’ve made the same album over and over 15 times.”)

Still, there are plenty of gems that AC/DC fans would be delighted to hear live for the first time. As the band gears up for the 2025 North American leg of its Power Up tour, UCR engages in some wishful thinking and ranks the Top 20 AC/DC Songs Never Played Live.

20. “Mistress for Christmas” (The Razors Edge, 1990)

There’s something sublimely awful about the thought of Brian Johnson singing this hidden holiday gem as he’s approaching 80. Bonus points if they played it in the dead of summer.

 

19. “Brain Shake” (Flick of the Switch, 1983)

Flick of the Switch marked the beginning of a years-long creative and commercial tailspin for AC/DC, but the album’s closing track bursts with steely riffs and rocks with the same cocksure swagger of their best material.

 

18. “Back in Business” (Fly on the Wall, 1985)

AC/DC makes no attempt to reinvent the wheel “Back in Business,” but its piledriving groove and eminently badass lyrics (“You want some trouble, I’m the king of vice / I’m a wreckin’ ball, I’m a stingin’ knife / Steal your money, gonna take your life“) make it a prime candidate to play live. Plus, what better message for the band’s first U.S. tour in nearly a decade?

 

17. “If You Dare” (The Razors Edge)

With its rhythmic strut, nimble riffs and blistering call-and-response vocals, “If You Dare” sounds just unique enough to delight hardcore AC/DC fans while fitting seamlessly into their well-worn set list. To the final track on The Razors Edge, we say: Come outside and play, if you daaaaare!

 

16. “Hell or High Water” (Fly on the Wall)

When AC/DC released Fly on the Wall, critics slammed the album and accused the band of descending into mediocrity. In hindsight, a lot of its songs just sound like textbook AC/DC — and that’s a good thing! “Hell or High Water” is one such track, boasting a simple-yet-effective drum beat, tasty riffs and roof-raising gang vocals. A can’t-lose proposition on a stadium stage.

 

15. “Send for the Man” (Fly on the Wall)

Another common criticism of Fly on the Wall was that, in their quest to capture their raw live sound, AC/DC buried Johnson’s vocals in the mix. Yet he’s clearly giving a larynx-shredding, paint-peeling performance on the album’s final track, “Send for the Man.” Why not give this throttling mid-tempo rocker the platform it deserves?

 

14. “Through the Mists of Time” (Power Up, 2020)

Because AC/DC is still touring in support of Power Up, it would be nice to see them work a few other tracks from the album into their set lists. “Through the Mists of Time” is one of the album’s strongest and most melodically interesting songs, with its lightly distorted riffs, stutter-step drum groove and a, dare we say, uplifting chorus.

 

13. “Evil Walks” (For Those About to Rock (We Salute You), 1981)

Despite the multiplatinum success of For Those About to Rock (We Salute You), AC/DC has hardly ever played any of the album aside from its title track, which remains a perpetual encore. They’re leaving plenty of killer tunes on the table, including the sinister “Evil Walks,” whose arpeggiated guitars and mid-tempo groove evoke both “Hells Bells” and “Rock and Roll Ain’t Noise Pollution.”

 

12. “Rock Your Heart Out” (The Razors Edge)

This lean, mean rocker is a nice rhythm section showcase, as the guitars briefly drop out in the verses and let the drums and bass do the heavy lifting. But more importantly, it’s an exhortation for audiences to lose themselves in AC/DC’s soul-bathing, eardrum-blasting hard rock maelstrom. They should have no trouble following directions.

 

11. “Squealer” (Dirty Deeds Done Dirt Cheap, 1976)

There’s a charming, garage-band irreverence to AC/DC’s early albums, and Dirty Deeds‘ closing track is a prime example. “Squealer” is a slow burner, with Angus Young banging out simple chords and Bon Scott talk-singing his way through the verses until it explodes into an array of six-string histrionics. These days, it would make a smart breather track for Johnson and a fun throwback for the day-one faithfuls.

 

10. “Shot of Love” (The Razors Edge)

Like the best AC/DC songs, “Shot of Love” is an exercise in masterful simplicity, with the Young brothers trading simple but brutally effective riffs as a launchpad for Johnson’s sandpapery vocals. Just think of how many concertgoers the frontman could blindly point at as he wails, “And I warn you / It’s the best shot of your life!

 

9. “Meanstreak” (Blow Up Your Video, 1988)

The third track on 1988’s Blow Up Your Video is a legitimate change of pace for AC/DC, insofar as any of their songs break from tradition. It’s one of their funkiest tunes, showcasing Johnson’s deepening mid range and making room for Young’s guitar heroics.

 

8. “Night of the Long Knives” (For Those About to Rock (We Salute You))

“Night of the Long Knives” is another slinky rocker showing AC/DC at the peak of their powers. Young fires off diamond-edged riffs, and Johnson wails with relentless ferocity. If they broke this one out in concert, it would become the night of the long ovation.

 

7. “Ain’t No Fun (Waiting Round to Be a Millionaire)” (Dirty Deeds Done Dirt Cheap)

Perhaps no other band in history was as good at documenting the process of rocking their way to stardom as AC/DC. “Ain’t No Fun (Waiting Round to Be a Millionaire)” is a tongue-in-cheek chronicle of their hardscrabble early days, and in hindsight it shows a band so audaciously confident that success was inevitable. Nearly 50 years later, they could break it out for the first time as a well-earned victory lap.

 

6. “Realize” (Power Up)

“Realize” opens Power Up on an almost unbelievably strong note. Young’s power chords still cut like a knife, Johnson’s raspy howl defies the laws of aging and the rhythm section rocks like a freight train. The song marked a thundering return after several tumultuous years for AC/DC, and it would make for a glorious celebration onstage.

 

5. “Snowballed” (For Those About to Rock (We Salute You))

The best moments on For Those About to Rock are the ones that most closely mimic its predecessor, Back in Black. By that metric, “Snowballed” is the cream of the unplayed crop. Its sinewy riffs and furious vocals recall “Shake a Leg” in spots, while the half-time chorus helps it stand on its own. It’d be another slam dunk live.

 

4. “Gimme a Bullet” (Powerage, 1978)

Powerage is a common Bon Scott-era favorite among hardcore AC/DC fans, and with good reason: From top to bottom, it’s a solid-gold collection of raucous riffs and snarling vocals delivered with unbridled intensity. “Gimme a Bullet,” the lone song on the album never played live, is a relatively “mellow” cut, but it still bristles with menacing cool and gets maximum mileage out of its simple chord progression.

 

3. “There’s Gonna Be Some Rockin’ (Dirty Deeds Done Dirt Cheap)

If the Dirty Deeds tracks on this list prove anything, it’s that rocking has always been an end in itself for AC/DC. “There’s Gonna Be Some Rockin'” is a rollicking 12-bar blues jam that would proudly deliver on its promise: “There’s gonna be some rockin’ at the show tonight.

 

2. “Night Prowler” (Highway to Hell, 1979)

“Night Prowler” became a source of controversy for AC/DC in the mid-’80s when serial killer and sex offender Richard Ramirez, nicknamed the “Night Stalker,” said he was a huge fan of the band, leading to accusations of satanism and censorship campaigns against the group. The associations were absurd then and they’re absurd now, but “Night Prowler” will always be an ominously captivating rocker. If Paul McCartney can still play “Helter Skelter” live, there’s no reason AC/DC can’t reclaim this gem.

 

1. “Let Me Put My Love Into You” (Back in Black, 1980)

AC/DC doesn’t write ballads. Perhaps the closest they’ve ever gotten is “Let Me Put My Love Into You,” the sinister and wonderfully unsubtle Back in Black rocker. It’s an impressive display of dynamics from a band that typically operates at one speed only (max), and it’s the only Back in Black song they’ve never played live. With the album’s 45th anniversary approaching, what better time to check the box?

AC/DC Albums Ranked

Critics say every AC/DC album sounds the same, but that’s far from the truth.

Gallery Credit: Ultimate Classic Rock Staff





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The Story of Led Zeppelin’s Final Single


It’s safe to say Led Zeppelin were not a singles band.

“Fool in the Rain,” which came out in December 1979 in response to the rabid reception spawned by the In Through the Out Door album release a month earlier, was just the 10th and final single the group released from their eight studio albums before John Bonham‘s death and their subsequent breakup in 1980.

“I always thought of the Stones as a pop group who made singles,” singer Robert Plant explained in 2005. “The whole idea of what we did competing with Bobby Goldsboro as they were wasn’t where we were at. What we said was there’s no point of putting out a single when the album is the statement of the band.”

In Through the Out Door found Plant and bassist John Paul Jones taking a larger role in the songwriting than on previous Led Zeppelin albums, with Jones particularly sparked by his experiments with a new type of musical instrument.

Read More: Led Zeppelin Ends With ‘In Through the Out Door’

“See, you had a situation where Jonesy didn’t contribute much to the songwriting of [1976’s] Presence, and that was a strain. Guitarist and producer Jimmy Page explained in the book Light and Shade: Conversations with Jimmy Page. “I wouldn’t preferred having some input at that point. But he bought a new synthesizer [a Yamaha GX-1] and it inspired him to come up with a bunch of things for In Through the Out Door. He also started working closely with Robert, which was something that hadn’t happened before.”

A major sporting event helped inspire one of the album’s standout tracks, the piano-driven lover’s lament “Fool in the Rain,” which featured an extended middle samba break complete with timpani and street whistles.

“‘Fool in the Rain’ is most unusual for us, really, because, well, I don’t think we would have played it had situations been different,” Plant told J.J. Jackson in a 1979 interview. “But with the World Cup in Argentina in ’78 and a lot of this kind of South American thing going around, and it being every time you watched any soccer on television, it was always a South American kind of rhythm thing going along. It’s not an attempt to be Carlos Santana or anything like that. It’s kind of a little bit diversified and straightforward, you know.”

The song was a significant chart hit, reaching No. 21 in February 1980. The band continued not to care about such things: “We just really wanted to write really good music that would hold up on its own,” Page demurred. “Chart music tends to be a little disposable.”

Besides, Page and Bonham weren’t completely thrilled with the results of Plant and Jones’ leadership on In Through the Out Door. “Bonzo and I had already started discussing plans for a hard-driving rock album after that. We both felt In Through the Out Door was a little soft,” Page explained. “In its place it was fine, but I wouldn’t have wanted to pursue that direction in the future.”

Hear Led Zeppelin Perform ‘Fool in the Rain’

Ranking Every Led Zeppelin Live Album

It took a while, but they finally got things right.

Gallery Credit: Nick DeRiso





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Fall Sets From the Beatles, Tom Petty and More


The homestretch of 2024’s reissues and archival projects includes some of the year’s most noteworthy packaged collections.

The box sets, expanded versions, deluxe editions and previously unissued recordings highlighted below are aimed at holiday shoppers, no doubt; however, there’s so much to choose from – whether it’s an unearthed Crosby, Stills, Nash & Young live show from one of their first dates together and Lou Reed‘s pre-Velvet Underground work as a songwriter for hire – that fans and collectors will also find essential albums here.

In addition to the dusted-off CSNY live collection, a concert set from the pre-split ’80s lineup of Fleetwood Mac is here, as is the latest volume in jazz great Miles Davis‘ acclaimed Bootleg Series, this time collecting two complete shows from his second great quintet.

READ MORE: The Best Reissues and Archival Sets From Summer 2024

Box sets devoted to Elvis Costello‘s mid-’80s Americana turn, King of America, Weezer‘s 1994 debut, a New Order mid-’80s classic, the Beatles‘ original mono albums from their American debut year and some of Jimi Hendrix‘s final recordings before his 1970 death are lavishly displayed. So is the latest volume in Joni Mitchell‘s celebrated Archives series.

Less sprawling but no less lovingly curated reissues of key albums from George Harrison, progressive metal heavyweights Mastodon, Tom Petty, the Pogues, XTC and Ray Charles‘ groundbreaking country and western records from the ’60s are here, too. Record companies have been busy the past three months targeting holiday shoppers; the reissues below count among 2024’s best.

Reissue Roundup: Fall Sets From the Beatles, Tom Petty and More

The best box sets, expanded albums and archival editions from the past three months.

Gallery Credit: Michael Gallucci





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A Look Ahead to 2025’s New Music Releases


The list of 2025 New Music Releases already includes Eric Clapton, Genesis, Thin Lizzy and Ringo Starr, among others. We’ve also compiled a comprehensive inventory of rumored albums that haven’t been confirmed yet.

Clapton’s Meanwhile arrives on compact disc and vinyl after October’s digital edition. Eight of the 14 songs initially arrived as singles over the past few years, including the opening track “Pompous Fool” and “Heart of a Child.” Among Clapton’s collaborators are Van Morrison and the late Jeff Beck. Meanwhile is Clapton’s first non-holiday album since 2016’s I Still Do. The seasonal LP Happy XMas was issued in 2018.

Thin Lizzy is set to release the stripped-down Acoustic Sessions with archival contributions from late frontman Phil Lynott and former drummer Brian Downey. Fellow band cofounder Eric Bell reimagined the songs by adding acoustic guitar to tracks from the 50th-anniversary deluxe editions of Thin Lizzy’s 1971 self-titled debut, 1972’s Shades of a Blue Orphanage and 1973’s Vagabonds of the Western World.

Genesis has completed a four-CD and Blu-ray deep dive into 1974’s The Lamb Lies Down on Broadway, their last studio project with Peter Gabriel. He and cofounding keyboardist Tony Banks oversaw this new mix. Elsewhere, Starr has belatedly found his way back to country music: Look Up will feature 11 original songs largely co-written by album producer T Bone Burnett and follows 1970’s similarly rootsy Beaucoup of Blues, Starr’s second solo album after the dissolution of the Beatles.

The Darkness‘ eighth album, Dreams on Toast, marks the first release from singer and guitarist Justin Hawkins, guitarist Dan Hawkins, bassist Frankie Poullain and drummer Rufus Taylor since 2021’s Motorheart. Parasomnia finds Dream Theater reuniting with drummer Mike Portnoy after a five-album run with Mike Mangini. They’re celebrating the band’s 40th anniversary in 2025.

More information on these and other pending rock albums can be found below. Remember to follow our continuously updated list of scheduled new music for details on records issued throughout the year.

Jan. 10
Pilot, The Albums (4CD clamshell box)
Ringo Starr, Look Up
Tremonti, The End Will Show Us How
Various artists, The Hamburg Repertoire (2CD set with Elvis Presley, Chuck Berry, Ray Charles, Carl Perkins, Del Shannon, Buddy Holly, others)

Jan. 17
Fleetwood Mac, Tango in the Night (Hybrid SACD and vinyl reissue)
Robert Palmer, Live at the Apollo; Rhythm & Blues; Drive (vinyl reissues)
Steve Hackett, Live Magic at Trading Boundaries
The Who, Who’s Next (Atmos, 5.1 and stereo Blu-ray mixes)

Jan. 24
Blink-182, One More Time … Part 2 (2LP blue vinyl reissue)
Eric Clapton, Meanwhile (vinyl and compact disc release)
Grateful Dead, Dick’s Picks Volume Three: Pembroke Pines, Florida 5/22/77 (four-LP box)
Iggy Pop, Live at Montreux Jazz Festival 2023 (CD/Blu-ray set)
The Rascals, Time Peace: The Rascals’ Greatest Hits (vinyl reissue)
Thin Lizzy, Acoustic Sessions
Thomas Dolby, Aliens Ate My Buick (clear vinyl reissue)
Various artists, C92 (3CD set with Radiohead, the Cranberries, Lush, the Charlatans, others)
Various artists, The Magic Forest: More Pastoral Psychedelia and Funky Folk 1968-1975 (3CD set with Roy Harper, Sandy Denny, Merrell Fankhauser, others)

Jan. 31
Anderson Bruford Wakeman Howe, An Evening of Yes Music Plus (remastered 2CD/2DVD box)
Bryan Ferry, Retrospective (expanded Dolby Atmos 5.1 Blu-ray reissue)
Dio, The Very Beast of Dio, Vol. 2 (vinyl reissue)
The Fall, Levitate (transparent red 2LP vinyl edition)
Gary Kemp [Saucerful of Secrets], This Destination
Hawkwind, Live at the Royal Albert Hall (3CD or 3LP editions)
Joe Satriani, Eric Johnson, and Steve Vai, G3 Reunion Live
Kim Wilde, Closer (CD, vinyl and limited white vinyl editions)
Nektar, Journey to the Centre of the Eye (remastered 2CD or 5CD/1Blu-ray editions)
Soft Machine, Softs (remastered vinyl edition)
Steely Dan, Katy Lied (vinyl reissue)
Various artists, David Hepworth’s More Deep ’70s: Underrated Cuts From a Misunderstood Decade (4CD box with Cheap Trick, Todd Rundgren, Thin Lizzy, the Cars, Free, others)

Feb. 7
Andy Fairweather Low [Roger Waters/Eric Clapton], The Invisible Bluesman
Dave Matthews Band, Where Are You Going: The Singles (2LP)
Don McLean, Prime Time; Chain Lightning; Believers (vinyl reissues)
Dream Theater, Parasomnia
Guided by Voices, Universe Room
Hawkwind, Space Ritual (50th anniversary Blu-ray audio edition)
Nik Kershaw, The MCA Years (10CD box)
War, Live in Japan 1974 (2LP or 2CD)
Wilco, A Ghost Is Born (expanded 9CD or 9LP/4CD reissue)

Feb. 14
Bill Medley [Righteous Brothers], Straight From the Heart (with Michael McDonald, Vince Gill, others)
John Lodge [Moody Blues], Love Conquers All (EP with Geoff Downes, others)
Ian Gillan [Deep Purple], Gillan 1978-1982 (7CD box)

Feb. 21
Patterson Hood [Drive-By Truckers], Exploding Trees and Airplane Screams

Feb. 28
Camel, Moonmadness; Mirage (remastered 2CD/Blu-ray sets)
Humble Pie, Hallelujah: 1973-1983 (5CD box set)
Kevin Godley and Lol Creme [10cc], Parts of the Process: The Complete Godley and Creme (11CD box)
The Move, Message From the Country (remastered and expanded compact disc edition)
Pat Travers, Opus One: 2009-2019 (4CD box)
The Residents, Doctor Dark (CD reissue; 2LP vinyl edition)
Steve Hackett with DJabe, Freya: Arctic Jam (CD/Blu-ray digipak)

March 7
Adrian Smith and Richie Kotzen, Black Light/White Noise
John Mayall, Second Generation: Live Magic 1968-1993 (30CD box)
Wang Chung, Clear Light/Dark Matter (expanded 2LP hits collection)

March 14
Ozzy Osbourne, See You on the Other Side V2.0 (18LP box)

March 28
The Darkness, Dreams on Toast
Genesis, The Lamb Lies Down On Broadway: 50th Anniversary Super Deluxe Edition (4CD/Dolby Atmos mix Blu-ray or 5LPs/Dolby Atmos mix Blu-ray)
Ricky Byrd [Joan Jett and the Blackhearts], NYC Made

April 11
Bootsy Collins, Album of the Year #1 Funkateer

TBA / Rumored:
Ace Frehley, Origins, Vol. 3
Adler, untitled (details here)
Alda Nova, untitled (details here)
Anthrax, untitled (details here)
Bad Company, untitled (details here)
Black Label Society [Zakk Wylde], untitled (details here)
Blondie, untitled (details here)
Brian Wilson, Cows in the Pasture (details here)
Bruce Springsteen, Tracks 2; Covers Vol. 2
Chris Robinson [Black Crowes], untitled (details here)
Corrosion of Conformity, untitled (details here)
David Crosby, untitled (details here)
Def Leppard, untitled (details here)
Don Airey [Deep Purple], untitled (details here)
Flock of Seagulls, untitled (details here)
George Clinton, One Nation Under Sedation
Glenn Hughes [Deep Purple/Black Country Communion], untitled (details here)
Guns N’ Roses, untitled (details here)
Jerry Lee Lewis, untitled (details here)
Joe Lynn Turner [Rainbow/Deep Purple], untitled (details here)
Joe Walsh, untitled (details here)
Kinks, untitled reunion LP (details here)
Krokus, untitled (details here)
LA Guns, untitled (details here)
Last in Line, untitled (details here)
Lemmy Kilmister, untitled solo debut (details here)
Living Colour, untitled (details here)
Mammoth WVH, Mammoth III (details here)
Megadeth, untitled (details here)
Mick Mars, untitled John Corabi collaboration (details here)
Motley Crue, untitled (details here)
Morrissey, Bonfire of Teenagers (details here)
Neil Young, Ragged Glory (expanded edition)
Oasis, untitled reunion album (details here)
Robert Plant, untitled (details here)
Roger Waters, untitled (details here)
Steve Perry, untitled (details here)
Styx, untitled (details here)
Tony Iommi [Black Sabbath], untitled (details here)
U2, Songs of Ascent (details here)
W.A.S.P., untitled (details here)
ZZ Top, untitled (details here)

Top 25 Rock Albums of 2024

Once again, reports of the genre’s death have been greatly exaggerated. 

Gallery Credit: Michael Gallucci

They Hated Their Own Albums





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Bill Wyman ‘Wasn’t Crazy’ About Guesting on Rolling Stones Album


Bill Wyman said he “wasn’t crazy” about the song he tracked on the Rolling Stones’ latest album Hackney Diamonds.

The former bassist – who left in 1993 – admitted that he only agreed to appear on “Live by the Sword” because it’s one of the last Stones tracks to feature late drummer Charlie Watts.

“We were always close,” Wyman told Classic Rock in a recent interview. “After I left the band, until he died, we saw each other every week. He would come to the house. ‘Can I have a cup of tea, Bill?’ And we’d spend an hour or two chatting.

READ MORE: Top 10 Rolling Stones Bill Wyman Songs

“So when the Stones had that one track with Charlie on it, Mick Jagger and the producer Andrew Watt called to ask me to play on it… I was quite happy to do it, actually.”

But he continued: “I wasn’t crazy about the song, and I wasn’t crazy about the way they’d done it. It was just full of guitars, and there was no air in it. No spaces, no gaps. … It could have been done so much simpler. But that’s the way they do it, bless ’em. It was hard for me to put a bass in because there wasn’t a lot of room.”

He recalled that Elton John arrived to add a piano track. “[W]e had a chat, but you can’t really hear his piano,” the bassist said. “Just odd little notes here and there, because the track’s so busy. But it was nice doing it, because it was me and Charlie again.”

Bill Wyman Played on Second New Rolling Stones Track

Wyman went on to confirm that he actually recorded a second track while he was in the studio, although it wasn’t included on Hackney Diamonds. “I played bass on it, and they said, ‘We’ll save that for the next album.’ So I might be on the next album as well.”

He recently released his latest solo album, Drive My Car. In the same interview he revealed he’d had a different name in mind for the work, saying: “I originally wanted to call it Rough Cut Diamond, because there’s a song on it that goes, ‘I’m just a rough cut diamond, and everybody says diamonds are a girl’s best friend.’

“But then I found out the Stones were going to call theirs Hackney Diamonds, so I thought, ‘People are going to think I’ve copied it.’ So I called Mick, and he said, ‘We can’t change it; you’re on your own, mate.’ So I changed it to Drive My Car, which worked perfectly, actually.”

Listen to the Rolling Stones’ ‘Live By the Sword’ featuring Bill Wyman

Rolling Stones Solo Albums Ranked

They didn’t necessarily become huge commercial or critical hits, but some produced career-changing moments anyway.

Gallery Credit: Nick DeRiso





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Tommy Shaw Says Damn Yankees ‘Wasn’t Meant to Be Forever’


Tommy Shaw has reflected upon his years in Damn Yankees, admitting the supergroup “wasn’t meant to be forever.”

It was 1989 when the Styx rocker joined forces with Night Ranger’s Jack Blades, drummer Michael Cartellone (who later joined Lynyrd Skynyrd) and guitarist Ted Nugent. In a recent conversation with UCR, Shaw noted the latter musician’s eccentricities gave Damn Yankees a unique ingredient.

“Having Ted in the mix… he’s a big personality,” Shaw noted. “It’s like a big spice if you’re preparing a feast. And this is a really powerful spice. You have to figure out how to work it all in together so that it’s something that people can consume.”

READ MORE: Top 10 Tommy Shaw Styx Songs

The Damn Yankees recipe worked for a while, as the band released a pair of successful LPs – Damn Yankees (1990) and Don’t Tread (1992) – cumulatively selling over three million copies. However, by 1994, their run was done and each member had moved on to other projects.

“It was so spicy,” Shaw said, reflecting on the super group. “It was one of those things that wasn’t meant to be forever. It’s something that we had a great time doing. We made two records and you could kind of feel it pulling it away at the seams after that.”

Styx’s 2025 Tour Plans

While Shaw has no plans to revive Damn Yankees, his main band, Styx, remains very busy. The beloved rocker will start the year with a residency in Las Vegas where they’ll perform their 1977 album The Grand Illusion in its entirety. In the summer, they’ll join with REO Speedwagon’s Kevin Cronin for a nationwide tour, featuring special guest Don Felder.

READ MORE: 2025 Rock Tour Preview

“There’s so much good music and it’s all good folks that we’re gonna love spending time with,” Shaw noted while sharing his enthusiasm for the summer trek.

Rock’s Forgotten Supergroups

Here’s a rundown of would-be supergroups that the world at large has forgotten over the years.

Gallery Credit: Nick DeRiso





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Paul McCartney’s Ditched Wings Sci-Fi Movie Treatment Found


A sci-fi movie treatment written by Paul McCartney for his post-Beatles band Wings was abandoned after he and co-writer Isaac Asimov failed to agree on the concept.

The movie, with the working titled Five and Five and One, started out as a brief overview written by McCartney, who started with the idea of shape-changing aliens landing on Earth and taking on the forms of him and his bandmates.

But it stalled after the musician didn’t like sci-fi giant Asimov’s developed treatment, leading the award-winning author to note: “Nothing ever came of this because McCartney couldn’t recognize good stuff.”

READ MORE: The Beatles White Album Songs Ranked

The 1974 documents were discovered by writers Allan Kozinn and Adrian Sinclair, and appear in their latest book The McCartney Legacy, Volume 2: 1974-80, to be published by HarperCollins on Dec. 10.

McCartney’s treatment begins: “A ‘flying saucer’ lands. Out of it get five creatures. They transmute before your very eyes into ‘us’ [Wings]. They are here to take over Earth by taking America by storm and they proceed to do this supergroup style. Meanwhile – back in the sticks of Britain – lives the original group, whose personalities are being used by the aliens…”

He flew to New York to meet Asimov, who then wrote his own treatment. “The picture opens with the arrival on Earth of six extra-terrestrial characters. They are from a dying planet and are looking for a new home. They are wraith-like energy-beings who are parasitic on matter-beings.

“The space-ship is hidden in a handy cave by the occupied lizard creatures who, however, are clearly dying. We know what the energy-beings are saying because they are communicating by thought-waves and we can overhear them…

Paul McCartney Sci-Fi Movie ‘Cooked Up While They Were Smoking’

“They do leave the lizards and appear as cloudy creatures, whom we nevertheless can still clearly understand. … they get into a group of nearby domestic animals, almost as
a way of hiding themselves.”

Asimov suggested the aliens found themselves “strangely affected” by human music and “decide that they must use the musical key to unlock human emotion.”

“They’ve just been sitting there,” Sinclair told the Guardian of finding the documents in the archives of Asimov, who died in 1992. “Paul’s treatment reads like something Paul and Linda cooked up while they were smoking something particularly potent.”

https://www.theguardian.com/music/2024/dec/08/its-like-they-were-smoking-something-potent-the-bizarre-paul-mccartney-alien-musical-that-never-was

Beatles Albums Ranked

From the cheery ‘Please Please Me’ to the kinda dreary ‘Let It Be,’ we rank all of the group’s studio LPs.

Gallery Credit: Michael Gallucci





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The Final Friday’ Was ‘A Disaster’


Friday the 13th fans who thought the series hit rock bottom with 1989’s Jason Takes Manhattan were dragged to even lower depths four years later with Jason Goes to Hell: The Final Friday.

In a move that was as foolish as it was bold, first-time director Adam Marcus essentially attempted to make a Friday the 13th movie without Jason Voorhees. The series’ famously unstoppable hockey mask-wearing murderer is blown to bits by a large SWAT team seven minutes into the movie, and doesn’t reappear in his original form until five minutes before the credits roll.

In between, Jason’s evil spirit possesses a series of ordinary citizens, using their bodies to rack up more murders while seeking a Voorhees family member so he can be “truly reborn.” It’s a concept that was done much better six years earlier in The Hidden, made worse here by a non-stop series of jarring tone shifts, hammy performances and a needlessly confusing plot featuring bloodlines and magic daggers.

The movie’s trailer highlights the return of Sean S. Cunningham, producer of 1980’s original Friday the 13th: “The creator of the first Friday… returns to bring you the last.” In reality, Cunningham helped get the rights for the Jason Voorhees character moved from Paramount to New Line, home of the A Nightmare on Elm Street series, with the goal of having Jason battle Freddy Krueger in this movie.

Watch the ‘Jason Goes to Hell: The Final Friday” Trailer

That idea got delayed when Nightmare on Elm Street‘s original mastermind, Wes Craven, decided to return to that franchise with 1994’s Wes Craven’s New Nightmare. Cunningham decided he might as well try to rekindle Jason’s movie career while he waited for his dream crossover project, but came to regret giving Marcus too much leeway.

“It was a disaster. …For me, it is way past an embarrassment,” the producer recalled in the book Crystal Lake Memories. “The body-morphing plot – it was a dismal idea. …Adam came to me and said, ‘the last thing fans want to see is Jason going through Camp Crystal Lake chopping up teenagers again.’ Of course, it was the only thing they wanted to see, and Adam delivered this movie that was so not good.”

Read More: How Gene Siskel Tried to Sabotage ‘Friday the 13th’

After an initial test screening made it clear the audience wanted more of the franchise’s trademark elements – namely, naked young people having sex then getting murdered on a campground – a new scene checking all those boxes was filmed. “We were given our marching orders,” Marcus admitted. “Personally, I think the girl split up the middle is the best death in any Friday the 13th, and it wasn’t even originally in the movie.”

Editor David Handman isn’t as pleased with the end result: “Frankly, I don’t think I succeeded in editing that sequence. It still looks like a porno movie to me.”

“I’m very proud of my Jason, I really am,” Marcus insists in Crystal Lake Memories. “We did something different. I know we got hammered by many of the critics, but we actually got some nice notices too. And we did stuff in our movie that was self-referential, that was cheeky. We did it years before (1996’s) Scream but we never get any credit for that.”

Although Cunningham was unable to get his Jason Vs. Freddy crossover this time out, the final seconds of Jason Goes to Hell feature a tantalizing tease, as Krueger’s razor-gloved hand can be seen dragging Jason’s hockey mask down to hell.

Unfortunately for those plans, Jason Goes to Hell bombed at the box office with a gross of $16 million, barely beating out the series-low performance of Jason Takes Manhattan. It would be 10 more years – and one amazingly corny detour into space for Jason – before Cunningham finally achieved his goal of bringing Jason Vs. Freddy to the screen in 2004.

Watch ‘Jason Goes to Hell”s Surprise Ending

20 Meanest ’80s Movie Bullies

In no era in American movies was there a more fruitful and entertaining trade in that great cinematic tradition, the ’80s big screen bully.

Gallery Credit: Dennis Perkins





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Why Rolling Stones Kept Going Without Charlie Watts


Bill Wyman said he was surprised when the Rolling Stones continued after the departure and death of drummer Charlie Watts.

And the former bassist – who left in 1993 – suggested they only kept going because they had nothing else to do.

Watts was replaced by Steve Jordan in 2021, originally on a temporary basis while he recovered from heart surgery; but the 80-year-old’s passing in August of that year made the change permanent.

READ MORE: Top 10 Rolling Stones Bill Wyman Songs

“When Charlie left, I thought they would close,” Wyman told Classic Rock in a recent interview. “I really did. They could replace the bass, but I didn’t think they could replace Charlie, and his charisma, and what a great guy he was.

“[B]ut they went on, which surprised me. I wouldn’t say it disappointed me, but it surprised me. I think it would’ve been a good time for them to [end]. But I don’t think they’ve got anything else to do – otherwise they’d do it, wouldn’t they?”

He continued: “I’ve got six different things I’m doing all the time, and I’m so happy doing them, but I don’t think they… Well, Ronnie [Wood]’s got art as a second thing. And Mick [Jagger]’s tried to do movies and things but hasn’t really succeeded; and he’s done solo stuff which really didn’t work as well as it should’ve done either.

“And so they just… It’s just the Stones all the time.”

When the Rolling Stones Refused to Believe Bill Wyman Had Quit

Wyman also recalled how it took the Stones two years to accept he’d actually left the band – which he also said he should have done much sooner than he did.

Recalling his doubts about returning after the band’s downtime in the mid ‘80s, he said: “I only started playing with them again in the hope it’d only be a couple of years, because I had all these other things I wanted to do. I wanted to do archaeology, write books, do photography, I wanted to play charity cricket; I wanted to do all these other things. And 30 years on I’m still wanting to do them, to tell the truth.

“So I was so happy to leave in the end. Which they absolutely didn’t like, and refused to accept. They said: ‘You have not left.’ When they were doing the plan for the coming year, I said: ‘Well there’s no point me discussing it, because I’m leaving.’ And they went. ‘You’re not leaving.’ I said: ‘I am leaving – I’ve left.. And they wouldn’t believe me.

“Two years went by, and they were putting the band together again to make a new record in ’94. They said, ‘Are you still in the band?’ I said, ‘I left two years ago.’”

Rolling Stones Solo Albums Ranked

They didn’t necessarily become huge commercial or critical hits, but some produced career-changing moments anyway.

Gallery Credit: Nick DeRiso





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Rick Springfield Details Teenage Suicide Attempt


Rick Springfield has opened up about his attempted suicide when he was a teenager.

In a conversation with SiriusXM’s Eddie Trunk, Springfield – who described himself as a “real loner” – noted that he suffered from undiagnosed depression in his youth.

“I was dealing with a lot of stuff in my head,” the rocker confessed. “I hated school. It always felt like prison to me and I wasn’t in the clique. I was never in the clique. I was always kind of the outlier guy. And it just got to me. I was feeling bad about myself. I really had a lot of dark thoughts about myself at that point.”

One day, the darkness felt so unbearable that Springfield attempted to end his life.

“I tried to hang myself when I was 16,” he admitted. “There was nobody [at his home]. My parents were working and I was, at that point I was staying away from school. I had wasn’t very successful at school and that was the only arena, you know, a kid could be successful. And if you weren’t into sports or anything like that, I was playing guitar, but nobody kind of really cared about that at school. So I was just miserable.”

READ MORE: How Rick Springfield Broke Through With ‘Working Class Dog’

When Springfield’s attempt at suicide failed, he hid the evidence from his family.

“I had a rope burn around my neck for like three weeks and wore a turtleneck so that no one could see,” he explained, adding that he “just went to school the next day” as if nothing had happened.

Springfield further revealed that his mother had no idea about the suicide attempt until he wrote about it in his 2010 memoir.

“She denied it. She couldn’t believe it,” he recalled. “She thought I made it up for the book. So it was kept very, nobody knew about it.”

Rick Springfield Says Suicide Attempt Has ‘Been With Me Ever Since’

Springfield has been open about his mental health issues, admitting that its something he continues to manage today.

“Somewhere in the back of my head I thought, maybe there’s a reason that [the suicide attempt] wasn’t successful,” he explained. “But it’s been with me ever since. I’ve been close to it again.”

READ MORE: ’80s No. 1 Rock Songs From Worst to Best

The singer also expressed exasperation towards people who suggest his successful career should guarantee happiness.

“[Depression has] nothing to do with how successful you are, it’s all to do with what goes on inside and I’m managing it,” the “Jessie’s Girl” rocker declared. “And I write when I get down, I write, sometimes it’ll just hit me and I won’t know why, and other times there’ll be a reason. And, I only talk about it because it frees me a little bit to talk about it and I think it frees other people to a degree. I’ve had a fairly okay life and I haven’t collapsed from it.”

Top 100 ’80s Rock Albums

UCR takes a chronological look at the 100 best rock albums of the ’80s.

Gallery Credit: Nick DeRiso and Michael Gallucci





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Watch Phil Collins Sit Down at Drum Set for First Time in Years


The trailer for an upcoming documentary on Phil Collins shows the Genesis icon sitting down at a drum set for the first time in several years.

His playing career came to end due to health issues, connected with an injury sustained in 2007. In 2021 he revealed he could “barely hold a stick,” admitting it was “very frustrating because I’d love to be playing.”

He was replaced by son Nic Collins for Genesis’ farewell tour, which ended in 2022. Nic later reported that Phil had “definitely retired,” saying: “But I also do think that my dad is probably excited about the next step in his life.”

READ MORE: Phil Collins May Be Finally Working on New Music Again

The trailer, available below, is taken from the movie Phil Collins: Drummer First, which will be launched by the musicians’ educational site Drumeo on Dec. 18. Collins is seen walking with the aid of a stick, and also sitting down behind a drum set with the aid of Nic.

Peter Gabriel said that as soon as he saw me sit down… he knew that I was a drummer,” Collins says, also recalling how Eric Clapton reacted to a performance by saying: “Fucking hell – what was that?!”

Phil Collins Says He’s Still a Drummer First

He adds: “If I wake up one day and I can hold a pair of drumsticks again, I will have a crack at it. I just feel like I’ve used up my air miles.” After sitting at the kit and lifting some sticks he reflects: “It just feels so strange to hold a pair.”

He’s also seen reflecting: “I’m not a singer that plays a bit of drums – I’m more of a drummer that sings a bit.” Later he emphasises: “I’m Phil Collins, and I am a drummer.”

Drumeo said in a statement: “This is Phil’s story, told in his own words… featuring Nic Collins, Chad Smith, Mike Portnoy, Leland Sklar, Tommy Aldridge, Eloy Casagrande, Billy Cobham, Matt Cameron, Daryl Stuermer, Luis Conte, Dom Famularo, Simon Phillips, Todd Sucherman, Jonathan Moffett, Jordan Rudess, Brann Dailor, Liberty DeVitto, Chad Wackerman.”

‘Phil Collins: Drummer First’ Trailer

Phil Collins and Peter Gabriel Albums Ranked

They led Genesis through successive eras on the way to platinum-selling fame. Here’s what happened next.

Gallery Credit: Nick DeRiso

See Phil Collins in Rock’s Craziest Conspiracy Theories





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Ozzy Osbourne Wants a Black Sabbath Reunion at His Final Concert


Geezer Butler remains in contact with Ozzy Osbourne, and he reports that the ailing singer hopes to reunite Black Sabbath during his final show.

“Ozzy was talking to me about, when he does his farewell concert – which he still wants to do – He’s dying to still get out there and play,” Butler noted during a recent conversation with Lifeminute. “And he suggested, at his very final concert, for the four of us to get up on stage and maybe do three or four songs together. And that would be it, finished.”

Butler reiterated that a Black Sabbath reunion of any kind would be a “one off.” “Definitely no more tours,” the bassist remarked.

When Was Black Sabbath’s Last Concert?

The last official Black Sabbath concert took place in 2017, though some of the members have shared the stage since then, like when Osbourne and Tony Iommi performed “Paranoid” at the 2022 Commonwealth Games. You have to go back to 2005 to find the last time Osbourne, Iommi, Butler and Bill Ward played together.

READ MORE: Top 10 Geezer Butler Black Sabbath Songs

In recent years, Osbourne’s ongoing health problems have kept him from taking the stage. The legendary frontman – who continues to endure complications from back surgeries, while also battling Parkinson’s disease – was originally part of the lineup for the 2023 Power Trip music festival, but had to withdraw from the event. He hoped to play at the Rock & Roll Hall of Fame induction ceremony this year, where he was honored as a solo artist, however Ozzy instead passed the spotlight to an ensemble of famous friends who performed his work.

Black Sabbath Live Albums Ranked Worst to Best

Together, they paint a portrait of a band that lived hard, worked hard and played hard.

Gallery Credit: Bryan Rolli





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Joan Jett and the Blackhearts Announce Las Vegas Engagement


Joan Jett and the Blackhearts have announced a string of Las Vegas dates for 2025.

The band will start a five-date engagement at House of Blues Las Vegas on June 13. The venue is located inside the Mandalay Bay Resort and Casino.

Jett and the Blackhearts’ most recent tour was a joint run of summer dates with Alanis Morissette that started in June.

READ MORE: Top 50 Hard Rock Songs of the ’70s

Those concerts found the band playing some of their best-known songs, such as the No. 1 “I Love Rock ‘n Roll,” their cover of Tommy James and the Shondells’ “Crimson and Clover,” “I Hate Myself for Loving You” and “Cherry Bomb,” the 1976 song from her first band the Runaways, which Jett joined when she was 16.

When Are Joan Jett and the Blackhearts Playing in Las Vegas?

Jett and the Blackhearts’ five 2025 shows at House of Blues Las Vegas are scheduled for June 13, 14, 18, 20 and 21.

Fan presale tickets will be available beginning Wednesday at 1 p.m. EST; other presales will run until the general on-sale starts on Friday at 1 p.m. EST. More information can be found on Joan Jett and the Blackhearts’ website.

The list of dates for the Las Vegas engagement is below.

Jett’s most recent release is the 2023 digital-only EP Mindsets; the year before she released Changeup, an album of acoustic versions of Blackhearts favorites “Bad Reputation,” “Fake Friends” and others.

Joan Jett and the Blackhearts, House of Blues Las Vegas 2025
June 13
June 14
June 18
June 20
June 21

Top 35 Hard Rock Albums of the ’70s

From holdover electric blues to the birth of heavy metal, these records pretty much summed up the decade.

Gallery Credit: Michael Gallucci





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Elvis Costello Announces 2025 ‘Early Songs’ Tour


Elvis Costello has announced a tour for 2025: “Radio Soul!: The Early Songs of Elvis Costello.”

As its title suggests, the concerts will feature songs from Costello’s earlier albums, ranging from his 1977 debut My Aim Is True to 1986’s Blood & Chocolate, “along with other surprises,” a press release hinted.

“For any songwriter, it has to be a compliment if people want to hear songs written up to 50 years ago. Among them, ‘Radio Soul,’ the first draft of what eventually became ‘Radio Radio,'” Costello explained in a statement.

He’ll be joined on the tour by the Imposters: Steve Nieve, Pete Thomas and Davey Faragher, plus returning guest Charlie Sexton.

READ MORE: Why Elvis Costello Was Not Happy With ‘Punch the Clock’

“You can expect the unexpected and the faithful in equal measure,” Costello continued. “Don’t forget this show is ‘Performed by Elvis Costello & the Imposters,’ an ensemble which includes three people who first recorded this music and two more who bring something entirely new. They are nobody’s tribute band. The Imposters are a living, breathing, swooning, swinging, kicking and screaming rock and roll band who can turn their hands to a pretty ballad when the opportunity arises.”

The tour will launch on June 12 in Seattle, followed by stops in cities like Los Angeles, Las Vegas, Nashville and more. A ticket presale will be held Dec. 11, with a regular sale scheduled for Dec. 13.

A complete list of concert dates can be viewed below.

Elvis Costello, Looking Backward for the Last Time

Costello clarified that although the focus of the tour is on his early songs, he’s not interested in dwelling on the past too much.

“If there is an encore and we play ‘Farewell, OK’ it probably means some of those ‘Early Songs’ will have been performed in your city for the very last time,” he said. “I don’t want to go back, I want to bring these songs into the present day, once more, in the event they are ever pushed out of the way by the next number that I write. You could say time is running out but only time will tell. Don’t be late, the band hits at eight.”

‘Radio Soul!: The Early Songs of Elvis Costello’ Tour Dates 2025
June 12 – Seattle, WA @ Woodland Park Zoo Amphitheatre
June 13 – Portland, OR @ Keller Auditorium
June 15 – Reno, NV @ Venue TBA
June 17 – San Francisco, CA @ The Masonic
June 19 – Wheatland, CA @ Hard Rock Live Sacramento
June 21 – Los Angeles @ Orpheum
June 24 – San Diego, CA @ Humphreys Concerts by the Bay
June 26 – Las Vegas, NV @ The Pearl Concert Theater at Palms Casino Resort
June 28 – Beaver Creek, CO @ Vilar Performing Arts Center
June 29 – Denver, CO @ Bellco Theatre
July 1 – Kansas City, MO @ Uptown Theater
July 3 – St. Louis, MO @ The Factory
July 5 – Nashville, TN @ Ryman Auditorium
July 7 – Greenville, SC @ The Peace Center Concert Hall
July 9 – St. Petersburg, FL @ Mahaffey Theater in Duke Energy Center for the Arts
July 10 – Fort Myers, FL @ Barbara B. Mann Performing Arts Hall
July 12 – Miami Beach, FL @ Fillmore Miami Beach at Jackie Gleason Theatre

2025 Rock Tour Preview





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Another Side of Bob Dylan


The title of the new Bob Dylan biopic, A Complete Unknown, is not just a reference to a famous line from Dylan’s “Like a Rolling Stone.” It is the entire thesis of James Mangold’s film in three words. In A Complete Unknown, Mangold’s Dylan arrives in New York City in early 1961 with the clothes on his back, an acoustic guitar, and a name that he chose for himself. He shuffles anonymously through Greenwich Village’s clubs and coffee shops. No one gives this scruffy kid a second look. Not until they hear him play.

Pretty soon, Dylan becomes a Village favorite. Within a few years, he’s an international star, and so big and influential than when he dares to buck the trend toward socially relevant folk music that he helped bring into the mainstream, he’s labeled a Judas by his own fans. But the motivations behind that decision and many others he makes throughout A Complete Unknown are left opaque. As a musician, Dylan is clearly a genius. As a man, he remains a complete unknown.

A biography that reinforces its subject’s mysteries rather than illuminates them is a valid choice for a Dylan film, and one Dylan himself would probably appreciate if he ever gets around to watching A Complete Unknown. But I am not sure it is an entirely rewarding one to the paying customer who goes to see this.

Yes, this movie is well-made. But what, ultimately, does it add to our understanding of Dylan, or to great artists in general? What do we take away from this story, except that Dylan followed his muse, wrote incredible music, and left the rest to others to sort out for themselves? These are questions I am still wrestling with even as I’m writing this review.

READ MORE: This Is Our Least Favorite Biopic Cliche

I know this much: Timothée Chalamet is genuinely impressive playing (and singing!) the young Bob Dylan. A Complete Unknown is not a biopic like Bradley Cooper’s Maestro, which barely concerned itself with the musical legacy of Leonard Bernstein, and focused instead on his complicated marriage and private life. A Complete Unknown overflows with Dylan music, from “Song For Woody,” strummed by Chalamet’s Dylan in a hospital room for Woody Guthrie (Scoot McNairy), to “Like a Rolling Stone,” blasted by Dylan and his backing band at the stunned throngs gathered at 1965’s Newport Film Festival.

All of the music is performed by Chalamet, doing a very credible Dylan croon — and doing an even more impressive job of inhabiting Dylan away from the microphone. His tics, his stammers, his evasive glances, his endless obfuscations. Beyond his wild mop of brown hair, Chalamet doesn’t really look much like Dylan. And Dylan is vastly different from ascendant emperor Paul Atreides in Dune, or from the aspiring chocolatier in Wonka. For a guy who  looks basically the same in every single role he takes on, Chalamet sure has developed an impressive chameleonic quality.

A Complete Unknown

Searchlight

Mangold surrounds Chalamet with a terrific ensemble. Edward Norton plays an awed, frustrated Pete Seeger who recognizes the potential in Dylan, and perhaps envies it as well, and tries to guide the young folkie’s career in the ways he would have wanted if he were just coming into his own as an artist in the early ’60s. Elle Fanning plays Sylvie, a fictionalized version of Dylan’s girlfriend in this period, perhaps the last person outside the world of show business who would ever be close to him. And Monica Barbaro plays Joan Baez, who forged a fiery connection with Dylan both on and off-screen.

A Complete Unknown’s screenplay, written by Mangold with frequent Martin Scorsese collaborator Jay Cocks and based on a book by journalist Elijah Wald called Dylan Goes Electric!, charts Dylan’s rise to fame and then his growing interest in rock and roll and pop, much to the consternation of old-school folk singers like Seeger and his colleagues at the Newport Folk Festival. Whether you will get invested in the battle over Dylan’s musical soul may depend on how much you know or care about the man himself, and how much you know about how these events played out in real life.

Beyond them, there isn’t an enormous amount of dramatic tension or suspense in the film. A Complete Unknown is not a traditional take on “The Bob Dylan Story.” It’s more a loving evocation of 1960s New York City, with its smoky bars and chilly dives, and of the wider social and political upheaval that birthed this remarkable talent — who then decided he was more interested in things beyond protest songs and campaigning for civil rights. For Dylan, the times were always a’changing.

So does that justify a movie that adds so little to our understanding of Dylan? A Complete Unknown is beautiful, it’s got a wonderful texture of authenticity, and it’s got one remarkable song after another. (The soundtrack will be incredible … provided you want to hear Timothée Chalamet sing “Girl From the North Country.”) And when the movie was over, I walked out of the theater and thought to myself … “Okay, but, so what?”

I believe Mangold directed the Dylan movie he wanted to, and in some ways A Complete Unknown is interesting precisely because it is a willfully withholding portrait of an enigmatic star. Then again, it’s hard to make a completely satisfying movie about a subject that its director seems to believe cannot be understood.

Additional Thoughts:

-The other key player in this biopic is Johnny Cash, a colleague and admirer of Dylan’s — and the protagonist of a previous James Mangold movie biopic, Walk the Line, which starred Joaquin Phoenix as Cash. This time, Boyd Holbrook assumes the role, and mostly plays the country singer as a lovable rogue rather than a tortured gunslinger. It’s fun to see Mangold present another side of Cash, even if only for a couple of scenes.

RATING: 7/10

The Coolest Opening Title Sequences of All Time

Where have all the opening credits gone? 

(Note: Click the link in each entry to watch these opening titles on YouTube.)





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Santana Announces 2025 Tour Dates


Santana has announced tour dates for 2025.

More than 30 dates will keep guitarist and bandleader Carlos Santana and his band on the road from spring through summer in North America, Europe and the U.K.

The U.S. dates begin on April 16 in Highland, California, and run through the end of the month; Santana will then head to Lodz, Poland, on June 9 for more dates through Aug. 11.

READ MORE: Top 10 Santana Songs

The band’s sets will span its entire career. According to a press release announcing the tour, “Santana will perform high-energy, passion-filled songs from their 50-year career, including fan favorites from Abraxas to Woodstock to Supernatural and beyond.”

Where Is Santana Playing in 2025?

After launching in California, the Oneness tour will play dates in Phoenix, San Antonio, and Tulsa before wrapping up North American shows on April 29 in Nashville. After taking off in May, the band will resume concerts on June 9 with the Lodz, Poland, date.

Santana will tour Europe and the U.K. for the next two months, with dates in Berlin, Glasgow, London and Vienna plus some festival appearances. The final scheduled date of the 2025 Oneness tour is Aug. 11 in Copenhagen. You can see the full schedule below.

Fan presale tickets will be available on Wednesday; other presales will run until the general on-sale that starts on Friday at 10 a.m. local time. More information is available on the band’s website.

Santana spent the summer of 2024 performing dates with Counting Crows across the U.S.

Santana, 2025 Oneness Tour North American Dates
April 16, 2025 – Highland, CA – Yaamava’ Resort & Casino at San Manuel
April 18, 2025 – Phoenix, AZ – Talking Stick Resort Amphitheatre
April 19, 2025 – Albuquerque, NM – Isleta Amphitheater
April 22, 2025 – San Antonio, TX – Majestic Theatre
April 23, 2025 – Sugar Land, TX – Smart Financial Centre at Sugar Land
April 25, 2025 – Thackerville, OK – Lucas Oil Live at WinStar
April 26, 2025 – Tulsa, OK – River Spirit Casino Resort
April 29, 2025 – Nashville, TN – The Pinnacle

2025 Oneness Tour Europe & UK Dates
June 9, 2025 – Lodz, Poland – Atlas Arena
June 11, 2025 – Budapest, Hungary – MVM Dome
June 13, 2025 – Berlin, Germany – Uber Arena
June 15, 2025 – Hamburg, Germany – Barclays Arena
June 18, 2025 – Glasgow, UK – OVO Hydro
June 19, 2025 – Manchester, UK – Co-op Live
June 21, 2025 – London, UK – The O2
June 23, 2025 – Paris, France – Accor Arena Paris
June 24, 2025 – Amsterdam, Netherlands – Ziggo Dome
June 26, 2025 – Antwerp, Belgium – Sportpaleis
June 28, 2025 – Zurich, Switzerland – Hallenstadion Zürich
June 30, 2025 – Vienna, Austria – Wiener Stadthalle
July 2, 2025 – Mantua, Italy – Piazza Sordello – Mantova
July 16, 2025 – Rosenheim, Germany – ROSENHEIM SOMMERFESTIVAL 2025, Mangfall Park
July 18, 2025 – Montreux, Switzerland – Montreux Jazz Festival
July 19, 2025 – St. Julien, France – Guitare en Scène
July 21, 2025 – Nimes, France – Festival de Nîmes
July 23, 2025 – Monte-Carlo, Monte-Carlo Summer Festival
July 25, 2025 – Marciac, France – Jazz à Marciac Festival
August 3, 2025 – Marbella, Spain – Starlite Occident Festival
August 8, 2025 – Cologne, Germany – Lanxess Arena
August 9, 2025 – Hanover, Germany – ZAG Arena
August 11, 2025 – Copenhagen, Denmark – Royal Arena

Santana Albums Ranked

Carlos Santana & Co. have been supernatural musical shape-shifters for 26 albums. Here’s how those records rank.

Gallery Credit: Robert Smith





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The Best Concerts UCR Staff Saw in 2024: Roundtable


When the members of UCR’s staff are not writing up articles, there’s a high probability you can run into one of them at a live concert.

The cool thing about our team — sorry, one of the cool things about our team, there are many — is that we each have access to different musical markets. Collectively, we’ve seen concerts in all sorts of places, spread across the country from New York City to Los Angeles.

Over the course of 2024, we’ve seen some damn good shows, and we hope you have too. Below, five of UCR’s own describe the best shows they saw all year.

Matthew Wilkening: Of course it’s tough to just pick one rock concert from 2024. The Black Crowes were fantastic, continuing one of the best comebacks in recent rock history with a powerful headlining set at the venue I will always refer to as the Rocksino. High on Fire with the new addition of Melvins / Big Business drummer Coady Willis was almost unfairly great, and Sammy Hagar upped his game to levels I wasn’t sure he could reach anymore on the Best of All Worlds tour. But the show that left the biggest impression this year was Clutch’s headlining show at the Nautica Pavilion. Their albums can run hot and cold — 2018’s Book of Bad Decisions was a somewhat muddled misfire, while 2022’s Sunrise on Slaughter Beach was much sharper — but they always deliver live and they were in particularly fine form on a lovely summer night. Three-quarters of the band never moves and doesn’t sing, but it didn’t matter in the least as singer Neil Fallon kept the crowd in the palm of his hand the entire night. As an audience member all you really needed to do was try and keep up with the four of them as they delivered a powerful, full-album reading of 2004’s high mark Blast Tyrant before closing out the night with a random assortment of favorites. It was “wait, how far away is the next show?” good.

Corey Irwin: Without question, seeing the Eagles open their residency at the Sphere was hands-down my favorite concert of the year. Now, I’m not going to go full Drew Carey over the Sphere experience, but the technological wizardry exceeded my expectations (which were admittedly high). The venue was unlike anything I’ve ever seen, yet what made it such a special night was the fact that the Sphere’s visuals didn’t detract from the performance onstage. The Eagles remain an incredibly impressive live act, and I was blown away by how great they continue to sound more than 50 years into their career.

Honorable mention goes to the Foo Fighters, who I was able to see during their Northern California stop late in the summer. Dave Grohl and company continue to deliver electrifying performances – and I was an especially proud dad as I watched my four-year-old son experience his first rock concert.

Watch the Eagles Perform ‘Hotel California’ at the Sphere 

Allison Rapp: I got a lot of raised eyebrows and incredulous looks when I told people I traveled all the way from New York City to Los Angeles — literally sea to shining sea — to see the Wallflowers perform both the entirety of their 1996 album Bringing Down the Horse and Tom Petty and the Heartbreakers’ 1982 LP Long After Dark. I had no regrets then and none  now given it was one of the most fun shows I’ve ever attended as both a diehard Petty and Wallflowers fan. Jakob Dylan is in fine form these days, having grown into his husky voice and it was fascinating to hear the through lines from Petty’s music to his own in real time — a true disciple of rock ‘n’ roll. And frankly, if anyone was going to cover an entire Petty album in one night it should be him — Dylan went on the road with his dad and Petty in the mid ’80s, genuinely living the teenage rock ‘n’ roll dream. Plus, I got to go to the beach in October.

I must note a couple of honorable mentions: Neil Young at the Capitol Theatre (easily one of the loudest concerts I’ve ever heard, and Young’s voice is surprisingly still in good shape), and the Buffalo, New York stop of Willie Nelson‘s Outlaw Festival Tour, in which I was lucky enough to watch Bob Dylan smack a tiny wrench against his microphone for a portion of “Desolation Row.” A Nobel Prize winner at work.

Watch Bob Dylan Wield a Tiny Wrench During ‘Desolation Row’

Bryan Rolli: I wasn’t sure what to expect ahead of the Rolling Stones‘ Hackney Diamonds tour kickoff in April. I’d heard nearly as many stories of them being a trainwreck in their later years as a revelation. But their performance at Houston’s NRG Stadium was unquestionably the latter. How Mick Jagger can shake his toned ass across a stage for two hours without appearing to break a sweat is one of humankind’s great mysteries and marvels. Keith Richards and Ron Wood bounced riffs and solos off each other with their signature loose-limbed swagger, while drummer Steve Jordan and bassist Darryl Jones kept the train on the tracks with their sturdy groove. I’ve seen some fans complain about the set list, but as a first-timer, I felt it was as good an introduction to the Stones’ live show as I could’ve hoped for. I only wish they had played for twice as long.

My honorable mention goes to Green Day, a band I’ve seen live several times over the years and who have yet to disappoint me. They reached a new bar this summer with their Saviors tour, playing their career-defining albums Dookie and American Idiot in full. Billie Joe Armstrong remains one of rock’s most tireless frontmen, while Tre Cool and Mike Dirnt make one of rock’s tightest rhythm sections. They raced through 37 songs in two hours and 15 minutes, running the gamut from nervy pop-punk to epic, operatic arena rock. They might be cut from a different cloth, but the Saviors tour proved they can go toe to toe with any classic rock heavyweight.

Matt Wardlaw: I should first note that I did not raise an eyebrow or give Allison an incredulous look when she said she was going to Los Angeles to see the Wallflowers. I was jealous. Still am. But I got to mark a major entry off of the concert bucket list this year when I was lucky enough to see one of David Gilmour’s final shows of the Luck and Strange tour at Madison Square Garden. A good friend once told me, “Always go to the show.” I didn’t exactly listen to her in applying that to previous opportunities to see Gilmour and/or Pink Floyd. So when tour dates were announced, I knew what had to be done. I’m not being dramatic when I say that it was a life experience, seeing that MSG show. If you’ve spent any amount of time with Gilmour on record, you’ll know what I mean.

My honorable mentions line up well with Allison. Neil and Crazy Horse in Detroit at Pine Knob? Incredible. Willie, John Mellencamp and Bob in Chicago for the Outlaw Festival stop there? Mesmerizing. One final note: Anytime you have a chance to go see Bonnie Raitt, that’s a required “yes” as well. Long may they all run.

Watch David Gilmour Perform ‘Comfortably Numb’ at Madison Square Garden

2025 Rock Tour Preview





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Toto Sets 2025 Tour With Men at Work and Christopher Cross


Toto will tour in July and August 2025 with Men at Work and Christopher Cross. Key stops include Boston, St. Louis, Charlotte, Nashville Phoenix, Las Vegas and Salt Lake City, among others.

“Christopher and [Men and Work leader] Colin [Hay] have been close friends for a long time,” Toto’s Steve Lukather said in an official statement. “This is a tour that musically works and brings a fresh summer package to the circuit.”

See a complete list of Toto’s confirmed dates and cities with Cross and Men and Work below. “The mix of Christopher, Steve with Toto, and Men at Work will make for an exciting night of music for fans old and new,” Hay said. More concerts are to be announced.

READ MORE: The Night Christopher Cross Sat in With Deep Purple

Joining Steve Lukather in Toto are long-time frontman Joseph Williams, keyboardist Greg Phillinganes, drummer Shannon Forrest and multi-instrumentalist Warren Ham, among others. Lukather and Ham are veterans of Ringo Starr‘s All-Starr Band.

Toto and Cross have already announced a European tour for January and February, with stops in the U.K. and 10 other countries. They appeared before a capacity crowd last September at the Hollywood Bowl in Los Angeles, after Toto completed a well-received string of dates with Journey.

“I’m honored to be sharing the stage with my dear friends Toto and Men at Work,” Cross added.

Toto’s 2025 Tour With Christopher Cross and Men at Work
7/18 – West Palm Beach, FL @ iTHINK Financial Amphitheatre
7/19 – Tampa, FL @ MidFlorida Credit Union Amphitheatre
7/21 – Birmingham, AL @ Coca-Cola Amphitheater
7/22 – Alpharetta, GA @ Ameris Bank Amphitheatre
7/24 – Burgettstown, PA @ The Pavilion at Star Lake
7/25 – Holmdel, NJ @ PNC Bank Arts Center
7/26 – Boston, MA @ Leader Bank Pavilion
7/28 – Gilford, NH @ BankNH Pavilion
7/30 – Bridgeport, CT @ Hartford HealthCare Amphitheater
8/1 – Atlantic City, NJ @ Hard Rock Live at Etess Arena
8/3 – Cincinnati, OH @ Riverbend Music Center
8/5 – St. Louis, MO @ Hollywood Casino Amphitheatre
8/6 – Noblesville, IN @ Ruoff Music Center
8/8 – Cuyahoga Falls, OH @ Blossom Music Center
8/9 – Tinley Park, IL @ Credit Union 1 Amphitheatre
8/11 – Clarkston, MI @ Pine Knob Music Theatre
8/13 – Bristow, VA @ Jiffy Lube Live
8/14 – Charlotte, NC @ PNC Music Pavilion
8/15 – Nashville, TN @ Ascend Amphitheater
8/17 – Oklahoma City, OK @ The Zoo Amphitheatre
8/18 – Irving, TX @ The Pavilion at Toyota Music Factory
8/21 – Phoenix, AZ @ Arizona Financial Theatre
8/23 – Las Vegas, NV @ Fontainebleau
8/24 – Inglewood, CA @ Kia Forum
8/25 – Concord, CA @ Toyota Pavilion at Concord
8/27 – Salt Lake City, UT @ Utah First Credit Union Amphitheatre
8/29 – Puyallup, WA @ Washington State Fair
8/30 – Ridgefield, WA @ RV Inn Style Resorts Amphitheater

Toto Albums Ranked Worst to Best

Countless high school buddies have started their own bands, but few achieved the level of enduring success enjoyed by the guys in Toto.

Gallery Credit: Jeff Giles

Why Steve Lukather’s Autobiography Took the High Road





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James Taylor Returns to the Road for Summer 2025 Dates


James Taylor will be back on stage in May, June and July 2025, with general tickets on sale later this week.

Shows kick off on May 5 in Phoenix and conclude on July 1 in Gilford, New Hampshire, with multi-night stops along the way in San Diego; Santa Barbara, California; Seattle; and Morrison, Colorado – the latter at the famed Red Rocks Amphitheatre.

Taylor has enjoyed a commercial comeback after launching his career in the late ’60s under the auspices of the Beatles‘ Apple Records and rising to his widest fame in the ’70s. He scored his first-ever No. 1 album with 2015’s Before This World.

READ MORE: Top 10 James Taylor Songs

His audio-only memoir, Break Shot, followed in 2020. Taylor then earned a Grammy in 2021 for American Standard, his most recent LP. The 2021 documentary Just Call Out My Name chronicled Taylor’s decades-long friendship and musical collaborations with Carole King.

The Boston band Tiny Habits will serve as opening act on Taylor’s next tour. General ticketing begins on Friday, Dec. 13 – except for Summerfest in Milwaukee, where sales are already underway.

James Taylor Summer 2025 Tour
5/5 – Phoenix, AZ – Footprint Center
5/7 – Palm Desert, CA – Acrisure Arena
5/8 – Highland, CA – Yaamava Theater
5/10-11 – San Diego, CA – Rady Shell
5/13-14 – Santa Barbara, CA – Santa Barbara Bowl
5/16 – Stanford, CA – Frost Amphitheater
5/17 – Lincoln, CA – The Venue at Thunder Valley
5/19 – Bend, OR – Hayden Homes Amphitheatre
5/21 – Nampa, ID – Ford Amphitheater
5/23 – Ridgefield, WA – RV Inn Style Resorts Amphitheatre
5/25-26 – Seattle, WA – Chateau St. Michelle Winery
6/13-14 – Morrison, CO – Red Rocks
6/17 – St. Paul, MN – Xcel Center
6/19 – Highland Park, IL – Ravinia
6/21 – Milwaukee, WI – Summerfest
6/23 – Cincinnati, OH – Riverbend Amphitheater
6/24 – Cuyahoga Falls, OH – Blossom Music Center
6/27 – Toronto, ON – Budweiser Stage
6/29 – Canandaigua, NY – CMAC
7/1 – Gilford, NH – BankNH Pavilion

Top 40 Singer-songwriter Albums

From Bob Dylan and John Lennon to Joni Mitchell and Billy Joel.

Gallery Credit: UCR Staff





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Flaming Lips Frontman Recalls ‘Amazing’ Joint With Paul McCartney


Flaming Lips frontman Wayne Coyne admits to a particularly surreal experience smoking weed with Paul McCartney.

Actually, during a recent conversation with The Guardian, Coyne said he had cringy interactions with celebrities “all the time.” As evidence, he offered up an anecdote involving the Beatles star.

“The first time we met Paul McCartney – he wasn’t there to meet us, he was at one of these festivals, and he came in through the backstage,” Coyne said. “No one really knew he was there. He came in with his wife, Linda, and I just followed him up on stage. He thought I was part of his entourage – apparently, he didn’t mind that I was there.

READ MORE: Top 30 Weed Songs

“But I stood right behind him as he watched Neil Young play,” Coyne added, estimating that the story took place sometime around 1993. “I’d seen Neil Young play – I was there to look at Paul McCartney more than anything else.”

Paul McCartney Handed Wayne Coyne a ‘Big Joint’

As the Flaming Lips singer stared at one of his idols, he couldn’t help but notice something: “I remember his ear was very crusty,” Coyne noted. “I mean, you’re just looking at Paul McCartney as a human, you know? You don’t get to do that very often. And I remember looking at his ear and – look, sometimes when you’re traveling around a lot, your ears are kind of crusty.”

Coyne’s long gaze at McCartney was broken up by a friendly offer.

“I don’t smoke pot, and he had a big joint, and he handed it to me as if I was part of his entourage. I took a big puff of it, which I shouldn’t have done, but I thought, ‘Well, how often do you get to smoke a joint with Paul McCartney?’” Coyne concluded. “It was amazing.”

Paul McCartney Albums Ranked

The Beatles always defined him, but McCartney’s story didn’t end there.

Gallery Credit: Nick DeRiso





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5 Things to Know About Simon Dawson, Iron Maiden’s New Drummer


Here are five things you need to know about Simon Dawson, Iron Maiden’s new drummer.

Over the weekend, the metal legends shocked the world with the sudden news that Nicko McBrain would be playing his final show with the band, ending his 42-year tenure. While he promised he’ll still be busy with a few other things, it quite literally is the end of the road for the drummer as Maiden’s The Future Past tour came to a close in Sao Paulo, Brazil on Saturday (Dec. 7).

At 72 years old, McBrain ends a fantastic and celebrated career, officially stepping down from touring duties.

Just hours after the drummer left the Iron Maiden stage one final time, Iron Maiden welcomed Simon Dawson to the group. He’s expected to make his live debut next year as the band embarks on a 50th anniversary tour, exclusively playing material from their first album through 1992’s Fear of the Dark.

READ MORE: Watch Nicko McBrain Play His Last Iron Maiden Show

What all fans have learned throughout the years is that Iron Maiden always operate with a calculated plan. Obviously, McBrain’s retirement from the road was no secret to the band, but it was kept quiet until the final show. Fortunately, we don’t have to wait and wonder who could possibly fill such a significant role.

Dawson’s most immediate connection to Iron Maiden is being Steve Harris‘ bandmate in the side band British Lion. An established chemistry for a band with such a legendary rhythm section is critical, especially when staring down a setlist lined with classics and, presumably, deep cuts from Maiden’s most widely celebrated era.

So, who is Simon Dawson? What other bands has he been in?

Let’s dive into a few things you need to know about the drummer below.

He’s British!

For that brief day Iron Maiden fans were left in limbo, wondering who the new drummer will be, a respectable crop of names emerged as fans discussed the mystery with each other online.

While Mike Portnoy and Aquiles Priester were two popular suggestions (and each could have capably executed the job), it was doubtful that Maiden were going to recruit someone who isn’t British. It’s simply a huge part of the band’s character and makeup (even if Harris’ former and current techs, who double as Maiden’s live keyboardist, aren’t British).

Portnoy, who has plenty of experience juggling multiple bands, just returned to Dream Theater. The prog metal legends finished the first leg of their 40th anniversary tour and have a new album arriving next year, so a full commitment to Maiden never felt likely.

Priester, meanwhile, has a connection to Iron Maiden, having played with Paul Di’Anno in the late ’90s and early 2000s. His 2000s tenure in Brazilian power metal group Angra would have ensured that fans in Brazil would have gone absolutely bonkers — more bonkers than they usually do for Iron Maiden.

Dawson, being a native Brit, however, gave him an edge others can never possess.

Bruce Dickinson

Karl Walter, Getty Images

His NWOBHM Credentials Go Way Back

The New Wave of British Heavy Metal (NWOBHM) was a tagline applied to the burgeoning U.K. scene, preceded by the likes of Black Sabbath, Judas Priest and Motorhead. It referred to the traditional heavy metal style that was popularized throughout the ’80s, with Iron Maiden being the biggest of the bunch.

Other NWOBHM standouts included Venom, Angel Witch, Witchfinder General, Tokyo Blade, Jaguar, Grim Reaper, Cloven Hoof and White Spirit (which featured future Maiden guitarist Janick Gers.)

Lesser known are Deep Switch, who formed in 1984 and self-released their lone record, Nine Inches of God, in 1986.

It’s a fine album that’s a bit more rhythmic-minded than the typical dueling guitar nature of NWOBHM with quirky lyrics that often delve into the absurd and sexually blasphemous (see the title track).

The members of Deep Switch all utilized stage names (Reverend Nice being our personal favorite) and Dawson recorded under the moniker Simon De Montford.

Can He Groove? Oh Yes, He Can!

One big question fans have about Dawson is if he can replicate Nicko’s sense of swing and groove. It’s this quality, coupled with ‘Arry’s signature galloping style and finger-brushed chord strikes that provide Iron Maiden with their sense of urgency and uncorked energy, especially live.

In the ’90s, Dawson was a member of thrash/groove metal band Dearly Beheaded. The music was very well aligned with the dominant metal sound of the time, which was led by Pantera.

In the live footage below, you can check out Dawson’s chops, which border on extreme metal at times. The performance has us convinced that he could probably play “Where Eagles Dare” in double time!

He Was Actually in a Big Pop-Rock Band for 20 Years

Whether you know the name of the band that wrote it or not, we’re willing to bet you’ve heard “Your Love” at least 10 times throughout your life. You know the chorus — “I just wanna use your love toniiii-iiight / I don’t wanna lose your love toniii-iiight.”

No, Dawson didn’t play on that all-time hit by British power-pop group The Outfield, but he was their drummer for 20 years, first joining in 1989. He replaced Alan Jackman after the band had released three records, the first of which has been certified double platinum in the U.S. thanks to the aforementioned massive radio hit.

Dawson made his debut on 1990’s Diamond Days and played on all four of The Outfield’s ’90s albums.

It’s a wild path to Iron Maiden with The Outfield as one of the avenues, but it showcases Dawson as a true professional and a drummer who can play a multitude of styles exceptionally well.

He’s Played With Steve Harris For More Than a Decade

As mentioned earlier, Simon Dawson is the drummer in British Lion, a hard rock band founded by Steve Harris. He played on a trio of songs on the group’s self-titled 2012 debut, fully contributing to British Lion’s sophomore effort, The Burning (2020).

British Lion have performed live every year since 2013, meaning that Dawson and Harris have spent a lot of time playing together onstage and in rehearsals. That chemistry cannot be understated, especially in the absence of 42 years of locked in with one another as Harris and McBrain were.

Iron Maiden’s live reputation is everything and, if it were to take years for a new chemistry to develop between one of metal’s most influential bassists and his new drummer, the delivery could run the risk of missing the mark.

Truly, Dawson has every appearance of being the appropriate fit for Iron Maiden and continuing the legacy Nicko leaves behind, as well as the late, great Clive Burr.

Welcome, Simon Dawson!

How Many Songs Each Iron Maiden Member Has Written

Here’s a breakdown of Iron Maiden’s song-writing credits.

Gallery Credit: Joe DiVita





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How ‘Friday the 13th’ Wasted Jason’s Trip to New York City


Rob Hedden had big plans for Jason Voorhees’ first trip to New York City.

“There was going to be a tremendous scene on the Brooklyn Bridge. A boxing match in Madison Square Garden,” the director said of his grand initial visions for 1989’s Friday the 13th Part VIII: Jason Takes Manhattan in the book Crystal Lake Memories. “Jason would go through department stores. He’d go through Times Square. He’d go into a Broadway play. He’d even crawl onto the top of the Statue of Liberty and dive off.”

Unfortunately, the only people who cut more viciously than the famous hockey mask-wearing star of the Friday the 13th series were the studio executives in charge of the film’s budget.

“The preliminary budget people took a look at it and said, ‘We’re only going to give you $4 million to make this movie,'” Hedden recalled. “‘You’re going to get one week in New York, if you’re lucky, and the rest is going to be shot in the cheapest place we can find.'”

Because of the budget cuts, most of Hedden’s major set pieces were cut from the script. Jason doesn’t set foot in the city until one hour and four minutes into the movie, leaving just over a half-hour of Big Apple carnage. Still, an impressive seven of his 13 kills take place in the city.

Read More: How Actors Were Tricked Into Starring in a ‘Friday the 13th’ Movie

When last seen in 1988’s Friday the 13th Part VII: The New Blood, Jason was “dead” at the bottom of Crystal Lake, near the campground he’d haunted for the entire series. This time out, the anchor for a cruise ship for graduating high school seniors accidentally hits his body and an underwater power cable, re-animating the killer. He boards the ship, which is heading for the Big Apple, and begins yet another murderous rampage.

Watch Jason Visit Times Square

“The one thing everybody says is it’s not Jason Takes Manhattan, it’s Jason Takes a Cruise Ship,” Hadden admits. “In my first outline it was flopped the other way. Pretty soon it was half New York, half cruise ship. Then it was the last third in New York. It just kept getting whittled down and whittled down.”

Jason Takes Manhattan attempted to strike a more humorous tone than previous entries. The first thing a confused Jason sees upon his arrival is a huge billboard featuring a hockey goalie wearing a mask similar to his own. Later, while walking through Times Square he destroys a boombox playing rap music, but then lets the young punks who were playing it off with a warning (and a played-for-laughs look at his deformed face) instead of killing them.

In addition to the promised week in Manhattan, much of the movie was filmed on an out-of-commission cruise ship and in Vancouver. An abandoned tunnel in the western Canadian city filled in for the New York City subway. “We built fake subway tracks for hundreds of yards down this tunnel and built a fake subway car,” recalled production designer David Fischer. “Vancouver is a pretty clean city, so here we were, going around to all these alleys and picking up garbage. We even added the graffiti.”

After eight Friday the 13th movies in nine years, and with a movie that didn’t fully deliver on the promise of its title, all but the most die-hard fans stayed away from Jason Takes Manhattan. The movie earned a franchise-low $14 million at the box office. It would be four years until Jason returned to movie screens in 1993’s Jason Goes to Hell: The Final Friday.

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Rick Wakeman Extends U.S. Farewell Tour Dates Into 2025


Rick Wakeman has added another set of U.S. dates, extending his Farewell Tour into Spring 2025 with a special appearance on the next Cruise to the Edge.

He’ll play three Florida shows around the cruise, which sails out of Miami from April 4-9, 2025, on the Norwegian Gem. Wakeman will also stop in Charlotte; Charleston, South Carolina; and Nashville.

These concerts follow a busy 2024, which started with February dates dubbed the Return of the Caped Crusader. Wakeman then played the first leg of farewell shows during March and April in the U.S. and South America, followed by a second U.S. leg in October and November.

READ MORE: Ranking Every Yes Song

Outside of a celebrated tenure in Yes that included the career-making Fragile and Close to the Edge albums, Wakeman’s solo career has been marked by sweeping concept albums like The Six Wives of Henry VIII, Journey to the Centre of the Earth, and The Myths and Legends of King Arthur and the Knights of the Round Table. He also worked as a first-call sideman with David Bowie, Lou Reed, Al Stewart and others.

Tickets are already on sale for Wakeman’s show at the Barns at Wolf Trap in Vienna, Virginia, as well as ​Cruise to the Edge. Also making onboard appearances are King Crimson‘s Robert Fripp, Steve Hackett and Saga, among others. Cruise stops include Puerto Plata in the Dominican Republic and Great Stirrup Cay in the Bahamas.

These farewell concerts have been highlighted by the premiere of “Yessonata,” a 30-minute instrumental featuring Yes themes and melodies that Wakeman presents as a sonata. Check other venues for specific on-sale information.

Rick Wakeman 2025 Tour Dates
3/27​ – Vienna, VA​​​ @ The Barns at Wolf Trap
3/28 – Charlotte, NC​​ @ Booth Playhouse at ​Blumenthal Arts Center​
3/30 – Charleston, SC​​ @ Charleston Music Hall​​
4/1 – Clearwater, FL ​​@ Capitol Theatre​
4/2 – Orlando, FL ​​​@ The Plaza Live​
4/4-9 – Miami, FL ​@ ​Cruise to the Edge
4/10 – Fort Lauderdale, FL​ @ The Parker​​
4/12 – Nashville, IN​​ @ Brown County Music Center
4/13 – Columbus, OH​ @ The Southern Theatre
4/15 – Munhall, PA​ ​@ Carnegie of Homestead Music Hall​
4/16 – Huntington, NY​ @ The Paramount
4/17 – Peekskill, NY​ ​@ Paramount Hudson Valley Theater

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Gallery Credit: Ryan Reed





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Ringo Starr Announces 2025 US Tour Dates


Ringo Starr and his All-Starr Band will hit the road next year, performing in various U.S. cities.

The first of those dates is scheduled for June 12 in Bridgeport, Connecticut, followed by stops in places like New York City, Philadelphia and multiple locations in Florida. Starr will be joined by the same musicians he last toured with in the All-Starr band: Steve Lukather, Colin Hay, Warren Ham, Hamish Stuart, Gregg Bissonette and Buck Johnson.

A complete list of concert dates can be viewed below. Tickets will be available beginning Dec. 13.

“I am happy to announce these new All-Starr shows in June,” Starr said (via Consequence). “I absolutely love playing live and I love this band. It’s been so great playing with these guys, I just want to keep this lineup going and that’s why I haven’t changed the All-Starrs in a while.”

Ringo Starr’s Upcoming Album

Before the All-Starr tour launches, Starr will make two appearances without the band at the Ryman Auditorium in Nashville on Jan. 14 and 15. Just a few days prior to that, he will release a brand new country album titled Look Up, which features Alison Krauss, Billy Strings, Larkin Poe, Lucius and Molly Tuttle as guests. Most of the songs were written by the LP’s producer, T Bone Burnett.

READ MORE: Ringo Starr Albums Ranked Worst to Best

“I had been making EPs at the time and so I thought we would do a country EP — but when [Burnett] brought me nine songs I knew we had to make an album,” Starr explained in a previous press release. “And I am so glad we did. I want to thank and send peace and love to T Bone and all the great musicians who helped make this record. It was a joy making it and I hope it is a joy to listen to.”

Ringo Starr and His All-Starr Band 2025 US Tour Dates
Jan. 14 – Nashville, TN @ Ryman Auditorium *
Jan. 15 – Nashville, TN @ Ryman Auditorium *
June 12 – Bridgeport, CT @ Hartford HealthCare Amphitheater
June 13 – New York City, NY @ Radio City Music Hall
June 15 – Philadelphia, PA @ TD Pavilion at The Mann
June 17 – Vienna, VA @ Wolf Trap
June 18 – Greensboro, NC @ Tanger Center
June 20 – Hollywood, FL @ Seminole Hard Rock Hotel & Casino
June 21 – Clearwater, FL @ The BayCare Sound
June 22 – St. Augustine, FL @ The St. Augustine Amphitheater
June 24 – Tuscaloosa, AL @ Mercedes-Benz Amphitheater
June 25 – Charlotte, NC @ Ovens Auditorium

* Without the All-Starr Band

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Gallery Credit: Nick DeRiso





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Tom Hamilton’s New Band Close Enemies Announces 2025 Tour


Aerosmith bassist Tom Hamilton‘s new band Close Enemies has announced a brief tour of the northeastern United States for January.

The five-date trek begins on Jan. 8 in Philadelphia and concludes on Jan. 23 in Pawling, New York, with more dates to come. You can see the full list of currently announced shows below.

“Hey everyone, Here are a few dates we can post as of today,” the band wrote on Facebook. “There are more to come. Looking forward to seeing all of you there.”

READ MORE: Top 20 Aerosmith Songs

Who Plays in Close Enemies With Tom Hamilton?

Hamilton announced that he was part of Close Enemies in September, not long after Aerosmith announced their retirement from touring due to Steven Tyler‘s insurmountable vocal injury. The band consists of Hamilton, guitarists Trace Foster (Hamilton’s bass tech) and Peter Stroud (who plays with Sheryl Crow), drummer Tony Brock (the BabysRod Stewart) and singer Chasen Hampton. Gary Stier serves as their lyricist. Close Enemies played their first show at Nashville’s Eastside Bowl in October.

“When I joined, these guys had worked up a bunch of great songs, and I was able to contribute something I had,” Hamilton told AARP in August. “Hopefully, when the time comes, we’ll work up some others I’ve had in my pocket for a while. All of these guys are great musicians, and it’s an honor and a challenge to be part of it all. I’m looking forward to seeing how people like it. I think they’ll be pleasantly amazed!”

Close Enemies 2025 Tour Dates
Jan. 8 – Philadelphia, PA @ City Winery Philly
Jan. 9 – New York, New York @ City Winery NYC
Jan. 10 – Boston, MA @ City Winery Boston
Jan. 14 – Manchester, NH @ The Rex Theatre
Jan. 23 – Pawling, NY @ Daryl’s House

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Gallery Credit: Ultimate Classic Rock Staff





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5 Songs Guns N’ Roses Need to Cut From Their Set in 2025


Guns N’ Roses are hitting the road again in 2025 for a world tour, promising another rock ‘n’ roll spectacle of epic proportions.

Maybe a little too epic.

The rockers have never shied away from excess in any department, and over the past several years, that mentality has translated to their live show, with performances routinely approaching — or even exceeding — three hours. Although more is certainly not always a bad thing, GN’R have kept a largely static set list since launching their Not in This Lifetime … reunion tour nearly a decade (!!) ago. They’ve added to the core set over the years, but they’ve rarely subtracted.

Consequently, fans who have caught Guns N’ Roses more than once in recent years may be yearning for a change of pace. That includes several UCR writers, whom we’ve tasked with cutting five (or more) songs from the band’s 2025 set list and replacing them with less common tracks.

Here are their picks.

Bryan RolliMy GN’R allegiance is common knowledge around the proverbial UCR water cooler. There aren’t many songs I wouldn’t be happy to see them play live. That said, their over-reliance on covers has always been their Achilles’ heel. Their renditions of Velvet Revolver‘s “Slither” and Glen Campbell’s “Wichita Lineman” were heartfelt gestures, but they’ve outworn their welcome. Likewise, the band could make better use of Duff McKagan‘s solo spot than a punk cover, which was most recently the Stooges‘ “T.V. Eye.” And if I never hear them play “Knockin’ on Heaven’s Door” again, it’ll be too soon. I know there’s a “not in this lifetime”-level chance of them cutting it, but hey, stranger things have happened.

As for original songs: Now that the novelty of new music has worn off, it’s safe to deem “Absurd” one of the worst things Guns N’ Roses have ever done. Put it on the chopping block along with “Perhaps.” (I’m also preemptively crossing my fingers that “The General” doesn’t become a set list staple.) And as much as I adore “Rocket Queen,” I’ve heard their hammy, 12-minute live version enough times to sustain me for the rest of my days.

Now let’s start having some fun. McKagan has been playing “Dust N’ Bones” on his solo tours lately, and it would make a great addition to Guns’ set. They could fill their Campbell-sized void with another acoustic sitdown number, “You Ain’t the First.” They cut “Dead Horse” from their set in 2021 just as they were starting to find their groove with it; it deserves more attention in 2025. Same goes for “Locomotive,” which could satisfy the “Rocket Queen” faction. And I’ll go to my grave wishing for a “Perfect Crime” revival. Lastly, if they really feel the need to add another cover, they could salute the recently retired Aerosmith and make a nod to GN’R Lies by bringing back their rendition of “Mama Kin.”

Listen to Guns N’ Roses’ ‘Dust N’ Bones’

 

Matt WardlawMan, we get all of the tough jobs here at UCR, don’t we? Thanks for making me the one who gets to go and tell Axl Rose about our cuts. The easiest choices to slash would be some of the cover songs. But that kind of feels like the easy way out. Here’s where I’ll start: Let’s take out their cover of Velvet Revolver’s “Slither” and pop in a fan favorite that’s been on the shelf way too long: “Out Ta Get Me,” which has been surprisingly in rest mode since late 2017. I’d like to create a new illusion and pull out “Estranged,” a fairly regular presence, in exchange for the more sporadic “Yesterdays.” I think it’s great that they’ve had some “new” material in the set with things like “Hard Skool” and “Absurd,” but I’m also thinking we could swap out the latter and pop in “Shadow of Your Love.” To be fair, “Shadow” got some good stage time through 2022, but I didn’t get to see it, so that’s a selfish pick.

When it comes to cover songs, let’s lose “Wichita Lineman” and shake things up a song or two later by putting in a real rarity prior to the set-closing “Nightrain”: their Spaghetti Incident?-era version of Nazareth‘s “Hair of the Dog.” That seems like it could be a fun way to get the fans a bit more riled up going into the encore. For my final tweak, we’re going to take out “Anything Goes” and, indeed, because anything goes, I’m making this one the dealer’s choice of either “Oh My God” or “Perfect Crime.” Thanks for your consideration, guys — we’ll see you out there right next door to hell.

Listen to Guns N’ Roses’ ‘Hair of the Dog’

 

Matthew Wilkening: Call me old, call me lame, call me whatever you want, but two hours and 40 minutes is too long for a rock concert. I’ve seen Guns N’ Roses half a dozen times since their 2016 reunion, and as the set lists got longer and longer over those years, the pacing sagged, particularly in the middle of the set. More importantly, other than adding some new covers and recent singles such as “Absurd” and “Hard Skool,” the shows have largely featured the same 20 songs in the same basic order. It’s well past time for a shakeup. It sounds counterintuitive, but a shorter, punchier set is the way to go.

Starting from the 28-song set list of their most recent show (Nov. 5, 2023 in Toluca, Mexico), let’s cut 10 and put 5 different songs in their place. Out: “Bad Obsession,” “Chinese Democracy,” “Slither,” “Pretty Tied Up,” “Absurd,” “Perhaps,” “The General,” “Civil War,” “Anything Goes” and “Coma.” In: “Locomotive,” “Out Ta Get Me,” “Sorry” (the best song on Chinese Democracy by a mile), “Right Next Door to Hell” and then maybe rotate in an Aerosmith or AC/DC cover once in a while.

Listen to Guns N’ Roses’ ‘Sorry’

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Gallery Credit: Bryan Rolli





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