As the music industry slowly awakens from its holiday slumber, the list of February 2025 new music releases leans into reissues and archival releases.
Neil Young is set to issue Oceanside Countryside, a previously unreleased album recorded between May and December 1977. The latest entry in Young’s Analog Originals series is in a similarly rootsy vein as the album that replaced it, 1978’s Comes a Time and shares three of the same songs.
Timothee Chalamet earned praise for his attention to detail while recreating the many Bob Dylan songs featured in A Complete Unknown. Now, you can bring those performances home as the original motion picture soundtrack arrives. Elsewhere, the five-disc Warner Recordings 1985-1994 set looks back at David Lee Roth‘s solo projects in between stints with Van Halen.
Dream Theater will celebrate their 40th anniversary with the first new album featuring original drummer Mike Portnoy since 2009. Parasomnia, led by the nearly 10-minute single “Night Terror,” follows a five-album run with Mike Mangini. Humble Pie‘s 5CD Hallelujah: 1973-1983 box focuses on post-Peter Frampton material, including some rare live and studio recordings.
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.
Feb. 7 Andy Fairweather Low [Roger Waters/Eric Clapton], The Invisible Bluesman Cactus, Evil Is Going On: The Atco Albums 1970-1972 (8CD box) Dave Matthews Band, Where Are You Going: The Singles (2LP) Don McLean, Prime Time; Chain Lightning; Believers (vinyl reissues) Dream Theater, Parasomnia Fleetwood Mac, Tango in the Night (Hybrid SACD and vinyl reissue) Guided by Voices, Universe Room Hawkwind, Space Ritual (50th anniversary Blu-ray audio edition) Peter Tosh, No Nuclear War (yellow vinyl release) Rick Springfield, Big Hits: Rick Springfield’s Greatest Hits, Vol. 2 Sonic Youth, Hold That Tiger 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) Chuck Berry, Collected (3CD set) Creedence Clearwater Revival, Creedence Clearwater Revival (remastered sky blue vinyl); Bayou Country (remastered tangerine vinyl); Green River (remastered olive green vinyl); Willy and the Poor Boys (remastered canary yellow vinyl), Cosmo’s Factory (remastered apple-red vinyl), Pendulum (remastered brown vinyl); Mardi Gras (remastered gold vinyl) Ian Gillan [Deep Purple], Gillan 1978-1982 (7CD box) John Lodge [Moody Blues], Love Conquers All (EP with Geoff Downes, others) Neil Young, Oceanside Countryside Robert Palmer, Live at the Apollo; Rhythm & Blues; Drive (vinyl reissues)
Feb. 21 David Lee Roth, The Warner Recordings 1985-1994 Gene Clark [The Byrds] and Carla Olson, So Rebellious a Lover (deluxe edition reissue) Mitch Ryder, With Love Nik Kershaw, The MCA Years (10CD box) Patterson Hood [Drive-By Truckers], Exploding Trees and Airplane Screams The Stylistics, Falling in Love With My Girl (2CD set with Ron Wood, Billy Gibbons, Elton John Band, Bill Champlin, Steve Lukather, others) Various artists, The 25th Anniversary Rock & Roll Hall of Fame Concerts (4CD box with Mick Jagger, Bruce Springsteen, Billy Joel, Jeff Beck, Paul Simon, Ozzy Osbourne, John Fogerty, others)
Feb. 28 Bon Jovi, Slippery When Wet (deluxe expanded edition and vinyl reissue) Camel, Moonmadness; Mirage (remastered 2CD/Blu-ray sets) Carole King, Really Rosie (vinyl reissue) Fleetwood Mac, Rumours (remastered vinyl reissue) Dan Fogelberg, Greatest Hits (red swirl vinyl release) 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) Samantha Fox, Touch Me (picture disc vinyl reissue); Samantha Fox (picture disc vinyl reissue); I Wanna Have Some Fun (red, black and yellow vinyl reissue) Steve Hackett with DJabe, Freya: Arctic Jam (CD/Blu-ray digipak) Supertramp, Live In Paris ’79 (2CD or 3LP set) Timothee Chalamet, A Complete Unknown: Original Motion Picture Soundtrack
March and Beyond Adrian Smith and Richie Kotzen, Black Light/White Noise Jethro Tull, Curious Ruminant John Mayall, Second Generation: Live Magic 1968-1993 (30CD box) Yes, Close to the Edge (super deluxe 5CD/LP/Blu-ray edition) Jon Anderson [Yes], Jon Anderson and the Band Geeks Live: Perpetual Change Ozzy Osbourne, See You on the Other Side V2.0 (18LP box) Dave Mason [Traffic/Fleetwood Mac], A Shade of Blues (with Michael McDonald, Joe Bonamassa, others) Various artists, Jingle Jangle Morning: The 1960s U.S. Folk Rock Explosion (3CD set with Bob Dylan, the Byrds, Lovin’ Spoonful, Simon and Garfunkel, Buffalo Springfield, others) 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) Eric Clapton, Unplugged: Enhanced Edition (2CD or 3LP set)
Top 25 Rock Albums of 2024
Once again, reports of the genre’s death have been greatly exaggerated.
It would be inaccurate to say that alcohol in general has not played a large role in rock culture. Particularly as the genre ramped up in popularity and became more …f ormidable, shall we say, booze, along with wealth and fame, was a common denominator.
There’s actually science to back this up. According to a 2015 report by the Substance Abuse and Mental Health Services Administration, the rate of heavy alcohol use in people working in arts and entertainment was 11.5 percent. This may not sound like much until you consider that the nationwide number for American adults in 2018 was 5.1 percent.
Drinking alcohol is by no means a requirement to work in rock ‘n’ roll — in fact, many former heavy drinkers have given up their glasses for good and embraced a sober lifestyle. Drinking, like being in a rock band, can easily take a toll on the human body and spirit. Even Keith Richards, famous for taking things to the extreme back in the Rolling Stones‘ heyday, has cut back significantly, only occasionally indulging in an alcoholic beverage.
“It was time to quit,” he told Rolling Stone in 2018. “Just like all the other stuff. … But I don’t notice any difference really – except for I don’t drink. I wasn’t feeling [right]. I’ve done it. I didn’t want that anymore.”
All of this is to say: drinking is not for everyone, regardless of whether or not you’re in a world-famous rock band. But if you’re inclined to imbibe in an adult beverage from time to time, we have some recipe ideas for you. In the below gallery, we’re taking a look at 10 Rockstars’ Favorite Alcoholic Drinks.
If you or someone you know is struggling or in crisis, help is available. You can call or text 988 or chat at 988lifeline.orgwhere trained counselors are at hand 24/7.
Formed in 1993 in Mesa, Arizona, Jimmy Eat World began as a quartet blending emo, punk, and alternative rock influences. The original lineup included Jim Adkins, Tom Linton, Zach Lind, and Mitchel Porter. Their early releases, including their debut Jimmy Eat World (1994), showcased a raw punk aesthetic before the band began developing their signature melodic sound. Porter left in 1995, with Rick Burch joining as bassist, solidifying the lineup that has remained intact ever since.
The band’s mainstream breakthrough came with their fourth album, Bleed American (2001), which featured hits like “The Middle” and “Sweetness,” both of which achieved significant chart success. Since then, Jimmy Eat World has released a total of ten studio albums, including Futures (2004), Chase This Light (2007), and Surviving (2019). Their music has consistently charted internationally, and they have been widely recognized for their role in shaping the emo and alternative rock genres.
Despite changes in the music industry and evolving trends, Jimmy Eat World has maintained a stable lineup and continues to tour and produce new material. Their longevity and commitment to their craft have earned them a loyal global fanbase and critical acclaim.
Jim Adkins
Jim Adkins, a founding member of Jimmy Eat World, has been the band’s lead guitarist and vocalist since 1993. His contributions extend to keyboards on select albums, including Clarity (1999) and Bleed American (2001). Adkins played a pivotal role in writing and performing some of the band’s most iconic tracks, such as “The Middle” and “Pain.” His creative input helped the band transition from their punk roots to a more polished alternative rock sound on Clarity and Futures, both critically acclaimed albums. Outside of Jimmy Eat World, Adkins has collaborated with artists such as Taylor Swift and has participated in solo acoustic tours. His ability to blend catchy melodies with introspective lyrics remains central to the band’s success.
Tom Linton
Tom Linton, the rhythm guitarist and co-vocalist, has been with Jimmy Eat World since its inception. Linton’s deep, gravelly vocals were a defining feature of the band’s early material, including tracks from Static Prevails (1996) and Clarity. He also played keyboards on multiple albums, adding to the band’s evolving sound. Linton’s rhythm guitar work forms the backbone of Jimmy Eat World’s music, complementing Adkins’ lead guitar melodies. His collaborative dynamic with Adkins has been a hallmark of the band’s style. Linton has primarily focused on his work with Jimmy Eat World, but his contributions have been indispensable to the group’s development and enduring appeal.
Zach Lind
Zach Lind, the band’s drummer, has been an integral part of Jimmy Eat World since its formation in 1993. His precise, dynamic drumming is featured on all of the band’s albums, starting with their debut and evolving through landmark records like Bleed American and Futures. Lind’s percussion was instrumental in shaping the emotionally charged atmosphere of tracks like “Work” and “23.” Beyond his work with Jimmy Eat World, Lind has contributed to other projects, including collaborations with indie artists and charitable endeavors. His steady, innovative drumming style remains a cornerstone of the band’s sound and live performances.
Rick Burch
Rick Burch joined Jimmy Eat World in 1995, replacing original bassist Mitchel Porter. His debut with the band was on Static Prevails, where his melodic basslines began to solidify the group’s sound. Burch’s contributions became more prominent on Clarity and Bleed American, where his bass work added depth to hits like “Sweetness” and “A Praise Chorus.” He also began contributing backing vocals during live performances and recording sessions starting with Bleed American. Burch has remained focused on his work with Jimmy Eat World, contributing to every studio album since his arrival and solidifying his role as the band’s rhythmic anchor.
Mitchel Porter
Mitchel Porter was the original bassist for Jimmy Eat World, performing with the band from its formation in 1993 until 1995. He appeared on the band’s debut album, Jimmy Eat World, which captured their raw, punk-influenced beginnings. Porter left the band before the recording of Static Prevails, and his departure marked a turning point in the band’s evolution. After leaving Jimmy Eat World, Porter pursued interests outside of music, and little public information is available about his subsequent career.
Check out more Jimmy Eat World articles on ClassicRockHistory.com Just click on any of the links below……
Emily Fagan grew up in the town of Burford in Oxfordshire, England. She was raised on Progressive Rock music. She is currently writing a book on the history of Charles The Great and the impact of the Carolingian Renaissance.
Guitarist Ron “Bumblefoot” Thal is featured in a new arrticle by Guitar Player where he offers his own personal tips for becoming a better guitar player. Following is an excerpt:
Support the Team
Bumblefoot: “If you’re in a band, you’re part of a team. You’re partners with other people. Let’s say your band is made up of five people; if everybody gets to have a say — which isn’t always the case, but here it is — out of five ideas you should expect to get one of yours through. At the same time, you’re probably going to have four out of five of your ideas shot down. That’s okay – don’t be offended. Every time you get your way, the other four people may have had their ideas shot down.”
“Put your ego aside. When somebody gets their way about something they feel passionate about, be selflessly happy for them. They deserve to see their idea through. Don’t be controlling — just go with the flow and see where it goes. In the end, you may find that their ideas were better than yours. That’s okay, too — the whole band looks good.”
Ron ‘Bumblefoot’ Thal is back with a brand-new instrumental album, Bumblefoot …Returns!, set for release on January 24. Thirty years after his debut solo instrumental album, Bumblefoot revisits his roots with a 14-track masterpiece that spans genres from metal to orchestral to blues.
The album’s opening track, “Simon In Space,” serves as its first single, delivering an electrifying ride through chaos and intensity. The single is available for streaming here. In addition to the single, an animated music video created by Bumblefoot and animator Radek Grabinski is also available, as well as a retro-inspired video game, which is coming soon. Watch the video below.
Reflecting on the single, Bumblefoot shared: “From an early age, my passions were guitar and astrophysics, cosmology – the song ‘Simon in Space’ merges the two. Simon is my cat haha, that’s him featured in the artwork.”
Soon fans will be able to immerse themselves in a retro-inspired video game based on the single. More details will be announced soon.
Bumblefoot …Returns! features collaborations with iconic musicians, including Brian May, Steve Vai, Guthrie Govan, Derek Sherinian, Jerry Gaskill, and others, showcasing Bumblefoot’s innovative guitar techniques, such as his signature fretless guitar and “thimble technique.”
On the album, Bumblefoot shared: “It’s been 30 years since releasing the debut Adventures Of Bumblefoot on Shrapnel Records, and I haven’t done a fully instrumental album since. Working on Whom Gods Destroy’s album inspired growling heavy fretless parts like ‘Simon In Space’. Watching a blues documentary inspired ‘Moonshine Hootenanny.’ Losing loved ones led to writing ‘Funeral March.’ Songs become a soundtrack to our lives.”
The album is available for pre-order now on vinyl, CD, and cassette, with exclusive merch bundles at Bumblefoot.com. Highlights of the physical editions include:
– Vinyl: Double-disc gatefold with UV art pressing on Side 4. – CD: Includes an 8-panel foldout square poster. – Cassette: Features 10 panels of artwork.
“Simon In Space” “Planetary Lockdown” “Moonshine Hootenanny” “Chopin Waltz Op64 No2” “Monstruoso” (ft. Steve Vai) “Monstruoso II – Departure” “Cintaku” “Once in Forever” (ft. Brian May) “Andalusia” “Anveshana” (ft. Guthrie Govan) “Funeral March” (ft. Ben Karas) “Griggstown Crossing” “The Thread” “Liftoff”
“Simon In Space” video:
About Bumblefoot:
Ron ‘Bumblefoot’ Thal is a celebrated guitarist, producer, composer, and educator with a career spanning over 30 years. Known for his groundbreaking techniques, Bumblefoot has performed with Guns N’ Roses, Asia, Sons of Apollo, Whom Gods Destroy, and more.
Bumblefoot is an adjunct professor, international cultural ambassador, philanthropist, and hot sauce entrepreneur, whose work has been featured in TV, film, and video games, including VH1’s That Metal Show.
For more information, exclusive merch, and album pre-orders, visit Bumblefoot.com.
On January 18th, Def Leppard performed their first show of 2025 without guitarist Vivian Campbell at Feria Estatal De León in León, Mexico. Phil Collen’s guitar tech, John Zocco, performed in his place. According to a mid-show explanation from frontman Joe Elliott, Campbell was absent because “he’s just recovering from some treatment for his cancer.”
Zocco previously filled in for Campbell on October 14, 2024 for the Daimler Truck Customer Appreciation Event.
Fan-filmed video from the Mecxico show can be viewed below. The setlist was as follows:
“Rock! Rock! (Till You Drop)” “Rocket” “Let’s Get Rocked” “Foolin'” “Armageddon It” “Animal” “Love Bites” “Just Like ’73” “Let It Go” “Die Hard The Hunter” “Two Steps Behind” “This Guitar” “Bringin’ On The Heartbreak” “Switch 625” “Rock Of Ages” “Photograph”
No release in 2024 was as sonically or conceptually grand as Nightwish’s Yesterwynde, an album that drew on metaphorical ancient computers, the Welsh language, Tongan choirs and the very meaning of life and death.
As if that wasn’t head-spinning enough, Nightwish mastermind and keyboard player Tuomas Holopainen announced that the band wouldn’t be touring in support of it. Luckily for us, frontwoman Floor Jansen is here to shed a little light on the enigma of Yesterwynde.
What do you remember about making Yesterwynde?
“It was a different album in the sense that some of the usual steps weren’t there. Usually, we make one album, release it, go on a world tour, then a new one gets written, we rehearse it and then record it. This time, Tuomas was writing the new album during the Covid pandemic.
We weren’t really in touch – everyone was just focussed on their own lives. But we knew he was writing and very inspired. When we finally started touring [in the summer of 2022], he started to play us the demos in hotel rooms. That was the very first time I heard the songs.”
What did they sound like that first time you heard them?
“They were probably 90 or 95% ready, musically. Of course, these demos don’t have vocals on them – the piano is playing the vocal line. At the same time, you’re aware that so much is happening – these are Nightwish songs, there’s too much to take in, you miss half of what’s in there. He maybe says something before the song, there might be lyrics that he wants to read while it’s playing… you don’t stand a chance to take it all in – you grasp maybe the tip of the iceberg.”
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There’s a lot going on in Yesterwynde, lyrically. Did he need a wall chart to explain it?
“Ha ha ha! No, but he did make this special drawing with his wife for the song An Ocean Of Strange Islands. And sometimes to explain the lyrics, he would sing them. I made voice recordings of his explanations on my phone. I’m sure he hopes I never put them on the internet!”
Does Tuomas write his lyrics with you in mind?
“No. At the end of the day, emotions are very personal, and he writes his lyrics from his point of view and from his heart. From there, it’s for everybody else to do with them what they want to. Even for me – I will make a different interpretation of them, because I’m putting something of myself into them. That’s the beauty of it – he writes lyrics from the heart, I communicate them from the heart, and then you hear them and it becomes your interpretation. But every time, it has to start with something genuine and that comes from Tuomas.”
Nightwish – An Ocean Of Strange Islands (OFFICIAL LYRIC VIDEO) – YouTube
“It’s something that Tuomas and Troy [Donockley, multiinstrumentalist] came up with. Because I wasn’t as involved in this album at the start [Floor’s pregnancy meant she stayed at home in Sweden while rehearsals for the album began in Kitee, Tuomas’s hometown], I needed to grow into it. But me, it represents the love for nature, for history, for the human species.”
How has your relationship with Tuomas changed in the 11 years since you joined Nightwish? Do you work together differently?
“For sure. Back then, they’d never had their singers join them for rehearsals [for albums]. I couldn’t believe that. Of course I’m going to be in rehearsal! I’m a musician, I come from bands where I co-wrote everything. I wanted to be involved, be part of things.
Not because I’m a control freak – well, maybe partially because of that, ha ha ha! – but because I’m in there with my whole heart. Tuomas embraced that. That was super-new for all of us. And for me to have somebody who was going to direct us with the singing, that was new, too.”
There are no plans to tour Yesterwynde. What’s behind that decision?
“Everything with Nightwish, we’ve done with 120%, but if you don’t have the energy to do that, it’s better to take a break. It’s as simple as that. It would be great to play it but…”
Will Nightwish return to touring in the future?
“Yes. That’s what we’ve always said – it’s a break from touring, it’s not a permanent stop. Otherwise we would have said, ‘That’s it, we’re not touring, we’re just going to make albums.’”
What’s next for Floor Jansen?
“Not touring with Nightwish gives me time to write my second solo album. I have ideas, I have people I want to work with, I even wrote a song before Lucy was born. Nothing is finished yet, but it will come.”
“The Boston Symphony hasn’t changed its name, so why should Foreigner?”: Mick Jones looks back on 50 often fractious years with one of rock’s most successful bands
(Image credit: Bill Bernstein)
In the speech he sent along with his daughter Annabelle to Foreigner’s belated induction into the Rock And Roll Hall Of Fame, Mick Jones described his band’s near-50-year journey as an odyssey. That notion was hardly dispelled by the optics and brouhaha attending the HOF bash in Cleveland on October 19.
Just two original members made it along on the night: former frontman Lou Gramm and ex-keyboard player Al Greenwood. They were joined by former bassist Rick Wills, a 1979 replacement for the late Ed Gagliardi. Like Gagliardi, multi-instrumentalist Ian McDonald is no longer with us.
Jones, who’d announced his Parkinson’s diagnosis the previous February, excused himself. Which left drummer Dennis Elliott to deliver the slice of rancour all too familiar to Foreigner watchers through the decades. In a post on Facebook two nights ahead of the ceremony, Elliott let rip: “We were finally given the schedule last night, and it’s not to our satisfaction. So we are staying home.”
It was ever thus with Foreigner. Formed in New York in 1976 by expat Englishman Jones and called Trigger to begin with, the group was initially split equally with three Brits and three Americans. Parity between them was otherwise lacking. Jones ruled the roost – a “bit of a control freak”, in his own words; a domineering taskmaster with a temper, and worse, in Gramm’s. Under Jones’s iron hand, and with Gramm’s stellar voice, they blasted off with the five-million-selling debut album Foreigner, and and launched an even more successful follow-up with 1978’s Double Vision.
Gagliardi got his marching orders prior to 1979’s undercooked Hot Blooded. That record’s relative failure prompted the defenestrating of McDonald and Greenwood by Jones and Gramm. The came 4, Foreigner’s commercial and creative zenith, melodic rock gold mined from the combustible alliance of Jones, Gramm and uber-producer Mutt Lange.
Then in 1984 one last show of strength, I Want To Know What Love Is, the power ballad to end all power ballads. Its parent album, Agent Provocateur, was a mess. In its aftermath, Jones and Gramm bickered and ultimately split from each other. But Foreigner have forged on. Unbowed these past 40 years and still a going concern, in spite of not having made a record together since 2009’s so-so Can’t Slow Down and a complete absence of original members from their current line-up.
For all intents and purposes retired, Jones doesn’t do interviews these days. He’s made an exception to talk to Classic Rock, for this one, conducted over email from his home in New York, and perhaps his last word on his altogether remarkable band.
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What does the upcoming Hall Of Fame induction mean to you personally? And why do you think it took so long in coming?
Well, it’s nice to be recognised by your peers. All the great artists that have been entered over the years into the Hall Of Fame makes it an honour for me to be inducted. In answer to why it took so long, I really haven’t thought about that. In fact it might mean more to me now than if it had happened twenty years ago.
Let’s go back to the beginning, and the start of 1976. Where were you at?
I was playing and writing songs with the Leslie West Band. After I left, I began writing songs for myself. During one of my writing sessions I came up with an opening riff on the guitar that I thought was pretty catchy, and that became Feels Like The First Time. I recorded a demo of it, and upon hearing it I knew instinctively that it could possibly be a hit. Now I had to form a band that would be able to bring the song to life.
How did that lead into Foreigner?
Once I had Feels Like The First Time in my pocket, along with a few other songs, I wanted to put together a group of musicians who could play and form a chemistry in the studio and on stage. That was really important to me. Because bands can sound great in the studio, but that doesn’t mean it automatically translates to the stage. I deeply wanted both.
I’d known Ian McDonald from his days with King Crimson. Ian had plenty of on-stage experience. He could be quite eccentric, and he became an important part of Foreigner. I invited Dennis Elliott, who had been playing with Ian Hunter. Ed Gagliardi and Al Greenwood joined next.
Then there was one more important ingredient, and that was the excellent Lou Gramm. I had gotten a copy of the Black Sheep album, which was the band Lou was fronting. I was really impressed with his vocal timbre and phrasing. I later heard him live, and that nailed it for me. I knew Lou had what it took to bring out the best in the songs I had written.
Foreigner – Feels Like The First Time (Official Music Video) – YouTube
What was the musical blueprint for the band you had in mind?
I didn’t exactly have a blueprint in mind, but I had an inkling of what I was looking for. The sound came out of the cultural backgrounds of the Brits and Americans that made up Foreigner. Our musical sensibilities meshed well together. I like to think it had a freshness or an energy that stood out at the time. I think the success of the band supports that.
What qualities do you think are essential to being a good band leader?
I think most aspiring musicians have a vision of how they want their music projected to the audience. For that vision to take off, you need to be able to communicate your desires to the rest of the band, so they know the direction you want them to go in. You also need to be able to balance all the personalities within the band. Keep the egos in check.
Foreigner had such huge, and instant, success.
It was a kind of a tsunami, and staying with our heads above water was not always easy. We had to really take the time to gather ourselves and remain grounded. It had its difficulties – dealing with the industry, the media attention, and being there for our families. It was a real juggling act.
There was just 15 months between the band’s first album, Foreigner, and follow-up Double Vision.
I wanted to keep the momentum going from the first album. It was a lot of work within a short period of time and it led to feeling a little burnt out. But it was a case of striking while the iron was hot.
(l-r) Ian McDonald, Dennis Elliott, Mick Jones, Al Greenwood, Ed Gagliardi, Lou Gramm. (Image credit: Atlantic Recording Corp., by arrangement with Rhino Entertainment Company, a Warner Music Group Company)
Ed Gagliardi was replaced after that album. What led to his departure?
With the direction the band was going in, Ed just didn’t quite fit. We were a mainstream rock band, and Ed was slanting more into a progressive rock sound in his playing. It was a very difficult decision to let him go.
How do you look back on the next album, Head Games?
When you experience the type of success we’d had up to then, you fall into the trap of letting it inflate your ego. You count the gold albums hanging on your wall. It’s a type of reality outside the norm of day-to-day living, and it can cloud your perceptions.
Following on from that third record, both Al Greenwood and Ian McDonald also departed. Any regrets?
Of course. You’re in the studio and touring with these guys who also are your friends. It’s like a second family, and can become divided, which was the case with Al and Ian. They were getting frustrated because of their level of participation in the writing. And quite rightly so. I was a bit of a control freak about the direction I wanted to take the band in, which alienated them both. That is a regret.
Mutt Lange is hardly renowned as easygoing as a producer. How did the two of you go together to make 4?
Mutt and I shared the same vision, which was to create a memorable album of really good songs. I wouldn’t say we weren’t ruthless, but we were equal in driving the musicians to carry out our vision. Both of us were very headstrong in the studio, but I found that to be very positive because we pushed each other to be at our best. We got on very well and I think that shows in the quality of 4. We developed a strong respect for each other.
Agent Provocateur was a troubled record. Fair comment?
Touring 4 was very self-indulgent. Staying in the most expensive hotels, living the high life. No TVs flying out of hotel windows, just lots of money. You can lose focus when you’re experiencing that type of success. You’re also constantly worried about staying relevant. The pressure can sometimes sideswipe you. You think you’re going to lose it all. Every album in-the-making has its challenges.
It was an album where we started writing and experimenting in the studio. We began in New York, with Trevor Horn producing. Then the project was shifted to London. Trevor’s focus wasn’t aligned with mine and things went awry. We ended up hiring Alex Sadkin, who was producing a Thompson Twins album at the time. The hardest thing to do was keep everyone focused. There were always last-minute changes to the tracks, which led to frustration among the band members. We got it done, but it wasn’t easy.
Foreigner – I Want To Know What Love Is (Official Music Video) – YouTube
What was the catalyst for the breakdown of your relationship with singer Lou Gramm?
It happened so long ago, and to dredge up those memories now serves nobody. I like to think it’s in the past. Hopefully Lou feels the same way.
You went off to produce Van Halen’s 5150, their first album of the post-David Lee Roth era. What were you able to bring to another band?
When you’ve accrued as much experience as I did when making all the Foreigner albums, you’re able to foresee problems and avoid things that can lead to chaos in the studio. That came through for me working with Van Halen. I was able to bring together their creative energies into a very good album.
But not so with Foreigner’s next record, Inside Information.
It’s amazing that record even got made. Things had changed between Lou and me. He’d half moved on emotionally and was not happy singing ballads, although there were some rocking songs on the album. It wasn’t very collaborative in the studio. Lou came in, sang the songs, and then left as soon as he could. Due to those circumstances it wasn’t a very good record.
If you could go back would you do anything differently?
Looking back, I was so driven to get everything right that I may have made band members feel in some ways excluded from the creative direction of the group. I was a bit of a perfectionist in the studio. I may have come off as being controlling. I could’ve been a little more flexible with the guys. But then again, would Foreigner have been as successful? That, I guess, we’ll never know.
Lou Gramm and Mick Jones at The Omni Coliseum in Atlanta, Ga. on March 25, 1994 (Image credit: Rick Diamond/Getty Images)
Having started out in 1976, Foreigner have had a long career and many peaks and troughs. What’s kept the band going for all those years?
The songs. The last time I performed with the band was two years ago, and due to my struggle with Parkinson’s. I’m doing okay.
There’s been criticism that Foreigner is now just a cover band.
I find that a bit over-the-top. The current line-up has been together for a long time. And, you know, over the years major orchestras experience changes in personnel either because musicians retire or pass away. The orchestras continue to perform the great music of the past. The Boston Symphony hasn’t changed its name, so why should Foreigner? People still want to hear the music played live.
Which would you say is your greatest song?
If I base my opinion on worldwide popularity, I’d have to say I Want To Know What Love Is. It has become a kind of anthem.
And what’s your single biggest regret?
Regret is a part of the human experience. I do sometimes think about all the time I spent apart from my family due to all the touring. I like to think I’ve been a good father to my children, but it must have been difficult for them to not have their dad at their side all the time. My children are great, and I love them dearly, but it hasn’t always been easy for them.
What’s next for you? Just living my life to the fullest.
As I’ve gotten older, I look back at all the amazing years I’ve had in music and the wonderful memories. I’ve been very fortunate as an artist. Knowing I’ve brought joy to so many people, that means a tremendous amount to me. One never truly knows what the future holds, but I do know that I want to take advantage of my remaining years.
Paul Reesbeen a professional writer and journalist for more than 20 years. He was Editor-in-Chief of the music magazines Q and Kerrang! for a total of 13 years and during that period interviewed everyone from Sir Paul McCartney, Madonna and Bruce Springsteen to Noel Gallagher, Adele and Take That. His work has also been published in the Sunday Times, the Telegraph, the Independent, the Evening Standard, the Sunday Express, Classic Rock, Outdoor Fitness, When Saturday Comes and a range of international periodicals.
Synonymous with the high polish of Def Leppard and the filthy boogie of AC/DC during their 80s career peaks, Robert John ‘Mutt’ Lange (the nickname comes from his childhood) has appropriately been described as the James Cameron of rock producers. But delve deeper into his CV and you might be surprised to find that the reclusive South African-born producer began his career with R&B pub rockers Graham Parker and The Rumour, The Motors, prog-pop outfit City Boy, country bands Clover and Outlaws, and blues rockers Savoy Brown.
As much technical prowess and skill that any good producer might possess, what separates a good producer from a great producer is the same as what makes a great manager: one that encourages, inspires, and develops those around them to perform even better. A talented bass player and a trained singer, Mutt is an accomplished musician in his own right – perfectly placed to understand and respect the mindset of his protégés. As such, Def Leppard and AC/DC took him to their hearts. For both bands, Mutt produced the best-selling albums of their careers following their respective tragedies.
Def Leppard bassist Rick Savage simply considers Mutt a genius. Guitarist Phil Collen credits him with improving his playing when he joined during the recording of Pyromania. “When I met Mutt, my playing changed – as a producer he makes you play a lot better,” said Phil. “He improved my playing 100 per cent. He does that to everyone he works with.”
During the recording of Back In Black, Brian Johnson was encouraged by Mutt to sing even higher than he thought attainable, pushing him to the very height of his ability and insisting on precision – as evidenced on opener Hells Bells. “I knew never I could sustain notes like that,” said Beano of his ’DC debut.
A teetotaller known for putting in long hours – a dedicated work ethic not to every musician’s taste – Lange’s attitude to producing is to cultivate, improve and polish a piece of music over and over until it’s faultless. It’s a meticulous and painstaking attitude to work and undoubtedly the hallmark of a perfectionist.
Notoriously private, Mutt is only known to have taken part in one interview in his entire career – for the BBC’s 1989 Def Leppard documentary, Rock of Ages. “We would just take each song and try to raise it to the standard of a rock classic,” Mutt said of working with Def Leppard on Hysteria. “We would just hone and hone and hone until the music itself was right.”
…and one to avoid
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A regular contributor to Louder/Classic Rock and The Quietus, Burrows began his career in 1979 with a joke published in Whizzer & Chips. In the early 1990s he self-published a punk/comics zine, then later worked for Cycling Plus, Redline, MXUK, MP3, Computer Music, Metal Hammer and Classic Rock magazines. He co-wrote Anarchy In the UK: The Stories Behind the Anthems of Punk with the late, great Steven Wells and adapted gothic era literature into graphic novels. He also had a joke published in Viz. He currently works in creative solutions, lives in rural Oxfordshire and plays the drums badly.
Feature Photo: Badlees, CC BY-SA 3.0 , via Wikimedia Commons
“34 Winters” – Up There, Down Here (1999) “90% of the Time” – The Day’s Parade (1998) “A Better Way to Save the World” – Unfortunate Result of Spare Time (1993) “A Fever” – Amazing Grace (1999) “A Little Faith” – Up There, Down Here (1999) “A Matter of Time” – Unfortunate Result of Spare Time (1993) “Ain’t No Man” – Amazing Grace (1999) “All Right Now” – Love Is Rain (2009) “Amazing Grace to You” – Amazing Grace (1999) “Angeline Is Coming Home” – River Songs (1995) “Angels of Mercy” – River Songs (1995) “Anodyne” – Love Is Rain (2009) “Appalachian Scream” – Amazing Grace (1999) “Atlantic City” – The Day’s Parade (1998) “Back Where We Come From” – Diamonds in the Coal (1992) “Bendin’ the Rules” – River Songs (1995) “The Best Damn Things in Life Are Free” – It Ain’t for You (1990) “Beyond These Walls” – Amazing Grace (1999) “Cellarbird and Zither” – Up There, Down Here (1999) “Diamonds in the Coal” – Diamonds in the Coal (1992) “Diamonds in the Coal” – The Day’s Parade (1998) “Dirty Neon Times” – Diamonds in the Coal (1992) “Don’t Let Me Hide” – Up There, Down Here (1999) “Done for Love” – Renew (2002) “Don’t Ever Let Me Down” – Love Is Rain (2009) “Drive Back Home” – Love Is Rain (2009) “Easier Done Than Said” – Unfortunate Result of Spare Time (1993) “Fear of Falling” – River Songs (1995) “Four Leaf Clover” – Renew (2002) “Gone” – Amazing Grace (1999) “Grill the Sucker” – River Songs (1995) “Gwendolyn” – River Songs (1995) “Heaven on Earth” – Diamonds in the Coal (1992) “Hindsightseeing” – Renew (2002) “I Don’t Believe in You” – Renew (2002) “I Liked You Better” – River Songs (1995) “I’m Not Here Anymore” – Amazing Grace (1999) “In a Minor Way” – Amazing Grace (1999) “Interlude / Badlee Rap” – Diamonds in the Coal (1992) “It Ain’t for You” – It Ain’t for You (1990) “It Don’t Matter Anymore to Me” – Unfortunate Result of Spare Time (1993) “Just One Moment” – Diamonds in the Coal (1992) “Last Great Act of Defiance” – It Ain’t for You (1990) “Last Great Act of Defiance” – The Day’s Parade (1998) “Laugh to Keep from Cryin’” – Unfortunate Result of Spare Time (1993) “Laundromat Radio” – Unfortunate Result of Spare Time (1993) “Leaning on the Day’s Parade” – The Day’s Parade (1998) “Like a Rembrandt” – Diamonds in the Coal (1992) “Little Eddie” – Unfortunate Result of Spare Time (1993) “Little Hell” – Up There, Down Here (1999) “Long Goodnight” – Amazing Grace (1999) “Love All” – Up There, Down Here (1999) “Luther’s Window” – Up There, Down Here
Reigning Phoenix Music recetly announced that Udo Dirkschneider is celebrating 40 years of Accept’s iconic album, Balls To The Wall, by releasing a reimagining of the album, including illustrious guests, on February 28.
“Re-recording Balls To The Wall was a big challenge for me. The album is a milestone of my career, of course, that’s why it was even more important to me to make the original songs shine in a new light without losing their initial essence. All guests have put their individual stamps on these classic tracks, and collaborating with such outstanding vocalists has moved them into a fresh and exciting dimension. The result is a powerful homage to all fans but also an invitation to the next generation to experience the songs not minorly passionate than I was when I recorded them back in the day. It’s a never-ending personal journey for me – Balls To The Wall will always be a part of me,” states Udo.
Now, the reloaded version of “Balls To The Wall”, featuring Sabaton vocalistJoakim Brodén, has been released. Check out the official lyric video below.
“Balls To The Wal”l [feat. Joakim Brodén of Sabaton] “London Leatherboys” [feat. Biff Byford of Saxon] “Fight It Back” [feat. Mille Petrozza of Kreator] “Head Over Heels” [feat. Nils Molin of Dynazty / Amaranthe] “Losing More Than You’ve Ever Had” [feat. Michael Kiske of Helloween] “Love Child” [feat. Ylva Eriksson of Brothers Of Metal] “Turn Me On” [feat. Danko Jones] “Losers And Winners” [feat. Dee Snider of Twisted Sister] “Guardian Of The Night” [feat. Tim “Ripper” Owens of KK’s Priest / formerly of Judas Priest] “Winter Dreams” [feat. Doro Pesch]
