Author: Web Rock Radio News Dept

You know Iron Maiden’s pet monster, Eddie? That giant, looming, lurching, stumbling leviathan that fires laser beams from its brow and lightning bolts from its bollocks, lays waste to all and sundry, scarifies the planet, deforests, er, forests, frightens small children and causes Steve Harris to scuttle for cover behind his monitors?

Well, you wouldn’t recognise Eddie tonight. It’s October 1979 and I’m standing thigh-deep in my own personal swimming pool of sweat at the back of London’s sweltering Kingsbury Bandwagon – the so-called Heavy Metal Soundhouse; the birthplace of the New Wave Of British Heavy Metal.

Iron Maiden are on stage and as their set reaches its climax, fake blood starts pouring from the mouth of an amateurish-looking, skull-like motif incorporated into a plank of wood veneer dangling precariously above Doug Sampson’s drum kit.

This, then, is Eddie in his very earliest guise. More MDF than SMF. Who woulda thunk that this cheap chipboard character would soon become one of the most familiar’n’fearsome metal mascots of all time?

Truth to tell, Maiden are already too big a band to be playing the ’Wagon. But they remain an unpretentious bunch and are, for the time being, simply out to enjoy themselves. Tonight they even invite Rob Loonhouse, the venue’s No.1 air guitarist, to join them on stage for the encores.

Rob, playing his famous cardboard – sorry, hardboard – Flying-V, gestures and grimaces like it’s for real and completely upstages a nervous-looking Tony Parsons [then-NME writer] (and who wouldn’t look nervous with a name like that?), Maiden’s new guitarist who’s being worked in at the moment and only plays on the last few numbers of the set. (In fact, Parsons’s time in the band was short-lived.)

A few days after the show I meet up with Iron Maiden in the dark depths of The Frigate pub close to Leicester Square. Most of the band still have day jobs. Bassist Steve Harris is a technical drawer (he’s just put his talents to good use and designed the ‘Iron Maiden’ logo that the band use to this day), singer Paul Di’Anno is an engineer for BP, guitarist Dave Murray works as a storekeeper in Hackney, Sampson mends cigarette vending machines and Parsons fits out stores and does double glazing.

What, I ask Harris, made him form a heavy metal group at the height of punk and new wave?

“It was just something that I wanted to do,” he states plainly. “I couldn’t have started a punk band… that would have been against my religion.”

Di’Anno even admits to being something of an air guitarist himself. “It’s brilliant. I used to do it, grab a tennis racket, pose in front of the bedroom mirror and worry about whether or not I’d get caught. Like wanking. It’s alright.”

Di’Anno compares Maiden’s attitude to AC/DC’s: “They’re a no-nonsense, get down and just fucking do it group. I mean, look at their singer Bon Scott. You don’t get many geezers who go out and front a band covered in tattoos, a fucking beer gut as well. Like us, they’re down to earth.” …And poised for global domination into the bargain.

Each song on this list demonstrates a unique way that “thing” has shaped the landscape of rock music, proving that even the smallest words can carry immense weight in the right hands. Sammy Hagar’s “Things’ve Changed” reflects on the passage of time with an honest rawness that perfectly blends introspection with a driving rock rhythm. Paul McCartney’s “Get On the Right Thing” showcases his ability to craft uplifting melodies, infusing optimism into his trademark dynamic arrangements. Marvin Gaye and Tammi Terrell’s duet “Ain’t Nothing Like the Real Thing” pairs heartfelt lyrics with Motown magic, highlighting their unparalleled chemistry. The Yardbirds’ “Shapes of Things” brought a socially conscious edge to the British Invasion, fusing thought-provoking lyrics with innovative guitar work.

Electric Light Orchestra’s “Livin’ Thing” marries orchestral grandeur with a reflective look at love and life, epitomizing Jeff Lynne’s gift for storytelling through sound. The Troggs’ “Wild Thing” remains a primal anthem of rock, capturing the raw energy of youthful passion in just a few unforgettable chords. David Bowie’s “Oh! You Pretty Things” challenges listeners with its existential depth, delivering a profound commentary on human evolution through a deceptively catchy melody.

# 10 – Things’ve Changed  – Sammy Hagar

Even though the song’s verse always sounded like the song “Night Moves” by Bob Seger, Sammy delivered a great one in 2002 with this very cool tune song called “Things’ve Changed.” Recorded at Red Rocker Studio in Northern California, the track was co-produced by Hagar and Bob Daspit, capturing the cohesive energy of Hagar’s band, The Waboritas. Hagar’s commanding vocals and rhythm guitar are complemented by Vic Johnson’s fiery lead guitar, Mona Gnader’s steady bass grooves, and David Lauser’s driving drum performance. The track’s straightforward rock arrangement underscores the sincerity of its themes, but it does not include a trumpet solo or brass instrumentation, staying true to Hagar’s signature style.

Lyrically, the song navigates the emotional terrain of accepting change while longing for the familiarity of the past. Lines such as “If I could get down on my knees and pray, I’ll never get back to yesterday” reveal a tension between nostalgia and the reality of moving forward. Hagar pairs personal anecdotes, like “standing in Norfolk, Virginia, wondering if you still got it in ya,” with universal themes of resilience and self-discovery. The chorus, with its repeated assertion that “things have changed,” drives home the inevitability of transformation while urging listeners to adapt and persevere.

Although Not 4 Sale was not a commercial juggernaut, “Things’ve Changed” resonates as a deeply personal and relatable track, highlighting Hagar’s ability to infuse his music with both heart and grit. The song’s reflective tone contrasts with the unbridled passion of other songs on this list, offering a grounded perspective on life’s twists and turns. It captures the universal struggle of reconciling the past with the present, making it a fitting introduction to this collection.

“Things’ve Changed” stands as a powerful opening to this list, embodying themes of growth and adaptation through Hagar’s honest and compelling storytelling. With its balance of rock energy and introspection, the song paves the way for a deeper exploration of how “things” can serve as a metaphor for life’s ever-shifting landscape in music.

Read More: Why Rock Fans Love Sammy Hagar

# 9 – Get On The Right Thing – Paul McCartney

Paul McCartney’s “Get On The Right Thing,” featured on his 1973 album Red Rose Speedway, showcases his gift for crafting vibrant, uplifting melodies paired with emotionally resonant lyrics. Originally recorded during the sessions for Ram in 1971 at CBS Studios in New York and Abbey Road Studios in London, the song highlights McCartney’s fluid approach to integrating older material into new projects. Produced by McCartney and featuring members of Wings—Linda McCartney on keyboards and backing vocals, Denny Laine on guitar, Henry McCullough on guitar, and Denny Seiwell on drums—the track is a high-energy blend of rock and soul influences. Though “Get On The Right Thing” does not feature a trumpet solo, the song’s dynamic arrangement, bolstered by McCartney’s powerful vocal delivery and layered instrumentation, captures a celebratory spirit.

The lyrics of “Get On The Right Thing” are steeped in optimism, urging listeners to embrace love and positivity as guiding forces in life. The refrain, “Try a little love, you can’t go wrong, get on the right thing,” underscores the song’s central message of choosing the right path through emotional connection and trust. The verses evoke imagery of transformation and clarity, as in “All at once you get love on your mind, and your world is as kind as a penny,” painting a vivid picture of how love can reshape perception and direction. This thematic focus complements Sammy Hagar’s reflective “Things’ve Changed,” though McCartney’s take leans more toward unbridled hope and encouragement.

Critically, Red Rose Speedway received mixed reviews upon release, but tracks like “Get On The Right Thing” have been revisited as examples of McCartney’s ability to balance elaborate production with heartfelt simplicity. The song’s infectious energy and layered arrangement lend it an enduring appeal, even as it remains one of the less-discussed gems in McCartney’s expansive catalog. The spirited vocal harmonies, intricate instrumentation, and lyrical positivity make it a natural fit for this list, capturing the transformative potential of “things” when paired with love and intention.

“Get On The Right Thing” is a dynamic and uplifting addition to this collection, embodying themes of self-discovery and the redemptive power of love. Its vibrant energy and optimistic message set it apart, offering a musical reminder that the right thing is often within reach when approached

Read More: Complete List Of Paul McCartney & Wings Albums And Songs

# 7 – Ain’t Nothing Like The Real Thing – Marvin Gaye & Tammi Terrell

Marvin Gaye and Tammi Terrell’s “Ain’t Nothing Like the Real Thing” is an enduring testament to the power of love and authenticity, delivered through one of Motown’s most iconic duets. Written and produced by the legendary songwriting team of Nickolas Ashford and Valerie Simpson, the song was recorded at Hitsville U.S.A. (Motown’s iconic Detroit studio) in 1967 and released in 1968 on the album You’re All I Need. The recording features the Funk Brothers as the instrumental backbone, with James Jamerson’s signature basslines and Earl Van Dyke’s dynamic keyboard work infusing the track with soulful energy. While the track does not include a trumpet solo, the layered arrangement of strings and horns complements the lush vocals, elevating the emotional resonance of the song.

Lyrically, “Ain’t Nothing Like the Real Thing” reflects on the irreplaceable connection between two people in love, contrasting physical presence with substitutes like photographs and memories. The opening lines, “I’ve got your picture hangin’ on the wall, but it can’t see or come to me when I call your name,” underscore the central theme of longing and the insufficiency of stand-ins for genuine affection. Gaye and Terrell’s harmonies bring the lyrics to life, their voices seamlessly intertwining to convey both vulnerability and joy. The repeated refrain, “Ain’t nothing like the real thing,” emphasizes the irreplaceable nature of true connection, echoing the song’s timeless appeal.

Critically, the song cemented Gaye and Terrell’s status as one of Motown’s most beloved duos, reaching number one on the Billboard Hot R&B Singles chart and number eight on the Billboard Hot 100. Its impact endures not only because of its chart success but also due to its emotional depth and the undeniable chemistry between its performers. Compared to other entries on this list, such as Paul McCartney’s optimistic “Get On The Right Thing,” this song leans into the soulful ache of love’s necessity, providing a heartfelt counterpoint to tracks that focus on personal transformation.

“Ain’t Nothing Like the Real Thing” is a masterclass in the art of the duet, blending emotional honesty with impeccable vocal and instrumental performances. Its inclusion in this list highlights the profound ways that “things” can symbolize what is most precious in life, offering a moving exploration of love’s irreplaceable power.

Read More: Top 10 Marvin Gaye And Tammi Terrell Songs

# 6 – Shape Of Things – The Yardbirds

The Yardbirds’ “Shapes of Things” is a groundbreaking piece of psychedelic rock that fused innovative musicianship with pointed social commentary. Released as a single in February 1966 and later included on various compilations, the song was recorded at Chess Studios in Chicago and Columbia Studios in Hollywood. Produced by Giorgio Gomelsky, it features Jeff Beck’s pioneering guitar work, Keith Relf’s evocative vocals, Chris Dreja on rhythm guitar, Paul Samwell-Smith on bass, and Jim McCarty on drums. The track’s experimental nature, combined with its thought-provoking lyrics, helped solidify The Yardbirds’ reputation as trailblazers of the 1960s rock scene. While there is no trumpet solo in the recording, the dynamic interplay of Beck’s fuzz-toned guitar and McCarty’s rhythmic precision creates a sense of urgency that mirrors the song’s apocalyptic themes.

Lyrically, “Shapes of Things” is a meditation on environmental destruction and human progress, making it one of the earliest rock songs to address ecological concerns. Lines like “Please don’t destroy these lands, don’t make them desert sands” convey a plea for preservation, while the refrain “Come tomorrow, may I be bolder than today” reflects a call for action and courage in the face of uncertainty. The poetic imagery of “trees are almost green, but will they still be seen” underscores the fleeting nature of beauty and the existential questions tied to the passage of time. Compared to Marvin Gaye and Tammi Terrell’s “Ain’t Nothing Like the Real Thing,” which explores the irreplaceable power of love, The Yardbirds’ track focuses on the fragile relationship between humanity and the natural world, offering a different lens through which to view “things.”

Critically, “Shapes of Things” is celebrated as a landmark in the evolution of rock music, blending the aggression of British blues with the experimental sounds that would define the psychedelic era. The song’s innovative use of feedback and distortion by Jeff Beck influenced countless musicians and set a new standard for guitar-driven rock. It reached number 3 on the UK Singles Chart and number 11 on the Billboard Hot 100, underscoring its impact on both sides of the Atlantic. Its legacy as a socially conscious and sonically daring track continues to resonate, making it an essential entry in this list.

“Shapes of Things” exemplifies how rock music can push boundaries while addressing timeless issues. Its fusion of innovative soundscapes and poignant lyricism ensures its relevance, offering a sharp contrast to other songs on this list by shifting the focus from personal introspection to collective responsibility. This enduring classic demonstrates the power of music to challenge, provoke, and inspire change.

Read More: Top 10 Yardbirds Songs

# 5 – Every Little Thing – Yes

Yes’s rendition of “Every Little Thing” transforms The Beatles’ original into an ambitious and stunning piece of progressive rock. Featured on their 1969 self-titled debut album, the track was recorded at Advision Studios in London, with production by Paul Clay and the band. The lineup included Jon Anderson on vocals, Chris Squire on bass, Tony Kaye on keyboards, Peter Banks on guitar, and Bill Bruford on drums. The band’s intricate arrangement deconstructs the simplicity of the Lennon-McCartney composition, reconstructing it into a complex and exhilarating sonic journey. While there is no trumpet solo featured, the instrumentation is bold and dynamic, utilizing layered textures and creative interplay between guitar and keyboards.

Lyrically, the song retains The Beatles’ central theme of devotion and love. Lines like “Every little thing she does, she does for me” emphasize a heartfelt connection, while Yes’s reimagining adds dramatic intensity to the emotional core. The band opens with an extended, ominous instrumental intro, creating tension before launching into a robust and energized interpretation of the familiar melody. This structural reinvention amplifies the song’s emotional weight, making it feel simultaneously familiar and entirely fresh. Compared to The Yardbirds’ socially conscious “Shapes of Things,” Yes’s take on “Every Little Thing” is deeply personal, focusing on individual love rather than broader existential concerns.

Critically, Yes’s progressive approach to this track showcased their ability to reinterpret material in ways that pushed musical boundaries. While the album did not achieve massive commercial success upon release, it laid the groundwork for their later acclaim. “Every Little Thing” remains a highlight, illustrating the band’s knack for marrying technical proficiency with emotional resonance. The track’s bold arrangement and intricate instrumental work set it apart as one of the more innovative covers of the era. Its inclusion in this list reinforces how “thing” as a lyrical element can resonate on both intimate and ambitious levels, offering fresh perspectives across musical styles.

Yes’s “Every Little Thing” exemplifies how a cover can transcend its source material, offering new layers of meaning and excitement. With its daring structure, virtuosic musicianship, and emotional depth, this rendition stands as a compelling addition to the exploration of songs that center on “things.” It proves that even the most well-known compositions can take on entirely new life when approached with creativity and vision.

Read More: XYZ- When Led Zeppelin Met Yes: The Supergroup That Fell Apart

# 4 – All Things Must Pass – George Harrison

George Harrison’s “All Things Must Pass” is a poignant meditation on impermanence and renewal, serving as the title track of his acclaimed 1970 triple album All Things Must Pass. Written during Harrison’s time with The Beatles but left unreleased by the group, the song was recorded between May and October 1970 at Abbey Road Studios and Apple Studio in London. Co-produced by Harrison and Phil Spector, the recording features an impressive roster of musicians, including Eric Clapton on guitar, Billy Preston on keyboards, Klaus Voormann on bass, and Ringo Starr on drums. The lush instrumentation, enhanced by Spector’s “Wall of Sound” production, envelops Harrison’s introspective lyrics with warmth and depth, though there is no trumpet solo featured in the track.

Lyrically, “All Things Must Pass” explores themes of change, acceptance, and hope, drawing inspiration from Eastern philosophy and Harrison’s own spiritual journey. Lines like “Now the darkness only stays at night time, in the morning it will fade away” capture the cyclical nature of life’s struggles and the inevitability of brighter days ahead. The chorus’s repetition of the titular phrase reinforces the song’s central message of transience, offering solace to those facing difficult times. This thematic depth aligns with other songs in this article, such as “Shapes of Things” by The Yardbirds, which similarly contemplates change, though Harrison’s approach is more introspective and serene.

Critically, “All Things Must Pass” has been celebrated as one of Harrison’s finest compositions, with its philosophical depth and timeless resonance contributing to the album’s status as a landmark in rock history. The song, like the album as a whole, marked Harrison’s emergence as a solo artist of remarkable depth and vision, showcasing his ability to blend spiritual insight with universal appeal. Compared to Yes’s progressive reimagining of “Every Little Thing,” Harrison’s track offers a more contemplative and straightforward reflection on life’s impermanence, yet both demonstrate the power of music to convey profound emotional truths.

“All Things Must Pass” stands as a masterpiece of lyrical and musical craftsmanship, underscoring the universal truth that change is inevitable and often transformative. Its inclusion in this list highlights how the word “thing” can serve as a gateway to profound themes, providing an enduring reminder of the beauty in life’s fleeting moments.

Read More: Our Favorite George Harrison Albums

# 3 – Living Thing – Electric Light Orchestra

Electric Light Orchestra’s “Livin’ Thing” is a dynamic blend of orchestral elegance and pop sensibility, showcasing the band’s knack for merging classical elements with modern rock. Released as a single in 1976 and featured on the album A New World Record, the song was recorded at Musicland Studios in Munich, Germany, under the meticulous production of ELO’s leader Jeff Lynne. The track highlights the talents of Lynne (vocals, guitar), Bev Bevan (drums), Richard Tandy (keyboards), Kelly Groucutt (bass, backing vocals), and Mik Kaminski (violin), alongside the band’s signature string ensemble. While there is no trumpet solo in the recording, the lush orchestration and soaring strings provide a richness that defines the song’s character.

Lyrically, “Livin’ Thing” explores themes of love, loss, and redemption, with the phrase “it’s a terrible thing to lose” capturing the emotional weight of regret and longing. The song’s imagery, from “sailin’ away on the crest of a wave” to “takin’ a dive,” conveys the highs and lows of life and relationships. The juxtaposition of the vibrant melody with introspective lyrics adds a layer of complexity, making the track both anthemic and reflective. Its thematic resonance aligns with other entries in this list, such as George Harrison’s “All Things Must Pass,” which similarly grapples with impermanence, though ELO’s take is more buoyant and theatrical.

“Livin’ Thing” received widespread acclaim upon release, reaching number 4 on the UK Singles Chart and number 13 on the Billboard Hot 100 in the United States. Critics praised its sophisticated arrangement and emotional depth, with Rolling Stone later naming it one of ELO’s greatest songs. The interplay between Kaminski’s violin and the lush production creates a cinematic quality that elevates the song beyond the conventional pop-rock framework. Its enduring appeal lies in its ability to marry introspective themes with a celebratory musical style, making it a standout on A New World Record.

Electric Light Orchestra’s “Livin’ Thing” serves as a brilliant exploration of life’s bittersweet moments, wrapped in a soundscape that is as intricate as it is infectious. Its inclusion in this list highlights the power of “things” as metaphors for the human experience, offering a vivid and timeless reflection on the beauty and fragility of living.

Read More: 10 Most Rocking Electric Light Orchestra Songs

# 2 – Wild Thing – The Troggs

The Troggs’ “Wild Thing” remains one of the most iconic and influential rock songs of the 1960s, celebrated for its primal simplicity and raw energy. Written by Chip Taylor and originally recorded by The Wild Ones, the song was transformed into a timeless classic by The Troggs when they recorded it in 1966 at Regent Sound Studios in London. Produced by Larry Page, the track features Reg Presley on lead vocals, Chris Britton on guitar, Pete Staples on bass, and Ronnie Bond on drums. The song’s minimalistic arrangement, punctuated by its unforgettable guitar riff and the use of an ocarina in place of a typical solo, gives it a unique and slightly unpolished charm. Notably, there is no trumpet solo in “Wild Thing,” but its instrumental break achieves a similar effect with its unconventional ocarina melody.

Lyrically, “Wild Thing” captures the raw, unfiltered passion of youthful desire. With lines like “You make my heart sing, you make everything groovy,” the song revels in its straightforward celebration of love, attraction, and spontaneity. Reg Presley’s rugged vocal delivery adds a sense of urgency to the otherwise simple lyrics, creating a connection between the primal emotions conveyed in the words and the gritty energy of the music. The repetitive structure and unrefined instrumentation amplify the song’s visceral impact, ensuring its resonance across generations. Compared to Electric Light Orchestra’s “Livin’ Thing,” which intricately layers orchestration and introspection, “Wild Thing” relies on unadulterated rawness and directness to deliver its emotional punch.

Critically and commercially, “Wild Thing” became a defining moment for The Troggs, reaching number one on the Billboard Hot 100 and number two on the UK Singles Chart. Its simplicity and universality have made it a staple in rock history, covered by numerous artists and frequently cited as a foundational influence on garage rock and punk movements. While other songs on this list, such as George Harrison’s “All Things Must Pass,” explore themes of impermanence and growth, “Wild Thing” embraces the untamed and immediate nature of human connection, highlighting the versatility of “thing” as a lyrical device.

The Troggs’ “Wild Thing” is an enduring anthem of rock and roll’s rebellious spirit. Its raw energy, paired with its unapologetically simple lyrics and instrumentation, captures the essence of youthful abandon. Its legacy as a song that bridged the gap between garage rock and mainstream success ensures its place as a defining entry in this exploration of songs with “thing” in the title.

Read More: 10 Essential 1960’s Songs From The Troggs

# 1 – Oh You Pretty Things – David Bowie

David Bowie’s “Oh! You Pretty Things,” a striking blend of piano-driven melody and provocative lyrics, exemplifies his ability to weave existential themes into accessible pop music. Recorded in December 1970 and released in 1971 on the album Hunky Dory, the track was produced by Ken Scott and Bowie. Featuring Rick Wakeman’s intricate piano work alongside Bowie’s vocals and acoustic guitar, the song captures a sense of intellectual rebellion and cosmic evolution. While there is no trumpet solo, the track’s simplicity of arrangement contrasts sharply with the depth of its lyrical themes, reinforcing Bowie’s gift for making the profound approachable.

The lyrics of “Oh! You Pretty Things” explore the notion of societal evolution, framed by a Nietzschean concept of the “homo superior” — a new race poised to replace humanity. Lines like “Gotta make way for the homo superior” and “The Earth is a bitch, we’ve finished our news” suggest a dystopian upheaval, with Bowie’s voice oscillating between gentle observation and urgent declaration. The recurring chorus, “Don’t you know you’re driving your Mamas and Papas insane,” juxtaposes the generational divide with a vision of transformative progress. Like The Troggs’ “Wild Thing,” which revels in untamed passion, Bowie’s track is untamed in its philosophical scope, challenging listeners to rethink the human condition.

Critically, “Oh! You Pretty Things” has been hailed as a precursor to Bowie’s later explorations of identity and alienation in albums like Ziggy Stardust. While it was a modest hit for Peter Noone of Herman’s Hermits, who released a cover in 1971 that charted in the UK, Bowie’s original version remains the definitive rendition, showcasing his unique voice and thematic ambition. The minimalist arrangement, centered on Wakeman’s piano, gives the song a timeless quality that complements its bold narrative. As the final entry on this list, “Oh! You Pretty Things” encapsulates David Bowie’s genius for turning provocative, existential themes into enduring art, leaving the listener with a powerful meditation on societal transformation and the inevitability of change.

Read More: 10 Most Underrated David Bowie Songs

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10 Best Songs With The Word ‘Thing’ In The Title article published on Classic RockHistory.com© 2025

With Helldorado, the third installment of Spiritworld’s death-western trifecta, chief hombre Stu Folsom and his rhinestone-encrusted, Stetson-wearin’ wrecking crew take you deeper into a world where the hot desert sun beats down on a singular vision of the American West as a gateway to hell. 

“It’s a different album than the past two,” says Folsom of the thematic and sonic journey that began with the Las Vegas band’s 2020 Pagan Rhythms LP and continued with 2022’s Deathwestern.

From the honky-tonk swing of opener “Abilene Grime” to the Slayer-worthy riffing of “No Vacancy in Heaven” and the unforgettable “Oblivion” (which features members of Black Braid and Rise Against), Spiritworld’s story rides on with this latest offering, blasting Mojave-born bloodlust and stomping tomahawk riffs while charging straight into a sonic vision of macabre Americana.

Helldorado is due out March 21 via Century Media. Preorder here.

Tracklisting:

“Abilene Grime”
“No Vacancy In Heaven”
“Western Stars & The Apocalypse”
“Bird Song Of Death”
“Prayer Lips”
“Waiting On The Reaper”
“Oblivion”
“Cleansing”
“Stigmata Scars”
“ANNIHILISM”

“Abilene Grime” video:

“Western Shores & The Apocalypse”:

Lineup:
Stu Folsom – Vocals
Matt Schrum – Guitars
Nick Brundy – Bass
Preston Harper – Drums
Randy Moore – Guitars

January 10, 2025, an hour ago

news heavy metal rarities hammerfall

Nuclear Blast has announced colored vinyl reissues of Hammerfall albums Threshold and No Sacrifice, No Victory.

2006’s Threshold features the single “Natural High” and will be reissued on blue vinyl.

No Sacrifice, No Victory was released in 2009 and holds the concert staple “Any Means Necessary” and The Knack cover “My Sharona”; the reissue will be available on orange vinyl.

The reissues will be available on March 7, preorder on shop.nuclerblast.com.

Threshold lineup:
Joacim Cans – vocals
Oscar Dronjak – guitars
Stefan Elmgren – lead guitars
Magnus Rosén – bass
Anders Johansson – drums

No Sacrifice, No Victory lineup:
Joacim Cans – vocals
Oscar Dronjak – guitars
Pontus Norgren – lead guitars
Fredrik Larsson – bass
Anders Johansson – drums

Gràb have dropped the forest dwelling video clip “Waidler” (“Woodsman”). This track is the next single taken from their forthcoming new album Kremess (English: ‘funeral feast’, German “Leichenschmaus”). The sophomore full-length of the Bavarian black metal duo has been chalked-up for release on February 21, 2025.

Preorder here.

“The opening track of the album is named ‘Waidler’, which is a dialectal word that corresponds loosely translated with the English term ‘Woodlander’ – in the sense of a person living in a forest”, vocalist and lyricist Grànt explains. “This song is dedicated to the Bavarian Forest. Whenever I visit this region of Lower Bavaria, it feels to me like a journey back in time – in a positive way. I very much like the traditional way of living there. Of course, there is also the stunning nature of the Bavarian Forest – harsh and majestic at the same time. That is exactly what we want to convey with the lyrics and the music of ‘Waidler’. In my book, we have quite succeeded in delivering a really powerful opening track that also includes a guest contribution by former Dark Fortress vocalist Morean.”

Gràb offer both, continuity and change, on their sophomore full-length Kremess. The Bavarian black metal project founded by vocalist Grànt continues to revolve lyrically around tales and traditions narrated in the local dialect of Germany’s southernmost Alpine state: Bavaria. “Kremess” means ‘funeral feast’ in that language and death plays a leading role on this album.

Musically, Gràb still feature a prominent traditional instrument of their region, the hammered dulcimer. This gets combined with particularly Norwegian strands of black metal such as early Gehenna, Ulver, and Darkthrone as well as taking inspiration from German pioneers of the genre namely Nagelfar and Lunar Aurora. Adding to the local sonic colours are many fresh ideas and sounds that came with English guitarist Gnàst, who has replaced previous main songwriter Grain in the meantime. A host of guest musicians including members of Empyrium, Triptykon, and Dark Fortress among others has further enhanced the musical spectrum.

Gràb were conceived by former Dark Fortress frontman Grànt (a.k.a. Azathoth) who wanted to bring a particularly Bavarian expression to black metal. The use of vernacular elements in this harsh style of music emerged early in its formation in Scandinavia when such bands as Enslaved and Borknagar took inspiration from local history, language, legends, and sounds. This soon evolved into a global phenomenon in black metal with examples ranging from Romania’s Negură Bunget to Cascadian USBM pioneers Wolves In The Throne Room.

Tracklisting:

“Waidler”
“Kremess”
“Kerkermoasta”
“Im Hexnhoiz”
“Vom Gråb im Moos”
“Deifeszeig”
“Waldeinsamkeit”
“Dà letzte Winter”
“Waidler (gschmeidig)”*
“Schaug’ de Himmesdechta” (Burzum cover)*
“Leere” (Burzum cover)*

*Artbook Bonus CD tracks

“Waidler” video:

“Kerkermoasta” lyric video:

Rolling Stone has compiled a list of the 250 Greatest Album Of The 21st Century So Far and Beyoncé’s Lemonade was named #1.

Rolling Stone writes about their list:

“In compiling our top 250 albums of the quarter-century, we wanted to show as much of the scope of this story as possible. So when given the choice between including multiple albums by an artist and finding room for a record that added something important or interesting to the list, we almost always took the second option. Still, this is a list of albums, not artists, and certain heavy hitters just put out too many amazing LPs to deny. We’re lucky to have all this music to keep us motivated and challenged and sane. There might not be too much to be optimistic about in 2025, but the mountain of good records will always keep growing.”

In the realm of heavy metal / hard rock / classic rock – the pickings were slim as their list was dominated by pop / rap / hip-hop albums. David Bowie’s final album, 2016’s Black Star made it all the way to #24. 

Elsewhere, System Of A Down’s iconic Toxicity came in at a respectable #159 and Mastodon’s 2004 album Leviathan roared at  #171.

Check out the entire list at rollingstone.com.

Avantasia’s Tobias Sammet continues his track-by-track description of a new song from the upcoming Here Be Dragons album. H.E.A.T.’s Kenny Leckremo is revealed as the guest singer stars on “Against The Wind”, described as an “anthemic powerful speed metal rocket.”

Sammet writes: “Track by Track: ‘Against The Wind’ is an anthemic powerful speed metal rocket with some quite unique phrasings, melancholic melodies and very unusual twists and turns. It combines very early Avantasia trademarks with new elements and yet it somehow reminds me of the carefreeness of my very early songs. Also lyrically I reflect on where I come from, which approach I once set out with and how to be true to yourself despite the headwind and outside expectations. My friend Kenny Leckremo of H.E.A.T. is a wonderful duet partner on this one, it’s got some challenging vocal lines and I think the two of us do a pretty good job together, conveying the two extremes of the song: Power and emotion!”

Sammet on “Bring On The Night” featuring Magnum’s Bob Catley:

Sammet writes: “Track by Track: ‘Bring On The Night’ was written on the evening of July 6th, 2024 within a few hours as a heartfelt tribute to Magnum and the late Tony Clarkin. I dive deeper into the background story in the Artbook version of the new album, but in brief words: the song came to me within minutes in an almost spiritual way, and I just had to capture it and turn it into an Avantasia tune. 

“I wanted to do it justice and used the sounds and keyboards played on classic ‘80s Magnum records, and of course there would be only one singer in the world, who could sing that song with me, the undisputed king of magic, the storyteller on a storyteller’s night: my dear friend and partner for 25 years now, Birmingham’s finest: Mr. Bob Catley. It’s such a wonderful song, anthemic, melancholic, quite a bit ‘80s… or better: timeless. This kind of approach and the magic you feel when a piece of music is given to you out of nowhere and it all comes together, those are the sacred moments in music that drive me. 

“Bob had tears in his eyes when he sang it, and I was trying to hide mine behind my goggles when I was sitting next to him. It’s just so beautiful. Bob, I love you for rocking my world and being the friend and inspiration you are, I can’t wait until March to hit the road with you again!”

Sammet on “Everybody’s Here Until The End” with guest singer Roy Khan:

“Track by Track: ‘Everybody’s Here Until The End’! When the album was almost done I felt that we had a lot of furious and fast material, and I thought that I was still in need of a grand finale for an epic ending, something conciliatory and big, and I sat down on my piano and started to play a ballad which would eventually grow from a piano piece into a monumental power ballad. It’s a very personal song but eventually I wanted a duet partner who would add more depth. And I reached out to an old acquaintance to the Avantasia family, the mighty Roy Khan (ex-Kamelot) to help me shape this song to an amazing finale of an enchanting album. I think it’s one of the most moving and emotional, and yet biggest ballads I have ever done.”

Sammet on “The Moorlands At Twilight” featuring Helloween’s Michael Kiske:

“Track by Track: ‘The Moorlands At Twilight’ is a really rampant speed metal anthem with my lovely brother in Avantasia since the early days, Michael Kiske delivering a killer vocal performance. I guess that type of music is just in my DNA and even though it’s a classic Avantasia song I think that the atmosphere is different to anything we’ve done before. I can hear some early Helloween influence in there, even though the song is very unique with its playful neo-classical elements and wild approach. Also, the lead guitars are extreme and quite virtuous: Sascha Paeth and Arne Wiegand have delivered an extensive, fast and hymnic axe battle that made my jaw drop. When ‘power metal’ is done like that, I absolutely love it!”

Sammet previously described “Here Be Dragons” featuring Geoff Tate:

“Track by Track: ‘Here Be Dragons’ is the longest song on the album and features a great duet with my good friend and one of my vocal heroes since his early days in Queensrÿche, Mr. Geoff Tate, who’s outdone himself on the track. It’s a groovy mid-tempo song with enchanting melodies, orchestral elements, big keyboard passages and a powerful guitar riffing driving the main parts of the song. Even though you can hear some classic Dio, Queensrÿche and even Marillion elements in there, it’s a typical Avantasia song and a very unqiue one. It has two different choruses and a very emotional and big sounding mid-section. The song wasn’t meant to be that long, but there isn’t a single note I would change or leave out if I listen to the final result now.”

Rock and metal flagship, Avantasia, will release their 10th studio album and Napalm Records debut, Here Be Dragons, on February 28. They recently unleashed the energizing first new single, “Creepshow”.

The new track is one of the catchiest songs of Avantasia’s career so far, and it arrives with an exciting, cinematic music video. The guaranteed future hit rings in a new era of Avantasia and will be an integral part of Avantasia’s spectacular live shows.

In their 25 years of existence, Avantasia has become one of the biggest leading forces in metal, boasting nine successful previous albums (such as the #1 charting Moonglow), worldwide sold-out arena tours and headline shows at all of the most important metal festivals. Here Be Dragons is sure to exceed all expectations as the most powerful Avantasia album so far.

Tobias Sammet on the single and video: “‘Creepshow’ is a perfect single. It’s short and catchy, and it emphasizes a facet of my work that has taken a backseat in my music in recent years. It’s light-hearted and the opposite of melancholic. And it’s fresh, boisterous and unabashed – a straightforward kick-ass anthem. Also, even though it may seem like a reminiscence of my earlier writing, I think we managed to turn the whole thing into a trademark Avantasia tune, as we accentuated with the music video. We rented a haunted castle in North England and celebrated a night in the world of spectres and undead creatures. This is the most vibrant and eccentric music video I’ve ever shot in my entire career, not dead-serious, but certainly of serious quality! I can’t wait to play ‘Creepshow’ live on our tour next year, I can already see the whole venue jumping up and down and screaming along!”

Watch the official music video for “Creepshow”:

Featuring absolute Avantasia essentials such as spellbinding choirs and theatrical symphonic metal elements, multitalented mastermind and frontman Tobias Sammet also surprises fans old and new with plenty of intriguing fresh soundscapes. Here Be Dragons gives the celebrated Avantasia sound that has been carefully crafted over a quarter of a century an exciting and powerful spin. The new album is the most consistent and concise piece of art that the band has ever crafted.

Avantasia is not showing any signs of slowing down – soon after the release of Here Be Dragons, the band will head out on an extensive arena tour across Europe, promising to deliver fans an immersive experience with their biggest and most epic production ever.

In grand Avantasia tradition, the new full-length is rich in vivid storytelling and cinematic atmospheres, not to mention the highest level of musicianship. Opening track “Creepshow” is without a doubt one of the catchiest songs in their career. The energizing future hit truly welcomes the listener into the new era of Avantasia and will be an integral part of the band’s spectacular live shows. In contrast, the incredible title track “Here Be Dragons” is a classic Avantasia song, and at almost nine minutes, is by far the longest on the album. The cinematic dark soundscapes of “The Witch” captivate and support the song’s storyline perfectly. Emotional, multifaceted vocal performances mesmerize on “Avalon”, while the heavy metal number “Against The Wind” serves as further proof of the versatility of Avantasia’s sound. Remaining well-balanced and cohesive, Here Be Dragons is undeniably Avantasia’s most powerful album so far.

The 10-track offering was written and composed in its entirety by Tobias Sammet himself, produced and recorded by Tobias Sammet together with Sascha Paeth, mixed by Sascha Paeth and mastered by Michael Rodenberg. The stunning cover art was once again created by acclaimed British fantasy artist Rodney Matthews. Here Be Dragons marks another masterpiece in the Avantasia catalog, leaving both fans and critics speechless and proving the band’s standing as a main force in the world of rock and metal!

Here Be Dragons is now available for pre-order in several exciting physical editions, with bonus albums included in select limited formats, like a 3CD hardcover artbook with 96 pages, over 160 pictures, drawings of Rodney Matthews and extensive stories to accompany the music and pictures. 

Here Be Dragons will be available in the following formats:

– 3CD-Artbook – large format, hardcover book incl. 96 pages, over 160 pictures and extensive stories and liner notes
– 3LP Vinyl Box incl 72 Pages 12″ Booklet – strictly limited to 500 copies
– 1LP Glow in the Dark Vinyl incl 12” Booklet – strictly limited to 300 copies – Napalm Records Mailorder exclusive
– 1LP Yellow/Orange Marbled Vinyl incl 12” Booklet – strictly limited to 300 copies – Napalm Records Mailorder exclusive
– 1LP Blue/White Splattered Vinyl incl 12″ Booklet + Poster + Slipmat – strictly limited to 500 copies – Napalm Records Mailorder exclusive ROW
– 1LP Orange incl 12” Booklet     
– 1LP Black incl 12” Booklet         
– Tape – strictly limited to 100 copies – Napalm Records Mailorder exclusive           
– 2CD Mediabook              
– 1CD Digipak                     
– Digital Album

Pre-order here.

Here Be Dragons tracklisting:

“Creepshow”
“Here Be Dragons”
“The Moorland At Twilight”
“The Witch”
“Phantasmagoria”
“Bring On The Night”
“Unleash The Kraken”
“Avalon”
“Against The Wind”
“Everybody’s Here Until The End”

2025 tour dates:

March
14 – Hamburg, Germany – Sporthalle
15 – Brussels, Belgium – AB Box
16 – Paris, France – Olympia
18 – Esch-sur-Alzette, Luxembourg – Rockhal
20 – Berlin, Germany – Columbiahalle
21 – Bamberg, Germany – Brose Arena
22 – Bochum, Germany – RuhrCongress
24 – London, England – The Roundhouse
26 – Tilburg, Netherlands – O13
28 – Stuttgart, Germany – Schleyerhalle
29 – Prague, Czech Republic – Forum Karlin

April
1 – Budapest, Hungary – Barba Negra
2 – Vienna, Austria – Gasometer
4 – Munich, Germany – Zenith
5 – Frankfurt am Main, Germany – Jahrhunderthalle
6 – Cologne, Germany – Palladium
8 – Milan, Italy – Alcatraz
9 – Zurich, Switzerland – The Hall
11 – Barcelona, Spain – Razzmatazz
12 – Madrid, Spain – Vistalegre
23 – Helsinki, Finland – Black Box
25 – Oslo, Norway – Sentrum Scene
26 – Stockholm, Sweden – Arenan Fryshuset

(Photo – Kevin Nixon)

Shavo Odadjian has been waiting nearly 20 years to release an album. More specifically, he’s been waiting nearly 20 years to release a System Of A Down album. But, with his main band in a state of creative exile – although they still play shows on a semi-regular basis – Shavo finally decided enough was enough and assembled his own project: Seven Hours After Violet. 

“It just felt so good to make heavy music again,” he admits, speaking to Hammer from his home in LA. “I like waking up every day and knowing I’ve got a place to create music again. People are like, ‘Why don’t you just get together with System?’ If I had it my way, I’d just get together with the guys. But the band isn’t working right now, so do you want me to just sit around on my own and just wait?” 

The seeds for Seven Hours After Violet were sown in 2022, when Shavo met producer and guitarist Morgoth at a house party. Bonding over their love of music, they decided to meet up again and jam. The pair soon realised their songs were more than just a mere fuckaround. 

“They got good,” Shavo admits with a grin. “We were actually gonna sell the songs to other artists at first, but that’s actually pretty difficult because it always ends up sounding like System – that’s just my vibe, you know?” 

Sure enough, the songs on Seven Hours After Violet’s self-titled debut album bear the hallmarks of Shavo’s SOAD connection. From the bouncing riff of Alive to the soaring, Armenian-folk inflected melodies of Radiance, there’s a direct link to his past. But there’s also a force and heaviness to the likes of Paradise, Go! and Abandon that colours the band in decidedly contemporary hues. A big part of that comes down to vocalist Taylor Barber, recruited after Morgoth showed Taylor’s deathcore group, Left To Suffer, to Shavo. 

“At first I was like, ‘Ah, this guy can only do heavy’, but it was like, ‘Nope!’ His range is incredible,” enthuses Shavo. “We flew him in from Atlanta, where he lived at the time, and then Morgoth brought in Alejandro [Aranda, guitarist/vocals]. I didn’t know him – I don’t watch American Idol [Alejandro was a runner-up on the show in 2019] – so I was expecting some preppy guy covering songs in the style of somebody else. Then he showed me who he was online and it was like, ‘I know this kid! I’ve seen him pop up a bunch of times.’ We’ve got two singers – I love that, I love the harmonies – and we got the whole thing recorded in two weeks.” 

Although the album came together quickly, it evolved immensely as Shavo and Morgoth discussed ideas. An early plan to get different vocalists to sing on each track – “Maybe Serj [Tankian], maybe some other guys,” Shavo says nonchalantly – was quashed when the pair realised this was a project with legs that could tour. 

In addition, Shavo says working with younger musicians has reinvigorated his interest in modern metal. 

“Morgoth and I send playlists to each other and it’s like, ‘I don’t like this pop punk, but this deathcore is the shit!’” he laughs. “I like Lorna Shore – they are dope and do some crazy things. The first time I heard them, all those animal noises, it made me feel a bit uncomfortable, like, ‘What are they doing?’ Then I saw them at Sick New World and it was like, ‘I get it!’” 

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While Seven Hours After Violet is the heaviest thing Shavo has lent his skills to, there’s always been an element of extremity to his music. “My inspiration was Cannibal Corpse, Obituary, Suffocation, Malevolent Creation…” he says. “Obituary was the one that really got me – Slowly We Rot and Cause Of Death… Oh man. You can kinda hear that in System too – it’s in those bouncy riffs.” 

Shavo expects Seven Hours After Violet will spend much of 2025 touring, but his enthusiasm means a follow-up album might come sooner rather than later, particularly given some of the songs he and Morgoth worked on didn’t make it to the debut – including their first composition together, Thrash God. 

“It’s the heaviest song we wrote!” he admits with a cackle. “We have six or seven songs that we’re saving for the second record. There’s another song called Breakdown, because it has an insane breakdown! Ha ha! I know a lot of kids love them now, but I’ve loved them since the days of thrash – that middle bit of Angel Of Death, Raining Blood, Dead Embryonic Cells… We need those little moments, y’know?”

 Shavo adds that the idea of featured artists might return for their second outing, but he warns not to count chickens just yet. “The second album is a good place for them,” he muses. “We kinda know who we want to do what. When it was going to be all features, I was going to work with Jonathan Davis and told somebody that. Next thing I know, that news is everywhere and then the record changed so we never actually used it! 

He did a verse on Paradise and it sounded fucking great. But it didn’t make sense [for this record]. So we wanted to make sure when we do use Jonathan, it’ll be the absolute fucking best.”

Seven Hours After Violet is out now via Sumerian. The band play Download Festival in June.