Author: Web Rock Radio News Dept

The U.K.’s Royal Mail postal service announced a series of stamps marking the 60th anniversary of the Who.

The range will include classic photos of the band while also reproducing some of their iconic album covers.

A total of 34 items – some of which can be seen below – are now available for pre-order, with prices ranging from a few dollars to $152 (£200). Some are limited by time or quantity. They officially go on sale on Oct. 17.

READ MORE: All 245 Who Songs Ranked Worst to Best

In a press release, the Royal Mail noted that the Who are among a number of rock acts to have been honored with a stamp issue, after Elton John, Queen, the Rolling Stones, Iron Maiden, Pink Floyd and others.

Vocalist Roger Daltrey said: “The artwork on the album sleeves was almost as important to the success of the record as the music. It’s great to be reminded of them.”

Guitarist Pete Townsend joked: “Stamp! Stamp! Stamp! It’s what I’ve done on stage all my life, sometimes in the air. At last, my stamping, and that of my buddy Roger, has been honored properly, and will help letters, parcels and birthday cards travel through time and space – just as we have.”

How Many Album Sales Have the Who Notched Up?

Formed in 1964, the Who’s original lineup, completed by late bassist John Entwistle and late drummer Keith Moon, are regarded as one of the most influential rock acts of the 20th century. While pioneering the use of power chords and the rock opera format, they’ve achieved album sales of over 44 million – with 1969’s Tommy the highest-selling of all – and they were inducted into the Rock and Roll Hall of Fame in 1990.

The Who stamp

The Who stamp

The Who stamp

The Who stamps

The Who stamps

The Who Albums Ranked

Half of the Who’s studio albums are all classics, essential records from rock’s golden age. But where should you start?

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

When Sebastian Bach first entered the studio with Skid Row, he found it was a daunting task. Jon Bon Jovi was there with some key words of advice.

“Back when I first joined Skid Row in 1987, you know, I was just a little kid. I was fuckin’ wild as they come,” Bach tells UCR, pausing to exhale. “I wasn’t a great singer then.”

He did have a really good voice, but realized he was still learning the mechanics of how to use It. It was Bon Jovi, basking in the afterglow of the worldwide success his own band had enjoyed with their album Slippery When Wet, who gave the singer some specific guidance, as you’ll read in the conversation below.

In time, that initial period would feel like a distant memory as Skid Row quickly found themselves in arenas and stadiums, including a stint opening shows for Bon Jovi in the midst of the New Jersey tour. Thrown into the fire, Bach was well on his way to becoming one of rock’s most memorable frontmen.

Now 35 years removed from the release of Skid Row’s multi-platinum self-titled debut, Bach is hardly at rest, as he details, describing the grueling road work he still enjoys. Child Within the Man, his newest solo album, retains the fiery spirit of his earlier recordings — and he’s happy to point out why that is. In short, any conversation with the singer is never a dull moment. Start with a topic or two and hang on for the rocket ride of words that comes back your way in return.

We caught up with Bach as he was getting ready for the next leg of his tour, which began Friday (Oct. 4) in Portland, Oregon.

People have spent plenty of time talking smack about Sebastian Bach over the years. Historically, you’ve often been able to punch back with your own music. This time, the answer comes in the form of your latest album. 
It’s just so funny when I read, “Can he still sing? I’m like, “Nobody punched me in the throat! [Laughs] I have the same muscles. I understand that some guys — basically, Jon Bon Jovi — cannot sing anymore, but I don’t have that issue. There’s no problem for me singing. I just did 45 cities. Let me repeat that number. 45. I didn’t do four shows. I didn’t cancel half of the f–king shows. I actually did 45 shows in a row and I’m about to do another 45 cities. So the answer is yes, [I can still sing]. It’s like, you go f–kin’ do 45 cities in a row and get back to me and tell me how that went for you. Go for it. Go try and be number 10 in replacing Sebastian Bach. Go for it. Let’s see how that works out. You know, the proof is in the pudding. When I play almost 100 gigs in a row, I mean, physically and mentally, that’s like going to war. You can ask any singer that tried to replace me and failed, it’s really kind of a one-of-a-kind thing.

I’ve really got to say, I’ve got the greatest record company in the world. Because I am so f–kin’ happy right now to tell you, I’m about to shoot two more videos for my album. Two more. Everybody thinks we’re done promoting this now. Everybody is mistaken. We are about to film, not one more video, but two more videos in the next two weeks right before I leave on tour. We are planning on releasing two more songs to radio and video before the end of ‘24 and I could not thank my record company more. Because every other artist, every other album it seems, just gets promoted before the release of the record. And we did do four videos before the album came out.

One of them came out right as the record came out. But the fact now that we’re going to go back and film two more incredible videos with Jim Louvau, it’s just mind-blowing to me. Because I worked 10 years on this album and the fact that we’re still working it a year later after the release, I think that’s rare in the music industry. Who knows if it will be 10 years before I make another one? I don’t know? I don’t put out bullshit. This album stands with the other albums I’ve put out. I actually do have a couple new songs going, but I don’t have an album’s [worth] or anything. I’m very honored and grateful to Reigning Phoenix Music, for having my back a year after it comes out. We’re going into make two new videos and that’s what is happening right now.

Watch Sebastian Bach’s Video for ‘(Hold On) to the Dream’

Is that normal for you to already be writing? Do you write on a regular basis?
I write all of the time, but I don’t ever write. [Laughs] Let me explain what I mean. I’ve always been a guy who collects things. I collect riffs, I collect lyrics and I collect titles. But mainly riffs. I can make a riff into a song. A riff is a riff. I know [Bach chuckles] what a good riff is. I’ve met songwriters that say, “I’m going to write a song for Sebastian Bach.” They put all of this time, effort and emotion into it. They try to finish a whole song and give it to me. That rarely works. Because I need to feel it in my bones in order to sing it correctly. I’ve always written songs. You know, it’s so confusing to people. They say, “You didn’t write ‘I Remember You’.” Okay, let’s go down this logic. As I said, some people will try to write a full song and give it to me. But rarely does that happen. Sometimes it does! [Laughs] Rachel [Bolan] and Snake [Sabo] played me “I Remember You” and I’m going, “Okay, done. Next? This song’s done!”

READ MORE: Skid Row Fought ‘Tooth and Nail’ Before Recording ‘I Remember You’

If I’m going down this logic, “You didn’t write that!” Then I should go in there and say, “Okay, I’m going to change this just to get my f–kin’ name on it, because I’m a prick! [Laughs] I don’t work like that. A lot of people do. Names that I won’t say, they think, “I’m the songwriter, so I have to write a song!” I don’t ever think like that. If my next door neighbor has a kick ass riff, I don’t care that it’s my next door neighbor! Hey, let’s work on this! I’m into the content. I’m not into the form. I don’t give a f–k about the logo. I don’t care! It means nothing to me. I care about what’s inside the record. I care about the riff of “Monkey Business,” which I wrote with Snake, even though my name’s not on there. I crafted that riff with him. I’m into metal. I’m into heavy metal. Some fans say, “Why do Sebastian’s albums sound more like the early Skid Row records than Skid Row?” Which they do. I’m not bragging — they do! They just do! I have two ears! I can hear.

The reason for that, is that I was the guy in the studio for Slave to the Grind, with Michael Wagener, sitting next to him, picking the amp sounds, driving around town choosing Marshall amps that we liked. It was me, not anyone else. It was me and Michael Wagener, because we were fans of metal. Like Accept, which he produced. Malice, which he produced. We were the real heavy metal guys. Some of the guys in that band are into [Bruce] Springsteen and Southside Johnny and that’s what their scene is. Some guys are into the Ramones and punk. I brought the me-tal. I was the heavy metal fan of that band. When you listen to Angel Down or Child Within a Man, they fit with Slave to the Grind seamlessly. When I get involved in something, people will say, “He’s hard to work with.” Because nothing comes easily. Nothing. I’m not hard to work with when somebody says, “Do you like this song?” and the song is “I Remember You.” That’s the easiest fucking day there is, ever. [Laughs]

READ MORE: When Skid Row Came Back Heavier’ With ‘Slave to the Grind’

Oh, for sure.
But if it’s not to that standard, I’m not going to pretend that it is. I’m going to work on it until it is of a standard that we’re going to put out. I don’t see that as being difficult, I see that as, “Listen to the f–king album.” Listen to the [new] record. Elvis Baskette loves working with me. Robert Ludwig f–kin’ loves me! These guys are at the top of the music industry. Me and Elvis have already talked about doing another record together. I would love to do that, but I don’t have the songs at all, right now. So we’re working this. I’m just saying that I have a passion, for heavy metal, rock and roll, glam metal, all of this stuff. I’ll never lose that, because it’s a real love of rock. It’s always been who I am since I was nine f–king years old in the Kiss army. I’ve always been just a real fan of rock. I actually made a record that I’m a fan of. That’s something that nobody can take away from me — because all I have to do is press play. [Laughs]

How did you approach your craft as a singer after the work you did on Broadway? Because I’d imagine that would change your thought process.
Wow, well, I’ve got to give credit where credit is due here. Back when I first joined Skid Row in 1987, you know, I was just a little kid. I was f–kin’ wild as they come. [Bach pauses and exhales] I wasn’t a great singer then. I had a good sounding voice, but as far as doing a two hour show, I was so young that I didn’t really have the muscles for that. When I joined Skid Row, we’d rehearse all day, every day. My voice wasn’t ready [for that]. It was like a learning crash course of singing. Jon Bon Jovi just said, “Forget about everything in the world except the lyrics.” He said, “Just tell the story of what the lyrics are saying.” That was a completely different way of [thinking]. I was trying to be Rob Halford or James Neal, of Malice. I was trying to sing as high as I could. [Laughs] Back in the ‘80s, that seemed to be what all of the singers [were doing]. LIke Nitro, or f–kin’ Steelheart, it was like, let’s see how high you can sing. But [Jon] goes, “Just tell the story of the lyrics.” That changed my way of looking at being a singer. Because I had to be great right then. I just said, okay, “Ricky was a young boy/ He had a heart of stone.” I got into it, in a Broadway way, as you’re saying, even though I didn’t do that until years later. I just totally shifted my focus from trying to shatter glass, which I did once, in Baltimore. I shifted it from that to telling the story of the words and that’s been the way it’s been ever since. I get into telling the story.

But Broadway probably gave you some new tools, right?
Well, yes. Because I first did Broadway in the year 2000 and this was still coming out of the grunge/screamo era of music. In the mid to late ‘90s, I didn’t feel like anybody in the world wanted to hear good singing. What I mean by that is that there was even a genre called screamo at that time, where it was just [about] shredding your pipes. Just shred ‘em. The way I sing a song like “I Remember You” or “18 and Life” is not screamo. It’s more like Steve Perry of Journey, especially “I Remember You,” is exactly [that]. If you can sing “Don’t Stop Believin’” and the really high ‘70s Journey songs with Steve Perry and [songs like] “Still They Ride,” “Stone in Love,” the really high ones, that’s where I learned how to sing. Like, “I Remember You,” was copying Steve Perry. I used to lock myself in a room. You know, I did that with Halford albums and [Iron Maiden] albums with Bruce Dickinson and Malice. A bunch of singers. Van Halen, I used to do. Ozzy [Osbourne] — I can do Ozzy exactly.

READ MORE: Ranking All 81 Steve Perry Journey Songs

But talking about Broadway and what did that bring to my new record, well, here’s the point of what I’m trying to get to. When I did Broadway, I went back in my brain to good singing and what I mean by that is clean singing. Not shouting and yelling and screaming and dirty singing. Clean tones. Like, the beginning of “(Hold On) to the Dream” is just a purely clean vocal. What we’re getting to now is one of the videos that we’re shooting and I can’t even believe this. We’re shooting a video for the last song on the album, “To Live Again,” which is the only ballad on the album. You’re the first person that I’ve told this. We’re not even getting started yet with this album. [Laughs] Because we’re about to make a video for this ballad that is the Broadway discipline of vocals that you’re talking about that I have not even put out yet for this album. Every video has been metal. Everything. Because my label f–kin’ loves metal — and I do too, great!

But you know what’s even heavier than metal? Singing. [Bach repeats that point several times] I’m about to f–king throw the f–king hammer down on this video. You all are not ready for this. You’re all like, “Oh, that was a good album. Okay, maybe he’ll do another one.” Hold up, we’re not quite done yet. [Laughs] We’re about to take you all to school of vocals. We’re going to vocal school on this song. I once again have to thank my record company, because they are focused on metal and I love all of that. But they understand that Sebastian Bach fans, they love it when I sing in that style — and that’s a different style than “Freedom” or “(Hold On) to the Dream,” so I’m very excited. If you’re wondering what Broadway might have brought to this album, you will find out in the video for “To Live Again.”

Watch Sebastian Bach’s Video For ‘What Do I Got to Lose’

# 10 – She Loves the Jerk – John Hiatt

The song “She Loves the Jerk,” from John Hiatt’s 1983 album Riding with the King, opens the list of the 10 Best Rock Songs About Being Second Choice. This emotionally charged track captures the painful reality of unrequited love, specifically from the perspective of someone watching a woman they care for remain committed to a partner who mistreats her. The song’s raw vulnerability is expressed in both the lyrics and Hiatt’s delivery, blending heartfelt emotion with Hiatt’s signature narrative songwriting. Produced by Ron Nagle and Scott Mathews on one side of the album, and Nick Lowe on the other, the song features a diverse sonic landscape that supports Hiatt’s powerful storytelling.

In “She Loves the Jerk,” Hiatt explores the frustration and heartache of being the second choice. The protagonist speaks with the woman on the phone as she tearfully confides in him about her husband’s behavior, and though it’s clear she would be better off with the singer, she remains devoted to the “no good so and so” she married. The singer longs for her affection, knowing she is wasting her time with someone unworthy, yet he is powerless to change her mind. The anguish of the narrator is palpable, as he painfully acknowledges that, despite her suffering, she will never leave her husband because “she loves the jerk.”

The lyrics of this song delve into the deep emotional conflicts of loyalty, love, and self-worth. Hiatt paints a vivid picture of a man who feels helpless as he watches the woman he loves endure a relationship with a man who doesn’t appreciate her. Phrases like “What I wouldn’t give for just one-tenth of what she gives Mister Charming” illustrate the profound sense of longing and hopelessness felt by the narrator, who knows he could treat her better but remains stuck in the background.

The song is a perfect fit for this list because it embodies the theme of being a second choice — someone who is fully aware of their place but remains hopeful, even though they know things may never change. As the first song on this list, it sets the tone for a theme that runs deep in rock music: the heartache of loving someone who loves someone else, especially when that person doesn’t deserve their love.

Read More: Top 10 John Hiatt Songs

# 9 – My Girlfriend’s Boyfriend Isn’t Me – Autograph

From Autograph’s 1984 debut album Sign In Please, “My Girlfriend’s Boyfriend Isn’t Me” dives into the emotional turbulence of being second choice in a romantic relationship. The song’s upbeat glam metal sound contrasts with its lyrics, which describe a man who finds himself entangled in a relationship where his girlfriend is emotionally attached to someone else. As a reflection of the heartbreak of being on the sidelines, this track fits perfectly within the theme of rock songs about being second choice. While the song wasn’t the band’s biggest hit—that honor goes to “Turn Up the Radio”—it remains a standout for its narrative and energy.

The song’s lyrics paint a picture of frustration and helplessness as the protagonist realizes that his girlfriend is more emotionally invested in someone else. Phrases like “My girlfriend’s boyfriend isn’t me” and “Her mind is stuck on ‘wait and see’” highlight the painful uncertainty that comes with being second best. The protagonist is left hoping that the situation is temporary, but he knows deep down that he’s not the one she’s truly devoted to. This emotional dichotomy is amplified by the lively instrumentation, which gives the song a sense of urgency.

Recorded over the course of just 30 days, Sign In Please marked a breakthrough for Autograph, particularly due to the unexpected success of Turn Up the Radio. The band worked with producer Neil Kernon to craft an album filled with high-energy rock tracks. “My Girlfriend’s Boyfriend Isn’t Me” is a prime example of how the album blended catchy hooks with lyrics that tap into complex emotions, especially themes of unreciprocated love and being second choice. The band’s ability to package this emotional depth in the form of a radio-friendly, fast-paced rock song has earned them a lasting spot in the glam metal canon.

Read More: Steve Plunkett of Autograph: The ClassicRockHistory.com Interview

# 8 – How Much I Feel – Ambrosia

Ambrosia’s 1978 hit “How Much I Feel” is a poignant ballad that explores the emotional pain of lost love and the complex feelings associated with being someone’s second choice. Written by David Pack, this track was the lead single from their third album Life Beyond L.A., and became one of the band’s most successful songs. The song peaked at number three on the Billboard Hot 100 and number two on the Cash Box Top 100, marking a major milestone in the band’s career.

The lyrics of “How Much I Feel” tell the story of a man reflecting on a past relationship and the lingering emotions that still impact him. The narrator’s current relationship is overshadowed by memories of his former lover, and he admits that sometimes, even in intimate moments with his wife, he still sees the face of his ex. This admission speaks directly to the theme of being second choice, as the protagonist is emotionally torn between his present and past loves. Lines like “Sometimes when we make love, I still see your face” capture the ongoing struggle between moving forward and being haunted by past attachments.

Much like John Hiatt’s “She Loves the Jerk” on this list, “How Much I Feel” delves into the pain of being sidelined emotionally, but while Hiatt’s track carries a raw frustration over unrequited feelings, Ambrosia’s song presents a more reflective, tender resignation. Both songs tap into the heartache of loving someone who is emotionally unavailable, yet the delivery is notably different—Hiatt’s song conveys a more narrative-based, conversational tone, whereas “How Much I Feel” is wrapped in the smooth, soft rock style that was a hallmark of late ’70s music.

Musically, How Much I Feel is driven by David Pack’s smooth vocals, intricate string arrangements, and a mellow rock production typical of Ambrosia’s blend of soft rock and progressive influences. This gentle, almost wistful musical arrangement contrasts with other songs on the list like Autograph’s “My Girlfriend’s Boyfriend Isn’t Me,” which presents the same theme but with a harder edge, reflecting the glam metal sound of the ’80s. While Ambrosia’s track leans into heartfelt tenderness, Autograph’s song delivers a more biting and sarcastic take on being second best. Both, however, capture the emotional complexities of realizing you’re not the first choice, but their stylistic approaches couldn’t be more different.

Ambrosia’s contribution to this list offers a reflective and introspective take on love lost and the bittersweet resignation of living in someone else’s shadow, making it a vital part of this exploration of rock songs about being second choice.

Read More: Top 10 Ambrosia Songs

# 7 –  Love The One You With – Stephen Stills

“Love the One You’re With” by Stephen Stills, released as the lead single from his 1970 self-titled debut album, stands as one of his most iconic tracks, peaking at number 14 on the Billboard Hot 100. The song was born from a simple but impactful phrase that Stills heard from musician Billy Preston: “If you can’t be with the one you love, love the one you’re with.” Stills sought Preston’s permission to use the line and crafted a folk rock anthem around it, which became a defining moment of his solo career. The song’s upbeat rhythm and joyful vibe reflect its lighthearted message about finding happiness and love even in less-than-ideal circumstances.

Recording for “Love the One You’re With” took place in 1970 at Island Studios in London and Wally Heider’s Studio 3 in Los Angeles. Stills played a variety of instruments, including guitar and steel drums, showcasing his wide-ranging musical talent. He was joined by an impressive lineup of supporting musicians, including his Crosby, Stills & Nash bandmates David Crosby and Graham Nash on background vocals, as well as Rita Coolidge, Priscilla Jones, and John Sebastian. The vocal harmonies are a key element of the song’s infectious appeal, with the repeated “do do do” refrain enhancing the fun, carefree atmosphere. The steel drums, a standout part of the instrumental arrangement, lend the song a distinctive Caribbean feel, setting it apart from other rock songs of the era.

Lyrically, “Love the One You’re With” presents a somewhat unconventional view on love and relationships. Rather than dwelling on heartache or unrequited feelings, it suggests accepting the love available in the moment. This message fits perfectly with the free-spirited, open-minded ethos of the late 1960s and early 1970s counterculture. The chorus, “If you can’t be with the one you love, love the one you’re with,” encapsulates the song’s philosophy of finding joy and contentment where you can, instead of longing for something that isn’t there. The song’s relevance to this list is clear—it’s a rock anthem about being a second choice, yet making the best of the situation, much like John Hiatt’s “She Loves the Jerk” and Ambrosia’s “How Much I Feel,” which also explore themes of emotional compromise in relationships.

In comparison to other songs on this list, such as Autograph’s “My Girlfriend’s Boyfriend Isn’t Me,” which addresses jealousy and longing, Love the One You’re With takes a more philosophical approach to dealing with rejection or being sidelined emotionally. Stills’ song is less about bitterness and more about acceptance, reflecting the freewheeling, laid-back attitude of its era. Ultimately, “Love the One You’re With” is not only a classic in Stills’ catalog but also a definitive statement on making the most of what life and love offer, no matter the circumstances.

Read More: 10 Essential Stephen Stills Songs In Chronological Order

# 6 – Two Out of Three Ain’t Bad – Meat Loaf

“Two Out of Three Ain’t Bad” is one of the most iconic power ballads from Meat Loaf’s legendary 1977 album Bat Out of Hell, composed by Jim Steinman. The song achieved significant commercial success, spending 23 weeks on the Billboard Hot 100 and peaking at number 11. Certified gold and later platinum, it remains one of Meat Loaf’s most beloved songs, second only to his massive hit “I’d Do Anything for Love (But I Won’t Do That).” The song’s melancholic theme and theatrical delivery have made it an enduring classic, cementing its place in rock history.

The recording of Bat Out of Hell took place at Bearsville Studios in Woodstock, New York, with Todd Rundgren serving as producer. Steinman’s grandiose songwriting, combined with Rundgren’s rock production, created a unique blend of operatic rock. The song’s lush arrangement, characterized by sweeping piano lines, emotionally charged guitars, and Meat Loaf’s dramatic vocal performance, reflects Steinman’s signature bombastic style. The instrumental interplay and the cinematic progression in “Two Out of Three Ain’t Bad” helped define the larger-than-life sound that Bat Out of Hell became famous for.

Lyrically, “Two Out of Three Ain’t Bad” tells the story of a man who acknowledges that while he wants and needs his lover, he cannot offer her the love she craves. The chorus—“I want you, I need you, but there ain’t no way I’m ever gonna love you”—perfectly encapsulates the theme of settling for less than ideal, a central element in this article’s exploration of being second choice. The protagonist admits his emotional limitations, revealing a deeper wound of unrequited love for a woman from his past. This emotional complexity elevates the song beyond a simple ballad of rejection; it speaks to the human experience of longing and heartache.

In comparison to other songs on this list, like Stephen Stills’ “Love the One You’re With,” which encourages embracing present love, Two Out of Three Ain’t Bad explores the bittersweet acceptance of settling in a relationship, knowing full well it’s not enough. Both songs feature protagonists who acknowledge they cannot have it all, but where Stills’ message leans toward optimism, Meat Loaf’s story is one of resignation and emotional conflict. The tension between desire and the inability to love completely is echoed in John Hiatt’s “She Loves the Jerk,” which also explores the pain of being second choice in a relationship.

Ultimately, “Two Out of Three Ain’t Bad” remains a poignant exploration of emotional compromise and the inevitability of unfulfilled love. Its timeless appeal lies in its raw honesty and the grandeur of its musical arrangement, making it not only a classic song from Meat Loaf’s catalog but also one of rock’s best explorations of the complexities of relationships.

Read More: Top 10 Meat Loaf Songs

# 5 – When You Were Mine – Prince

“When You Were Mine,” written and performed by Prince, stands as one of the more emotionally complex tracks from his 1980 album Dirty Mind. While it wasn’t released as a standalone single, its promotional 12-inch release garnered attention, and the song has since gained a cult following, receiving prominent live performances and being covered by multiple artists. The song’s narrative portrays a character grappling with the emotional torment of loving someone who is now involved with another person, positioning it perfectly as a classic tale of being second choice. The blend of rock and pop, combined with Prince’s bold lyrical content, was groundbreaking for the time, particularly as it explored themes of sexual freedom and emotional vulnerability.

Recorded at his home studio and the Hollywood Sunset Sound Studios, “When You Were Mine” features Prince playing all the instruments, a common practice for him during this period of his career. The use of the Oberheim OB-X synthesizer to mimic a Farfisa organ gives the song a raw yet melodic feel, contributing to its timeless appeal. The song’s minimalist production, paired with Prince’s dynamic vocal delivery, allows the listener to focus on the emotional weight carried by the lyrics.

Lyrically, the song delves into the turmoil of being second choice, with lines like “I know that you’re going with another guy, I don’t care, ‘cause I love you, baby, that’s no lie,” conveying the protagonist’s helpless devotion despite being replaced. Prince’s narrative reflects a passive acceptance, as he admits he let his lover fool around and was even comfortable with the idea of sharing them. This notion of unconditional love despite betrayal aligns with other songs on this list, such as John Hiatt’s “She Loves the Jerk” and Stephen Stills’ “Love the One You’re With,” which similarly reflect the pain of loving someone who isn’t fully committed. However, while Hiatt’s and Stills’ songs offer resignation or advice, Prince’s “When You Were Mine” remains rooted in its melancholy, making it one of the most vulnerable explorations of this theme.

Notably, “When You Were Mine” was later covered by artists such as Cyndi Lauper, who gave the track a pop sheen for her debut album She’s So Unusual in 1984. However, Lauper’s cover, while popular, lacks the raw intensity and layered sexuality of Prince’s original version, which taps into deeper emotions. The song’s lyrical depth and unapologetic expression of complex feelings made it an essential track on Dirty Mind and a lasting piece of Prince’s storied legacy.

Read More: Complete List Of Prince Albums And Discography

# 4 – Lyin’ Eyes – The Eagles

“Lyin’ Eyes,” released in 1975 by The Eagles, is a quintessential song about deceit, longing, and the painful reality of settling for second best in love. Written by Don Henley and Glenn Frey, this track features Frey on lead vocals and tells the story of a woman trapped in a loveless marriage with an older, wealthy man. To escape the loneliness and emotional void, she seeks solace in the arms of a younger lover. The narrative paints a vivid picture of someone pretending to be content while constantly battling the heartache that comes with living a lie. The song’s poignant lyrics, combined with its country-rock arrangement, struck a chord with listeners, leading it to reach number two on the Billboard Hot 100 and number eight on the Billboard Country chart.

The song was recorded during the One of These Nights sessions at Criteria Studios in Miami and was produced by Bill Szymczyk. Musically, “Lyin’ Eyes” features signature Eagles harmonies, with Glenn Frey’s smooth vocal delivery and a laid-back country-rock instrumentation, led by acoustic guitars and a mellow, yet bittersweet, melody. The steel guitar further accentuates the song’s country influences, giving it a warm, folksy vibe that complements its narrative. The song won the band a Grammy Award for Best Pop Vocal Performance by a Duo, Group, or Chorus, further cementing their status as one of the leading bands of the 1970s.

Thematically, “Lyin’ Eyes” explores the complexity of relationships, the consequences of compromise, and the desire to find fulfillment elsewhere when love and happiness have become unattainable. The protagonist’s yearning for a more passionate connection, despite knowing she’s deceiving both herself and others, echoes the themes of many other songs on this list, like John Hiatt’s She Loves the Jerk and Prince’s When You Were Mine. All these songs share the common thread of unrequited love or second choice status, where individuals must grapple with the consequences of emotional decisions made out of fear, convenience, or necessity. As Frey and Henley croon, “You can’t hide your lyin’ eyes,” the listener is reminded of the futility of living in denial, a sentiment that resonates deeply across the timeless narrative of love and heartbreak.

Read More: The Eagles Best Song From Each Of Their Studio Albums

# 3 – Damn, I Wish I Was Your Lover – Sophie B. Hawkins

“Damn, I Wish I Was Your Lover” was the breakthrough single for Sophie B. Hawkins, released in March 1992 from her debut album Tongues and Tails. The song reached number five on the Billboard Hot 100, cementing Hawkins’ place in the early ’90s pop and rock scene. With its blend of sultry vocals, longing lyrics, and a distinctive rock/pop production, the song speaks to the intense desire of someone who yearns to be more than just a second choice. Its raw emotion and heartfelt yearning are palpable, creating a deeply relatable narrative of wanting someone who is already in another relationship.

Recorded with a mix of live instruments and synthesizers, the song showcases Hawkins’ talents as both a singer and songwriter. The track was produced in New York City with a polished yet edgy sound that resonated with listeners around the world. The evocative lyrics, “Damn, I wish I was your lover,” convey the desperation and passion of someone watching the person they love remain in an unsatisfying relationship. Hawkins’ delivery—bold, confident, and sensual—adds depth to the song’s narrative, making it stand out as one of the most memorable tracks of the era.

Critically, the song received praise for its unfiltered expression of desire and its memorable hook. The accompanying music video, which was initially banned by MTV for its erotic content, only added to the song’s notoriety, creating more intrigue around Hawkins as an artist. In comparison to other songs on this list, such as Lyin’ Eyes by The Eagles, where deceit and hidden feelings take center stage, Damn, I Wish I Was Your Lover focuses on open, passionate longing. Both songs deal with the pain of being second in someone’s life, but Hawkins’ track stands out for its urgency and raw emotional intensity. The protagonist here isn’t just enduring being second choice—they’re fighting to change their position, adding a sense of empowerment to the narrative.

Read More: Top 10 Sophie B. Hawkins Songs

# 2 – I Can’t Make You Love Me – Bonnie Raitt

“I Can’t Make You Love Me” is one of Bonnie Raitt’s most iconic songs, released as part of her Luck of the Draw album in 1991. Written by Nashville songwriters Mike Reid and Allen Shamblin, the song explores the pain of unrequited love and the helplessness of being second choice in someone’s heart. Reaching the top 20 on the Billboard Hot 100 and the top 10 on the Adult Contemporary chart, the song stands as one of Raitt’s most commercially successful releases. Its haunting piano melody, played by Bruce Hornsby, complements the aching vulnerability in Raitt’s voice, creating an emotionally charged ballad about resignation and heartbreak.

The song was originally conceived as a fast-paced bluegrass number but was slowed down significantly to allow the emotional weight of the lyrics to shine through. This shift in tempo transformed the song into a powerful ballad that resonated with listeners across genres. The lyrics reveal a narrator coming to terms with the cold reality that no matter what they do, they cannot force love where it doesn’t exist: “I can’t make you love me, if you don’t.” The heartbreak and acceptance in the lyrics are intensified by Raitt’s tender yet devastating vocal performance.

Critically acclaimed, “I Can’t Make You Love Me” is often hailed as one of the greatest ballads in modern music history, receiving accolades from Rolling Stone and Mojo magazine. In terms of its place on this list of songs about being second choice, it stands out for its raw honesty and deep emotional expression. Where other songs like Damn, I Wish I Was Your Lover by Sophie B. Hawkins convey a yearning for someone unavailable, Raitt’s ballad is about the painful acceptance of rejection. It captures the moment when love cannot be forced, no matter how much effort is given, making it a timeless anthem for those experiencing unreciprocated love.

Read More: Complete List Of Bonnie Raitt Albums And Discography

# 1 – Love Stinks – J. Geils Band

“Love Stinks” by J. Geils Band is a quintessential rock anthem of frustration, cynicism, and biting humor about the darker side of love. Written by Peter Wolf and Seth Justman, this 1980 track, which served as the title song for the Love Stinks album, marked a standout moment in the band’s career. The song reached number 38 on the Billboard Hot 100, and its raw energy and memorable chorus made it a staple of their live shows and a relatable anthem for anyone who has experienced the sour side of romance. The track offers a hard-hitting take on the futility of love, focusing on unrequited affection and the inevitable heartbreaks that follow.

Musically, Love Stinks combines elements of power metal and hard rock with its pounding riffs and snarling vocal delivery. The iconic riff, which Rolling Stone’s Rob Sheffield noted was later echoed by Nirvana’s “Smells Like Teen Spirit,” gives the song its punchy, rebellious spirit. With Peter Wolf’s expressive vocals and Justman’s infectious keyboard work, the song captures the anger and frustration of being second choice in a relationship. The lyrics are unapologetically blunt: “You love her / But she loves him / And he loves somebody else,” immediately setting the tone of frustration. It’s a song that doesn’t sugarcoat the pain of love, making it resonate deeply with listeners who have lived through the experience of being sidelined in a relationship.

When compared to other songs on this list, Love Stinks stands out for its overt sarcasm and biting wit. Where Bonnie Raitt’s I Can’t Make You Love Me offers a heartfelt, somber reflection on unrequited love, J. Geils Band’s track serves as a cathartic release, fueled by anger and rebellion. Similarly, Prince’s When You Were Mine explores the pain of losing someone to another, but Love Stinks channels that pain into a powerful, almost celebratory declaration of love’s failures. It taps into a universal sentiment with lines like, “I’ve had the blues, the reds, and the pinks / One thing’s for sure: love stinks,” making it a raucous anthem for the heartbroken.

In closing this list of the best rock songs about being second choice, Love Stinks provides a perfect blend of humor, rock energy, and emotional rawness. While other songs on the list like Lyin’ Eyes by the Eagles or Two Out of Three Ain’t Bad by Meat Loaf offer more narrative depth and detailed stories of love’s failures, J. Geils Band strips it all down to the raw essence: sometimes, love just stinks. It’s an anthem of collective frustration that closes this list with the bold, loud truth about love’s more painful moments.

Read More: 10 J. Geils Band Songs Fans Love

10 Best Rock Songs About Being Second Choice article published on Classic RockHistory.com© 2024

Queen’s groundbreaking 1973 debut album, Queen, remixed, remastered and expanded in a 6CD+1LP box set Queen I Collector’s Edition will be released on October 25. A new reaser for the album can be viewed below.

Go to the official website for the release here.

The 6CD + 1 LP Queen I box set contains 63 tracks with 43 brand new mixes, comprising the original album with its intended running order restored, intimate fly-on-the-wall audio of Queen in the studio, demos, rare live tracks, and previously unheard recordings from Queen’s first ever live performance in London, August 1970. Absent from the 1973 release, the song “Mad the Swine” has been reinstated to its original place in the running order. A 108-page book containing handwritten lyrics and memorabilia accompanies the release. 

“This is not just a remaster,” writes Brian May in the CD sleeve insert notes, “this is a brand new 2024 rebuild of the entire Queen debut album, which, with the benefit of hindsight, we have re-titled QUEEN I.” 

May continues, “All the performances are exactly as they originally appeared in 1973, but every instrument has been revisited to produce the ‘live’ ambient sounds we would have liked to use originally. The result is “Queen“ as it would have sounded with today’s knowledge and technology – a first.”

“Queen I is the debut album we always dreamed of bringing to you.”

Queen recently released a 3D unboxing video for the collector’s edition of their upcoming Queen I box set, out on October 25. Watch below:

October 5, 2024, 2 hours ago

news tommy johansson roxette majestica sabaton hard rock

Former Sabaton guitarist / Majestica frontman Tommy Johansson has shared his weekly cover, this time performing the Roxette hit, “It Must Have Been Love”. Check it out below.

Johansson recently released a new compilation of fan favourites from his covers catalogue. It is now available on digital platforms. 

Tracklist:

“No Easy Way Out” (Robert Tepper)
“Highland” (One More Time)
“Aces High” (Iron Maiden)
“Canelloni Macaroni” (Lasse Holm)
“The Phantom Of The Opera” (Andrew Lloyd Weber)
“The Winner Takes It All” (ABBA)
“Sign Of The Times” (Europe)
“Separate Ways” (Journey)
“You’re The Inspiration” (Chicago)

October 4, 2024, 20 hours ago

news heavy metal rarities tony iommi glenn hughes

Black Sabbath legend, Tony Iommi, has reissued the two albums he recorded with Glenn Hughes – The 1996 The Dep Sessions and Fused, out today via BMG. This is the first time the albums are available on vinyl.

You can order the titles here, and listen to the official audio for The 1996 Dep Sessions track, “From Another World”, below.

The 1996 Dep Sessions tracklisting:

“Gone”
“From Another World”
“Don’t You Tell Me”
“Don’t Drag The River”
“Fine”
“Time Is the Healer”
“I’m Not the Same Man”
“It Falls Through Me”

“From Another World”:

“Gone” lyric video:

Fused tracklisting:

“Dopamine”
“Wasted Again”
“Saviour Of The Real”
“Resolution Song”
“Grace”
“Deep Inside A Shell”
“What You’re Living For”
“Face Your Fear”
“The Spell”
“I Go Insane”
“Slip Away” (Bonus Track)
“Let It Down Easy” (Bonus Track)
“The Innocence” (Bonus Track)

“Dopamine” lyric video:

“Saviour Of The Real”:

Chris Robinson of The Black Crowes recently spoke with Eddie Trunk on SiriusXM’s Trunk Nation. During their conversation, Chris shares his thoughts on Aerosmith cancelling their tour and discusses the setlist for The Black Crowes tour.

SiriusXM’s Trunk Nation, hosted by Eddie Trunk, airs daily at 3 PM, ET on SiriusXM’s Faction Talk. Audio clips and transcription below, courtesy of SiriusXM’s Trunk Nation.

On Aerosmith cancelling their tour:

“We love Aerosmith. They’ve always been very kind to The Black Crowes and one of our favorite rock bands. And the tour worked out to where, you know, it was really cool to be included in this. And it worked for us on a number of levels. So when it got canceled last year, we were like, ‘Okay.’ That kind of threw us more for a loop ’cause we had already started. And so this year we were, I mean, I’m disappointed more as a fan than anything because we’re cool. You know what I mean? We have our own world. We have our own life. We have our own people and we’re taken care of. You know what I mean? And we have a lot of, we have a lot ahead of us even after 30 years, you know.

“Were we bummed? Most definitely. But like I said, I’m bummed because, you know, I love that band and it was great to see them, but I also get it, man. You know what I’m saying? Like, people are, you know, people say, ‘Well, Mick Jagger does it.’ I’m like, ‘Well, there’s only, you know, there’s only one Steven Tyler. That’s Mick Jagger, dude.’ You know what I mean? Like, of course Mick Jagger still does it. He’s just like a freak of freak. He’s Mick Jagger. You know what I mean? So I also understand that, hey, if Steven feels like he just can’t do it, it’s heartbreaking for him. But I also understand that all the pressure is on the singer. You know what I mean? And you listen to him, you know, he’s not singing to back up tapes when he comes out and does ‘Back In the Saddle’.”

“Nah. You know, you’re like, ‘Jesus, man.’ That last show in Long Island, which was the third show of the tour last year, we all had a suite to go watch the shows. We’re in New York. We have lots of friends and family. So we did our show. We had a great show. We all go up to the suite to watch them. And like, I’m sitting next to Rich and just like, they sounded incredible. I was like, ‘Wow.’ You know what I mean? So, I mean, I get it. We love them. We love Steven. I hope that that’s not the last that they get to do something. But I also understand the pressure. I also understand when your body is your instrument and, you know, I mean, it’s just a fact. You get to be 76 years old. You know what I mean?”

On the setlist for The Black Crowes tour:

“Pretty much like where we left off with the “Happiness Bastards” tour. So you know after doing the “Shake Your Money Maker” pretty much greatest hits kind of tour, yeah, it loosens us up a little bit to, you know, play some songs from the new record. I mean, we play the songs that we know everyone expects us to play. We play our, you know, our most, you know, the hits or whatever you want to call them, the songs that people know. But it also gives us a little place to, you know, mess around with the cover tunes and, you know, we were just discussing, like, ‘Oh, we should just start playing ‘Mama Kin’ by ourselves and stuff, you know.’ So it gives us an opportunity to play some deeper cuts, some stuff in the new record and then kind of wrap it all up with the songs that people that, you know, I think when we were younger and more self-indulgent, it’d be like, ‘Oh, we could go a week without playing ‘She Talks To Angels’,’ and you know what I mean? We played, you know, we know now like, ‘Oh, we have to play that song every night.’ You know, like, and we love it. As a matter of fact, we understand what a gift it is to have some songs like that, you know, in our repertoire.”

Following Aerosmith’s retirement from touring, The Black Crowes recently announced new dates for The Happiness Bastards Tour (The Reprise).

A message from the band states: “The Bastards Are Back!! Announcing NEW dates added to The Happiness Bastards Tour (The Reprise) this fall! We’re excited to be able to come play in more cities in 2024.

“Due to the cancellation of the Aerosmith Tour, we also had to move a few of the previously announced show dates and unfortunately have to cancel the Tucson, Wanatchee and Verona shows. Original tickets for all the rescheduled dates will be honored at the new shows and all ticketholders will receive an email directly from their point of purchase with more information.  

Check out ALL show dates at TheBlackCrowes.com. We can’t wait to get back out on the road!” 🤘

(Photo – Ross Halfin)

Storace, Swiss rock legend Marc Storace’s eponymous band, announces the release of their new studio album, Crossfire, set for release on November 22 via Frontiers Music Srl.

Marc Storace expresses his excitement for the release: “Tommy Henriksen, in spite of his tight touring schedule with Alice Cooper, The Hollywood Vampires, and his work with his Crossbone Skully, actually ‘made time’ to produce my Crossfire album! Hell yeah, that’s what I call a good friend! Creating the songs with T felt like magic… And he even got the incredible Olle Romo, Mutt Lange’s very own engineer, to mix the album… Unbelievable! It was like a match made in heaven!! Play It Loud!!”

Alongside the album announcement, Storace unveils their latest single, “We All Need The Money”, the second release from their upcoming album. Watch the music video below, and pre-order Crossfire here.

Tracklisting:

“Screaming Demon”
“The New Unity”
“Rock This City”
“Adrenaline”
“Love Thing Stealer”
“Let’s Get Nuts”
“Thrill And A Kiss”
“We All Need The Money”
“Hell Yeah”
“Millionaire Blues”
“Sirens”
“Only Love Can Hurt Like This”

“We All Need The Money” video:

“Rock This City” video:

Maltese-born-Swiss musician Marc Storace started his exceptional musical career in 1970, with the Swiss cult progressive band TEA, which became a very successful band and with whom he released 5 LPs. Marc gained attention for his frontmanship and high-pitched raunchy vocal tone.

In 1979, Marc became the voice of Krokus, the most successful hard rock band from Switzerland. After their first album with Marc, Metal Rendez-Vous, Krokus played several world tours, sold over 15 million records, and won many gold and platinum awards.

After the group disbanded, Marc formed the band Blue, who released their self-titled album in 1991, including the widely known hit “You Can’t Stop The Rainfall”.

In the 90s and 2000s, Marc acted in two feature films (Anuk and Handyman) and reached gold status with various Krokus formations and three LPs. With many guest appearances such as on Rock Meets Classic, Sweet 50th Anniversary, Ken Hensley Live in Switzerland, Schubert In Rock, and on Manfred Ehlert’s albums Amen and the rock opera Test, Marc remained present with his fans.

In 2008, fans were surprised by the news that the original Krokus formation would be touring again. The success was tremendous: tours in USA, Japan, Europe and South America as well as 2 new studio LPs, which, in turn, earned platinum status. In December 2019, Krokus played a farewell concert at the sold-out Hallenstadion in Zurich.

At the beginning of 2021, Marc started working on his solo career as Storace and at the end of 2021, he released his first solo album Live And Let Live. In the middle of the pandemic, Marc started his first tour in Switzerland accompanied by the album’s studio band. Since May 2022, Marc has been performing with his new band and rocking the stage like never before.

Marc spent 2023 and 2024 writing and producing the new album Crossfire, a monster piece of hard rock, with songwriting shared between Marc Storace, guitar player Tommy Henriksen (Alice Cooper band) and drummer Pat Aeby (Krokus, Gotus).

Crossfire, produced by Tommy Henriksen and mixed by the award-winning engineer Olle Romo, features a collection of hard rock anthemic songs, with big choruses, great guitars, and an awesome rhythm section!

Storace are:

Marc Storace – Vocals
Dom Favez – Rhythm Guitar
Serge Christen – Lead Guitar
Patrick Aeby – Drums
Emi Meyer – Bass

(Band photo – Frank Kollby)

Drumeo has sharted a new video featuring Dream Theater drummer Mike Portnoy. Check it out below.

Drumeo: “‘Nightmare’ by Avenged Sevenfold is a defining track in the band’s catalog, and Mike Portnoy is here to break down how he recorded the drum parts, originally crafted by the late, great Jimmy ‘The Rev’ Sullivan.

When Portnoy joined the band, he was given a demo of The Rev’s drum part recorded on an electronic drum kit, allowing him the creative space to build on that foundation. The result is the dynamic, hard-hitting performance you hear in the final track. Tune in as Mike Portnoy takes you through the fills, transitions, and emotion that shaped this iconic Avenged Sevenfold track.”

Portnoy recently shared the photo below along with the following message:

“My view at the office. Rehearsals have been sounding and feeling GREAT! Incredible how quick and seamless we have jumped right back into these songs together again after all these years; in some song’s cases, it been DECADES since playing them together! I don’t want to be overconfident, but I have to say it’s already sounding and feeling so comfortable and natural, like no time has passed. A little over 3 weeks away from kickoff! Can’t wait…”

With the worldwide excitement around the recently announced European tour, Grammy-winning, progressive music titans, Dream Theater, recently announced their 40th Anniversary Tour 2024-2025 leg for North America.

The tour will be An Evening With Dream Theater and will be the first tour of North America since drummer Mike Portnoy’s return to the lineup joining vocalist James LaBrie, bassist John Myung, guitarist John Petrucci, and keyboardist Jordan Rudess.

The tour is scheduled for 30 cities across the United States and Canada and kicks off on February 7 in Philadelphia, PA and runs through March 22 for the band’s hometown show in New York City. The tour will make stops in Nashville, Los Angeles, Toronto and Boston among others.

Dream Theater will be performing classics and fan favorites from their catalog in what promises to be an unforgettable evening of music. More information on all tickets and VIP packages can be found here.

“The excitement we have felt from the fans since the first tour was announced has been overwhelming! Now we get to bring the show to our home country and play a bunch of cities that we haven’t been together in for more than a decade. We can’t wait to continue this historic celebration of 40 years together with everyone in North America next year. We still have plenty of more exciting Dream Theater news to share in the coming weeks,” explains Dream Theater.

An Evening With Dream Theater 40th Anniversary Tour 2024-2025 (North American Dates):

February
7 – Philadelphia, PA – The Met
8 – Raleigh, NC – Martin Marietta Center
10 – Nashville, TN – Opry House
11 – Atlanta, GA – Coca-Cola Roxy
12 – Biloxi, MS – Hard Rock Café
14 – Houston, TX – 713 Music Hall
15 – Dallas, TX – Texas Trust CU
16 – San Antonio, TX – Majestic
18 – Phoenix, AZ – Arizona Financial Center
19 – Highland, CA – Yaamava Theater
21 – Las Vegas, NV – The Chelsea  
22 – Los Angeles, CA – YouTube Theater
24 – San Jose, CA – San Jose Civic
25 – Sacramento, CA – Safe Credit Union Performing
27 – Seattle, WA – Moore Theater
28 – Portland, OR – Keller Auditorium

March
2 – Reno, NV – Grand Sierra
4 – Salt Lake City, UT – Maverik Center
6 – Denver, CO – Mission Ballroom
8 – Chicago, IL – Chicago Theatre
9 – Cleveland, OH – MGM Northfield Park
11 – Toronto, ON – Coca-Cola Coliseum
12 – Montreal, QC – Place des Arts
14 – Wallingford, CT – Oakdale Theater
15 – Boston. MA – Boch Center
17 – Rochester, NY – Kodak
18 – Wheeling, WV – Capitol Theater
19 – Cincinnati, OH – Brady Music Center
21 – Washington, DC – The Anthem
22 – New York, NY – Radio City Music Hall

The European leg of the 40th Anniversary Tour 2024 – 2025 consists of stops in 23 cities and kicks off on October 20 and runs through November 24. Some dates are already sold out with others about to get there as limited tickets remain across the continent.

An Evening With Dream Theater 40th Anniversary Tour 2024 – 2025 (Previously Announced European/South American Dates):

October
20 – London, England – The O2 (Limited Tickets Remain)
22 – Berlin, Germany – Uber Eats Music Hall (Limited Tickets Remain)
23 – Koln, Germany – Palladium (Limited Tickets Remain)
25 – Milan, Italy – Forum (Limited Tickets Remain)
26 – Rome, Italy – Palazzo dello Sport (Limited Tickets Remain)
28 – Munich, Germany – Zenith
29 – Zagreb, Croatia – Arena Zagreb

November
1 – Budapest, Hungary – Budapest Arena
2 – Prague – Czech Republic – Fortuna Arena
3 – Lodz, Poland – Atlas Arena
6 – Helsinki, Finland – Metro Areena
8 – Stockholm. Sweden – Waterfront (Sold Out)
9 – Oslo, Norway – Spektrum (Limited Tickets Remain)
10 – Copenhagen, Denmark – Poolen (Limited Tickets Remain)
12 – Luxembourg – Rockhal
13 – Zurich, Switzerland – The Hall
14 – Lyon, France – Halle Tony Garnier
16 – Lisbon, Portugal – MEO Arena
17 – Madrid, Spain – La Cubierta de Leganés
20 – Stuttgart, Germany – Beethovensaal (Limited Tickets Remain)
21 – Frankfurt, Germany – Jahrhundderthalle
23 – Paris, France – Adidas Arena
24 – Amsterdam – AFAS Live (Limited Tickets Remain)

December
7 – Mexico City, Mexico – Explanada Estadio Azteca
10 – Belo Horizonte, Brazil – Befly Hall
13 – Rio de Janeiro, Brazil – Vivo Rio
15 – Sao Paulo, Brazil – Vibra (Limited Tickets Remain)
16 – Curitiba, Brazil – Live Curitiba
17 – Porto Alegre, Brazil – Araújo Vianna
19 – Buenos Aires, Argentina – Movistar Arena
21 – Santiago, Chile – Movistar Arena (Sold Out)
22 – Santiago, Chile – Movistar Arena

Dream Theater has been in their DTHQ studio working on their 16th studio album and the first with Portnoy since 2009’s Black Clouds & Silver Linings. More information on the upcoming release will be unveiled in the future.

German guitar hero, Axel Rudi Pell, performed at this year’s Wacken Open Air. Check out pro-shot live video of  “Strong As A Rock”, “Fool Fool” and “Rock The Nation” below.

Axel Rudi Pell recently shared “Darkest Hour”, the new digital single from his latest album, Risen Symbol. The single is accompanied by an official music video, streaming below:

On his 22nd studio album Risen Symbol, Bochum-based guitarist and songwriter Axel Rudi Pell continues to fly the melodic hard rock flag without watering down his style with pseudo-modern stylistic variations or expendable studio gimmicks. At the same time, he is constantly looking for new influences, exciting inspirations, and catchy hooks.

One of the best things about ARP’s anthems is that they are perfectly tailored to the charismatic voice of frontman Johnny Gioeli. The American vocalist is one of the most eminent rock singers worldwide and, together with Pell, former Rainbow drummer Bobby Rondinelli, and the two longstanding ARP members Ferdy Doernberg (keyboards) and Volker Krawczak (bass), has been an integral part of a perfectly oiled machine for more than ten years, wowing fans and media alike.

Risen Symbol was released via Steamhammer/SPV on June 14.

Risen Symbol will be available in the following formats:

– CD DigiPak incl. poster
– 2LP Gatefold, 140 g, neon orange vinyl, printed inner sleeves
– Download / Streaming (pre-order here)
– Exclusive CD/LP Bundles with a shirt and exclusive vinyls only at the Steamhammer shop (pre-order here)
– 2LP Gatefold exclusive colored edition only at the Napalm shop (pre-order here)

Risen Symbol tracklisting:

“The Resurrection” (Intro)
“Forever Strong”
“Guardian Angel”
“Immigrant Song”
“Darkest Hour”
“Ankhaia”
“Hell’s On Fire”
“Crying In Pain”
“Right On Track”
“Taken By Storm”

“Guardian Angel” lyric video:

Lineup:

Johnny Gioeli – Lead and Backing Vocals
Axel Rudi Pell – Lead and Rhythm Guitars
Ferdy Doernberg – Keyboards
Volker Krawczak – Bass
Bobby Rondinelli – Drums