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.
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
“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”
During the chat, the 61-year-old offers particularly lofty praise to Tom Waits, calling the genre-splicing California musician “a master craftsman at lyrics”.
“As far as Tom Waits just being a master craftsman at lyrics, painting a picture in one sentence, it interests me, and it takes work,” says Hetfield (via Blabbermouth). “I saw Tom kind of live it. It was his vocabulary as well. He could sit and speak like that. I can’t.”
Later in the chat, the frontman also points to another unlikely source of lyrical inspiration: pop-punk icons Green Day.
“[Writing lyrics] is kind of like building a vehicle, building a whatever, collecting lots of little words. And how do they fit together? What does this really mean? Is this enough for a subject matter?” he rhetorically asks.
“Then I go and I watch a band like Green Day, and they have some simple [lines like] ‘Know your enemy’ or ‘Do you know your enemy?’, something like that. It’s so hooky and great, it sticks in you, but that’s not really literary geniusness.”
Hetfield co-founded Metallica in 1981 and has writing credits on almost all of their songs, the sole exception being 1983 bass solo Anesthesia (Pulling Teeth). In 2016, he named his favourite songwriters of all time, and Waits appeared on the list.
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“I just wish that I could be as good as Tom Waits, Phil Lynott, Nick Cave, Leonard Cohen, a lot of great lyricists,” he said at a symposium hosted by Metallica drummer Lars Ulrich. “It is really cool to read up on them and hear how they come up with their stuff.”
Over a 50-plus-year musical career, Waits has experimented with rock, jazz, blues, funk, hip-hop, opera and more. He’s also an actor, known for his performances in Bram Stoker’s Dracula (1992) and Licorice Pizza (2021).
Noted for his strikingly deep voice and countercultural lyrics, he was inducted into the Rock And Roll Hall Of Fame in 2011 by Neil Young. Young described Waits in his induction speech as “a performer, singer, actor, magician, spirit guide, changeling”.
Apr 19: Syracuse MA Wireless Dome, NY* Apr 24: Toronto Rogers Centre, ON* Apr 26: Toronto Rogers Centre, ON+ May 01: Nashville Nissan Stadium, TN* May 03: Nashville Nissan Stadium, TN+ May 07: Blacksburg Lane Stadium, VA* May 09: Columbus Sonic Temple, OH May 11: Columbus Sonic Temple, OH May 23: Philadelphia Lincoln Financial Field, PA+ May 25: Philadelphia Lincoln Financial Field, PA* May 28: Landover Northwest Stadium, MD* May 31: Charlotte Bank Of America Stadium, NC* Jun 03: Atlanta Mercedes-Benz Stadium, GA* Jun 06: Tampa Raymond James Stadium, FL+ Jun 08: Tampa Raymond James Stadium, FL* Jun 14: Houston NRG Stadium, TX* Jun 20: Santa Clara Levi’s Stadium, CA+ Jun 22: Santa Clara Levi’s Stadium, CA* Jun 27: Denver Empower Field at Mile High, CO+ Jun 29: Denver Empower Field at Mile High, CO*
* Pantera and Suicidal Tendencies support + Limp Bizkit and Ice Nine Kills support
Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Prog and Metal Hammer, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, NME, Guitar and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.
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.
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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!’”
SEVEN HOURS AFTER VIOLET – Radiance (Official Music Video) – YouTube
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.
Tal Wilkenfeld has played with and dazzled rock and prog greats from The Who to Chick Corea, and her solo work is just as impressive as her musical CV. In 2019, tying in with the launch of first vocal album Love Remains, she told Prog about what matters most to her as musician.
Born in Sydney, Australia in 1986, Tal Wilkenfeld was a budding guitarist as a kid, with only a few rock records on her shelf. At 16 she dropped out of high school and emigrated to the US, switching to bass and enrolling at Los Angeles Music Academy College Of Music.
After graduating she moved to New York and earned a reputation as a hotshot player on the circuit, sharing a stage with the Allman Brothers, fusion guitarist Wayne Krantz and ex-Zappa drum great Vinnie Colaiuta.
She released her calling-card jazz fusion debut Transformation in 2006, and Chick Corea selected her to play in his band on his Australian tour the following year. Her big break came soon after, when Jeff Beck enrolled her as his bassist, and since then she’s played with an incredible list of artists including Herbie Hancock, Mick Jagger, Prince, Trevor Rabin, Todd Rundgren, Toto, The Who and Brian Wilson.
Tal Wilkenfeld – Killing Me (Official Video) – YouTube
The plot thickens on her second album, Love Remains, which sees her step up to the mic to deliver a moody, heartfelt, subtly complex set drawing on her many musical influences and life experiences.
How does prog feature in your musical diet?
One of the first bands I listened to a lot was Tool, and that style really influenced me. I didn’t start hearing other bands in the genre, like Yes, until way later. Chris Squire was amazing – I was lucky enough to know him through the bass player world. He was a really cool guy and super fun. I love it when musicians retain their childlike qualities; that’s where music comes from, I believe.
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Pink Floyd are one of my favourite bands. I got to play with David Gilmour at the Royal Albert Hall [during Jeff Beck’s 2009 tour], and that was pretty magical. I’ve seen The Wall a couple of times in concert – Roger Waters’ latest incarnation of it – and it’s phenomenal. I hope one day I can be part of something that elaborate and astonishing.
There are so many progy luminaries on your CV – Trevor Rabin, Todd Rundgren…
And I had to do my research! I met Todd in Hawaii. He’s been a very supportive person in my life, and obviously his music’s amazing. The thing is, I didn’t grow up with a lot of music around me. I only owned Jimi Hendrix’s Are You Experienced, Rage Against The Machine’s Evil Empire and Herbie Hancock’s Thrust.
At a certain point you become one with music… it’s the most beautiful thing
And you went on to play with Herbie, on his album Imagine. With someone like that, is it tricky to separate the person from their legend?
It doesn’t really matter to me that someone is famous or not. It’s about their musicianship and what they’re trying to express as a person – a soul. If I’m accompanying them I want to know how I can best help them deliver their message. It’s not about being impressed with somebody, it’s about facilitating the music.
Chick Corea knows a good bassist when he hears one. How did you get that gig?
I think Vinnie told him about me, then I sent him demos. I did quite a bit of sight-reading with Chick. I had to sight-read [Return To Forever’s] Spain – as much as that’s a standard I didn’t really know it. That was funny!
All these players are virtuosos. When you’re performing with them are you aware in the moment that they’re operating at some higher level?
Yeah. At a certain point you become one with music; you’re a conduit for music to express itself. And when that happens it’s the most beautiful thing to see.
Love Remains is your first vocal album and you deal with some raw emotions on it. Does the attention it’s getting you feel different to the kind you’ve got as ‘just’ a bassist?
I’ve spent a lot time watching TV shows and movies, pausing during an emotional moment and starting to write
The attention doesn’t feel different – but I feel different. I’ve revealed a larger aspect of myself, and so when I’m getting this kind of feedback it feels even more wholesome. It doesn’t feel strange to put myself out there like this; it feels really natural. The easiest thing to write about is your life and experience. Even if it’s just something you’ve seen in a movie that’s inspired you, it’s still through your own lens.
And movies inspired some of these songs?
Yes. I’ve spent a lot time watching TV shows and movies like The Graduate and Taxi Driver, playing along or pausing during an emotional moment and starting to write. It’s a really good way for me to inspire myself. I write mostly when I’m moving around doing other things – walking, driving, washing the dishes.
Tal Wilkenfeld – Haunted Love (Official Audio) – YouTube
Haunted Love is an extraordinary song. Pete Townshend himself called it ‘a jewel’…
I wanted to do one song that had the bass as the harmonic instrument. I use it like a classical guitar. It changes time signatures nearly every bar at one point, and changes key centres regularly. I recorded the strings at RAK Studios, and it was one of my favourite days ever. I want to write much more music for orchestra.
Love Remains is all about songs, while Transformation was pure fusion.
Listen to Lightnin’ Hopkins: he plays 12-and-a-half bar blues!
Jazz fusion was very much my focus back then. I was playing a lot with Wayne Krantz. But all the styles of music I’ve played have influenced my songwriting – I couldn’t have written Haunted Love if I hadn’t played fusion. Even [country-style ballad] Pieces Of Me is in 11/4 in parts.
I look to old folk and blues, where everything follows the story and melody, and they’ll add extra beats and bars where needed. I mean, listen to Lightnin’ Hopkins: he plays 12-and-a-half bar blues!
When I first moved to LA and switched from bass to guitar people kept calling me ‘Mini-Vinnie.’ Turns out they meant Vinnie Colaiuta! He’s known for playing polyrhythmic stuff, and I was doing that on the bass. One of the very first things I learned to play on bass was The Black Page by Frank Zappa.
Tal Wilkenfeld – Pieces of Me – 3/7/2019 – Paste Studios – New York, NY – YouTube
Samantha Fish, Slash and Christone ‘Kingfish’ Ingram(Image credit: Jen Rosenstein)
Slash has fashioned some of the most memorable guitar riffs and solos in modern rock. But few people would have had him down as a born-again bluesman. For his latest project, the Guns N’ Roses star dived deep into a world of music that had its first flowering 60, 70 and even 80 years ago.
“I’m a hard-rock guy at heart,” he explains. “But this kind of blues guitar playing for me has always been the basis for everything.”
It turns out that old songs such as Hoochie Coochie Man, Stormy Monday, Key To The Highway and Born Under A Bad Sign were foundational in Slash’s initial mastery of his instrument.
“When I first picked up the guitar, the guys that I was inspired by at that time were all heavily influenced by Muddy Waters and Howlin’ Wolf and Robert Johnson, and I just went full circle,” Slash says. “So that is really the root of where my guitar playing came from.”
Not only that, but the blues remains the common musical language of the jamming scene – and Slash has always liked to jam. He even got to play with BB King a couple of times (“He was really generous to me”).
“The initial idea for Orgy Of The Damned, the origins of it really go back to the late 1990s when I used to jam with a couple of the guys on this record [bassist Johnny Griparic and singer/keyboard player Teddy Andreadis] in an impromptu blues covers band called Slash’s Blues Ball. It was just us getting together, very drunken, and we would just play in all these LA dives.”
Slash feat. Brian Johnson – “Killing Floor” (Official Music Video) – YouTube
With the help of A-list friends including Brian Johnson, Billy Gibbons, Beth Hart, Paul Rodgers and Iggy Pop, Slash once again found his way back to the original motherlode.
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But it wasn’t just the new album that kept Slash busy in 2024, although it was the jumping-off point. He spent the summer on tour, not just on tour, but leading his very own branded music extravaganza – the S.E.R.P.E.N.T. Festival.
An acronym for Solidarity, Engagement, Restore, Peace, Equality N’ Tolerance, the tour saw Slash and his band – former Blues Ball members Griparic and Andreadis, along with drummer Michael Jerome and singer and guitarist Tash Neal – headlined a nightly celebration of the blues that featured, depending on the date, a lineup of performers that included the Warren Haynes Band, Keb’ Mo’, Larkin Poe, Christone ‘Kingfish’ Ingram, Samantha Fish, ZZ Ward, Robert Randolph, Eric Gales and Jackie Venson.
The result was, well, an actual blues ball, with each show presenting a range of acts that reflect the breadth and scope of the form.
“It’s going to be a whole day of really cool music,” Slash said ahead of the dates. “And maybe reminiscent of a period gone by that used to happen a lot more often, where people would go out in the summertime and have these outdoor amphitheatre gigs with a bunch of different bands and players would just jam. And you know, I’ve sat in with guys doing blues songs here and there, but I haven’t done full sets like this, and in a festival-like setting, since the 90s. So I’m really excited.”
Slash feat. Demi Lovato – “Papa Was A Rolling Stone” (Official Video) – YouTube
The idea of the S.E.R.P.E.N.T. Festival came to fruition shortly after the guitarist had finished Orgy of the Damned. “The next thing is always figuring out a tour. And my manager told me that a promoter that he was talking to was interested in doing a blues festival and putting something together like that with me. And I just thought it was a great idea. So I jumped at it and started putting together some suggestions for blues artists I thought would be great to have on the bill. The artists involved represent so many different expressions of the blues.
“All the players are really, really cool. And they’re all people that, with the exception of maybe Eric Gales and Warren Haynes, are relatively new to me. I mean, some people have been around – like, Kingfish has been around a lot longer than I realised, but because of social media, all of a sudden I became very aware of him, more than I had through regular word of mouth. And some of them are fairly young, new artists, which I think is very cool to have. But overall it’s a really nice mix.”
“I’d been hearing whispers about Slash doing a blues-oriented record,” adds Samantha Fish. “And then I think I first heard about the tour from my management. And I was like, ‘Yeah, I’ll get to go do stuff with Slash, sure…’ You know, very sceptical. [Laughs] But then it actually came through and I thought, it’s a cool concept and such a cool lineup. All the acts are really incredible performers and it’s a really great thing to get to be a part of. I was stoked.”
Slash feat. Tash Neal | “Oh Well” (Live At The Gibson Garage) – YouTube
“I thought it’d be great if we could help make this into something a bit more communal,” he says, “and make the gigs more inclusive and more about bringing people together as opposed to driving everybody apart, which has been sort of really what this country has been doing for the last five years, you know?
“Like, we’ve been seriously focusing on division. So we started looking into some different charities that would be in line with important causes, like racial injustice and mental health, organisations that help people on the fringes, who are kept on the fringes because of certain discriminations and things like that. All around, it just seemed like another really good way to bring people together, in addition to the music.
“The blues has always functioned as a release for people that are having hard times – both the people playing it and the people listening to it. And unfortunately, I think a lot of people are having a hard time these days.”
Musician since the 1970s and music writer since the 1980s. Pop and rock correspondent of The Times of London (1985-2015) and columnist in Rolling Stone and Billboard magazines. Contributor to Q magazine, Kerrang!, Mojo, The Guardian, The Independent, The Telegraph, et al. Formerly drummer in TV Smith’s Explorers, London Zoo, Laughing Sam’s Dice and others. Currently singer, songwriter and guitarist with the David Sinclair Four (DS4). His sixth album as bandleader, Apropos Blues, is released 2 September 2022 on Critical Discs/Proper.
With one of rock music’s most iconic power ballads, (I Just) Died In Your Arms, Cutting Crew topped the chart in several countries in 1986, including the US. As they prepare to celebrate their 40th anniversary, we caught up with singer and band leader Nick Van Eede.
2025 marks four decades of Cutting Crew. How does that make you feel?
It makes me proud, I suppose. We’ve weathered the storm, experiencing highs and lows, and I’m busier now than I was even during the late eighties. We have seventy-two shows lined-up until next summer.
Following 19 headline dates in January and February, Cutting Crew support Kim Wilde for nine gigs. What should we expect?
Kim just phoned up, and I figured why the hell not? Our own gigs are performed as a trio, a format that allows me to mix storytelling with the songs. It works really well. We’re in a very good situation, we’ve a couple of records that will keep on being played until it’s time for my daughter to pop her clogs.
(I Just) Died In Your Arms is a song that will be handed down for generations. We can’t legitimately call Cutting Crew a one-hit wonder, because I’ve Been In Love Before was a US Top 10 hit and dented the Top 30 here at home, but it’s probably something you hear a lot?
[Shrugs] I used to get a bit tetchy about that back in the day, but now I embrace it. That song has been my passport, my bank manager and my lover down through the years. It has seven million broadcasts in America, so I guess you can say it works. It’s up there with Help! by The Beatles, it’s ridiculous.
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How true is the tale that its title popped into your head while you were getting jiggy with a girlfriend?
It was afterwards. The morning after. That’s all I’m saying, I’m a happily married man.
Cutting Crew – (I Just) Died In Your Arms (Official Music Video) – YouTube
What’s the weirdest place or situation in which you’ve heard the song?
I’d been doing some gigs in Tanzania with Leslie Mandoki Soulmates, an amazing German band that was full of superstars, and we were treated to going out on safari. Driving along, we were stopped and these gangsta guys demanded money, when suddenly it came on the radio. Everyone was hoping that the title wouldn’t be relevant to our situation.
There must have been some unusual cover versions. Have you heard any?
I could tell you about two or three gangsta-rap versions I’ve heard. There are dance versions, also Euro-pop versions. Some are horrible, but there are a couple of good Latino ones.
Back in 2016 Cutting Crew teamed up for a UK tour with the progressive/psychedelic/pop-rock band Blurred Vision, essentially as one group.
That was slightly unusual. I imagine it was quite baffling for the audience but there were some good moments.
Who comes to see Cutting Crew in 2025?
Sixty-year-olds are the main demographic – men and women – but we also get younger ones, right down to twenty-somethings. People find us through all sorts of ways. For example, we were in Stranger Things. We didn’t take off way the way Kate Bush did, but it didn’t do us any harm.
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“You know how Fleetwood Mac almost dedicated Rumours to their cocaine dealer? I think we should dedicate this album to all the booze we bought at Tesco,” sneer Brighton’s Lambrini Girls. Lambrini Girls being Phoebe Lunny (vocals/guitar) and Lilly Macieira (bass), tanked up on too many nights of mixed cheap alcohol and no sleep. ‘Barbed’, that’s the word I’m looking for. Barbed-wire humour.
This is Amyl And The Sniffers mixed in with electro-clash attitude: snarling, fast and furious, full of meaty hooks and exasperated observations, like Sleaford Mods if they’d been reared on a diet of UK Riot Grrrl agitators Huggy Bear and Frank Carter. This is so much fun to throw your body around to!
The titles give it away: the growlingly sarcastic Big Dick Energy, the deliberate provocation of Cuntology 101, the splattering Filthy Rich Nepo Baby spitting disgust every which way.
Lambrini Girls are political, but transgressive, smart but not pretentious (no way!), humorous but dark – very dark indeed. Subversive, in all the hidden senses of the word.
Emma has been writing about music for 25 years, and is a regular contributor to Classic Rock, Metal Hammer, Prog and Louder. During that time her words have also appeared in publications including Kerrang!, Melody Maker, Select, The Blues Magazine and many more. She is also a professional pedant and grammar nerd and has worked as a copy editor on everything from film titles through to high-end property magazines. In her spare time, when not at gigs, you’ll find her at her local stables hanging out with a bunch of extremely characterful horses.
Photo: By Simone van den Boom [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)], from Wikimedia Commons
Our Top 10 Billy Idol Songs looks at a rocker who seems to never age in spirit and sound. Billy Idol broke onto the rock scene in the early 1980s with a string of hits backed by an attitude of twenty-five percent punk, twenty-five percent new wave, twenty-five percent old school rock, and twenty-five percent growl. Billy Idol was an original comprised of the best of what rock had been offering for twenty-five years previously. Billy Idol seemed to fall somewhere between Sid Vicious and Elvis Presley. He was and still is one of the most entertaining rock and roll singers ever. If we were to choose a rock and roll singer to play a villain in a sci-fi movie just based on character, Billy Idol would be our choice. The charisma Billy Idol displays on stage and in the video is almost immeasurable.
Regardless of Bill Idol’s dynamic stage presence and personality, none of that would matter if the music Billy Idol recorded was not great. During his 1980’s reign, Billy Idol released some of the decade’s biggest hits. Like his personality, Billy Idol’s songs crossed the genres of punk, new wave, and classic rock. Our Top 10 Billy Idol Songs list takes a look at some of Billy Idol’s biggest hits and great album tracks that we think stand as some of the best material the great singer ever released.
# 10 – Scream
We open our Top 10 Billy Idol Songs list with the great track “Scream.” The song was released on Billy Idol’s Devil’s Playground album. The Devil’s Playground album was the first record of new Billy Idol material in over a ten-year period between 1993 and 2005. The classic Billy Idol sound had been gone for too long, and Devil’s Playground served as a welcome return, especially with the man who molded that classic Billy Idol sound – Mr. Steve Stevens.
Released in 2005, the track was recorded at NRG Recording Studios in North Hollywood, California, and produced by Keith Forsey, the longtime collaborator behind Idol’s most iconic hits like “Rebel Yell” and “White Wedding.” The song features a dynamic lineup, including Idol’s right-hand guitarist Steve Stevens, whose blistering riffs anchor the track’s bold, gritty energy. Stephen McGrath (bass), Derek Sherinian (keyboards), and Brian Tichy (drums) round out the ensemble, creating a hard-rocking sonic backdrop that matches Idol’s raw, electrifying vocal performance.
Lyrically, “Scream” reflects Idol’s unapologetic embrace of hedonism and rebellion, themes central to his persona and career. Lines like “You are the lock, I am the key” and “Climb up my lemon tree” blend innuendo and surreal imagery, capturing a sense of unrestrained desire. The repeated refrain, “Make me scream all night long,” embodies the track’s primal urgency, while the cheeky metaphors and explicit undertones push the boundaries of conventional rock lyrics. The playful audacity of the lyrics ties closely to Idol’s signature style, recalling the uninhibited bravado of earlier tracks like “Flesh for Fantasy.”
Critically, “Scream” marked a notable return for Idol after a decade-long hiatus from recording new material. While it didn’t achieve significant chart success, it earned praise for its gritty production and the vitality Idol brought to his comeback. The accompanying music video, set against a noir-inspired backdrop, amplifies the song’s seductive energy, with Idol delivering a magnetic performance that bridges his punk roots with modern rock aesthetics.
# 9 – Bitter Pill
The opening track to Billy Idol’s great 2014 album release entitled Kings & Queens of the Underground portrays an incredibly mature Billy Idol sounding wonderfully fresh and still at the top of the game. The great song was co-written by Eric Brazillian of The Hooters and Joan Osborne fame. You’re going to love this one. Billy says you will. The song was produced by Trevor Horn, a renowned figure in the music industry, celebrated for his work with bands like Yes and The Buggles. Recorded at Sarm Studios in London, the track showcases Idol’s longtime collaborator and guitarist Steve Stevens, whose emotive guitar work underscores the song’s reflective mood. The lineup also includes Billy Morrison on rhythm guitar, Stephen McGrath on bass, Erik Eldenius on drums, and Paul Trudeau on keyboards. This combination of seasoned musicians lends a polished, cohesive sound to the track.
Lyrically, “Bitter Pill” captures the struggle of balancing love and life’s challenges. The line “It’s a crooked line I follow / It’s a rocky road I ride” paints a vivid picture of perseverance through hardship, while “It’s a bitter pill I swallow / Just to keep you by my side” reflects the sacrifices made in the name of love. Idol’s delivery imbues the lyrics with emotional weight, particularly in the refrain, “I’ve forgotten how to fly / But I’ll remember before I die,” which speaks to a longing for redemption and a rediscovery of purpose. These themes align closely with Idol’s journey, both personal and professional, as he navigated career highs and lows leading up to the album’s release.
“Bitter Pill” was not released as a single, but it played a critical role in establishing the album’s tone. Kings & Queens of the Underground debuted at number thirty-four on the Billboard 200
# 8 – Can’t Break Me Down
“Can’t Break Me Down” stands as one of the strongest tracks from Billy Idol’s 2014 album, Kings & Queens of the Underground. Released on August 26, 2014, as the lead single, the track was recorded at Greg Kurstin’s home studio, Echo Studios, in Los Angeles. Idol described the recording process as “fun,” a sentiment that shines through the song’s infectious energy. Co-written by Idol, Greg Kurstin, and Daniel Nigro, the track blends Idol’s signature sneer with a driving, punk-infused pop rock sound. Kurstin, who also produced the track, contributed bass, drums, guitar, and keyboards, while Steve Stevens added his distinctive guitar flair, ensuring the song retained its rock edge.
The music video for “Can’t Break Me Down,” directed by Jason Trucco, offers a visual narrative that deepens the song’s themes. Shot at Santa Clarita Studios in Valencia, California, the video draws inspiration from the finale of the 1947 noir classic The Lady from Shanghai, casting Idol in a role reminiscent of Orson Welles’ character. Featuring performances by Izabella Miko and choreographer Ryan Heffington, the video unfolds as an allegorical noir tale of love gone awry. Premiering on October 23, 2014, it melds Idol’s defiant performance with striking visuals that evoke the timeless allure of classic Hollywood.
Chart-wise, “Can’t Break Me Down” reached number fifteen on the Billboard Adult Alternative Songs chart, underscoring its resonance with fans and radio alike. Its infectious chorus—punctuated by the refrain “bang bang bang”—embodies Idol’s enduring spirit of rebellion and resilience. In comparison to other tracks on this list, such as “Bitter Pill,” this song leans heavily into an anthemic, uplifting vibe, showcasing Idol’s ability to balance introspection with fiery determination.
# 7 – Venus
“Venus,” from Billy Idol’s experimental 1993 album Cyberpunk, exemplifies his foray into a bold, technology-driven musical landscape. Written by Idol, this track reflects the album’s overarching theme of a futuristic world where technology and humanity intertwine. The album was recorded primarily at Studio 56 in Los Angeles and produced by Billy Idol alongside Robin Hancock, whose technical expertise helped shape the album’s heavily synthesized and layered sound. Musically, “Venus” combines Idol’s recognizable rock sensibilities with a digital, cyberpunk-inspired edge, showcasing his willingness to push boundaries and reinvent his sound.
The lyrics of “Venus” explore themes of connection, desire, and transcendence, using celestial imagery as a metaphor for intimacy and escapism. Phrases like “One touch of Venus, and she’ll receive us” evoke a sense of yearning and the allure of a divine or otherworldly experience. The song captures a balance between physical and emotional longing, with lines such as “You, me, way above the stars / We ain’t dreamin’, and we’re livin’,” which suggest a desire to break free from earthly constraints and find unity in a higher realm. The repetitive refrain emphasizes the pull of this elusive connection, making the song a lyrical exploration of desire and transcendence.
Critically, Cyberpunk was a polarizing album, with “Venus” standing out as a track that epitomized Idol’s ambition to embrace the digital age. While the album did not achieve commercial success, its experimental nature garnered attention for its bold departure from Idol’s earlier work. The heavy use of electronic elements and synthetic textures in “Venus” marked a stark contrast to tracks like “Can’t Break Me Down” from Kings & Queens of the Underground, which leaned on more traditional rock instrumentation. This shift demonstrated Idol’s adaptability and willingness to evolve artistically, even at the risk of alienating parts of his audience.
# 6 – Cradle Of Love
Released as the lead single from Billy Idol’s 1990 album Charmed Life, “Cradle of Love” became one of Idol’s most commercially successful tracks. The song was recorded at Ocean Way Recording in Hollywood, California, and produced by Keith Forsey, a longtime collaborator responsible for crafting many of Idol’s iconic hits. Featuring guitar work by Steve Stevens’ temporary replacement, Mark Younger-Smith, and bass by Phil Soussan, “Cradle of Love” captures a dynamic yet accessible energy that solidified Idol’s place in the evolving rock landscape of the early 1990s.
Lyrically, “Cradle of Love” explores themes of desire and seduction, with lines like “Rock the cradle of love / Sent from Heaven above” conveying both romantic intensity and playful innuendo. The refrain, “The cradle of love don’t rock easily, it’s true,” suggests a tension between passion and control, a recurring theme in Idol’s work. The song’s vibrant energy aligns with Idol’s signature style but takes on a more polished tone compared to rawer tracks like “Scream” on this list. This shift reflects the evolution of Idol’s sound during this era, as he embraced more radio-friendly production while maintaining his characteristic swagger.
“Cradle of Love” achieved significant chart success, peaking at number two on the Billboard Hot 100 and reaching the top ten in several other countries. The accompanying music video, directed by David Fincher, was a major cultural touchstone, featuring Idol in a limited physical role due to a motorcycle accident that occurred prior to the album’s release. The video’s provocative imagery and storyline, centered around a young woman’s flirtation with an older man, garnered significant attention and played a key role in the song’s popularity.
# 5 – Eyes Without A Face
“Eyes Without a Face” captures a hauntingly introspective side of Billy Idol, standing out as one of the most atmospheric and emotionally charged tracks from his Rebel Yell album. Released as the second single in May 1984, the song was recorded at Electric Lady Studios in New York City and produced by Keith Forsey, a key figure in shaping Idol’s sound. Co-written by Idol and guitarist Steve Stevens, the track features a rich blend of synthesizers, guitar textures, and haunting backing vocals, which lend the song its melancholic yet dynamic aura. The contribution of Perri Lister, Idol’s then-girlfriend, adds an ethereal layer as she sings the French refrain, “Les yeux sans visage,” tying the song to its title’s inspiration: the 1960 French horror film of the same name.
Lyrically, “Eyes Without a Face” delves into themes of alienation, betrayal, and disillusionment. Idol’s lines, such as “It’s easy to deceive, it’s easy to tease, but hard to get release,” capture the emotional weight of unfulfilled love and longing. The transition from the mournful verses into the faster-paced, gritty bridge—where Idol references a life of crime and escapism—creates a stark contrast that underscores the turmoil within the narrative. This juxtaposition mirrors Idol’s ability to weave vulnerability with rebellion, a quality also evident in tracks like “Cradle of Love” from this list. Both songs navigate complex emotional landscapes but use vastly different tones and tempos to achieve their impact.
“Eyes Without a Face” became a commercial and critical success, peaking at number four on the Billboard Hot 100 and earning Idol his first top-ten single in the United States. The accompanying music video, directed by David Mallet, features striking visuals that blend noir-inspired imagery with surreal elements, aligning with the song’s haunting mood. Idol’s brooding performance against a backdrop of flickering lights and shadowy figures amplifies the sense of disconnection and longing that permeates the track.
Within the context of this list, “Eyes Without a Face” showcases Idol’s versatility as an artist, contrasting the defiant energy of “Scream” or the anthemic vibe of “Can’t Break Me Down” with a reflective, emotionally resonant approach. Its evocative lyrics, innovative production, and chart-topping success cement its place as one of Billy Idol’s most iconic songs, offering a depth that continues to resonate decades after its release.
# 4 – Mony Mony
Billy Idol’s version of “Mony Mony” stands as a defining moment in his career, taking the 1968 Tommy James and the Shondells hit and infusing it with his signature punk rock energy. Idol initially released the track on his 1981 Don’t Stop EP, recorded in New York City and produced by Keith Forsey, a longtime collaborator who played a pivotal role in shaping Idol’s sound during his early solo career. The song features Steve Stevens on guitar, delivering electrifying riffs that give the track its raw edge, along with the unmistakable driving rhythm created by bass, drums, and keyboards that enhance the song’s infectious energy.
Lyrically, “Mony Mony” exudes an exuberant celebration of love and freedom, with repetitive phrases like “Yeah, yeah, yeah, yeah, yeah” amplifying the track’s anthemic quality. Idol’s interpretation elevates the playful, carefree vibe of the original, transforming it into a raucous anthem that resonates with his rebellious persona. The infectious refrain, “Cause you make me feel so good, so fine, it’s all mine,” embodies the exuberance and intensity that make the song such a crowd-pleaser. Compared to introspective tracks like “Eyes Without a Face” on this list, “Mony Mony” stands out as a high-octane expression of pure, unfiltered joy.
Idol’s live version of “Mony Mony,” released in 1987, became an even greater sensation, reaching number one on the Billboard Hot 100. The live recording’s energetic atmosphere, bolstered by audience participation, cemented its status as a staple of rock radio and concert venues alike. The accompanying music video, showcasing Idol’s charismatic stage presence, further amplified the song’s appeal. This reimagined hit not only revitalized the original but also solidified Idol’s ability to bridge classic rock influences with the intensity of 1980s punk-inspired rock.
It was amazing how Billy Idol took the old 1968 hit by Tommy James and the Shondells and revitalized it with a fresh 1980s feel and sound that was incredibly successful. Although Billy Idol had previously recorded the song in 1981 on the Don’t Stop EP, it was the live version that was released on his 1987 greatest hits album that became the big hit.
# 3 – Dancing With Myself
Originally recorded by Idol’s band Generation X for their 1980 album Kiss Me Deadly, the track was later re-recorded and released as part of Idol’s 1981 Don’t Stop EP. Produced by Keith Forsey, the updated version introduced a more polished sound with a driving rhythm, courtesy of guitarist Steve Stevens and a layered production approach that propelled it into the realm of dance-rock.
The lyrics of “Dancing with Myself” explore themes of solitude, self-expression, and resilience. Lines such as “If I had the chance, I’d ask the world to dance, and I’ll be dancing with myself” emphasize embracing one’s independence in the face of loneliness. Idol’s delivery is both defiant and introspective, capturing the duality of the song’s mood. The infectious chorus and upbeat tempo contrast with the underlying melancholy, a dynamic that resonates similarly to the themes in “Eyes Without a Face,” though the latter opts for a more subdued tone. This contrast highlights Idol’s ability to convey complex emotions across his discography.
The music video, directed by Tobe Hooper, further cemented the song’s legacy. Set in a dystopian, zombie-filled landscape, Idol’s performance blends charisma with a cinematic narrative that aligns with the song’s themes of defiance and individuality. The video became a staple of early MTV, helping to establish Idol as a visual icon of the 1980s music scene. Although “Dancing with Myself” initially saw modest chart success, its re-release as a solo single marked the beginning of Idol’s rise to international stardom.
# 2 – Rebel Yell
“Rebel Yell” stands as one of Billy Idol’s most iconic songs, encapsulating the rebellious energy and charisma that defined his career. Released in 1983 as the title track of the Rebel Yell album, the song was recorded at Electric Lady Studios in New York City under the production of Keith Forsey. Written by Billy Idol and guitarist Steve Stevens, “Rebel Yell” blends driving guitar riffs, thunderous percussion, and Idol’s dynamic vocals into a track that has become synonymous with 1980s rock. Steve Stevens’ innovative guitar work, particularly his use of a ray gun sound effect, adds a distinctive edge to the song’s high-octane sound.
Lyrically, “Rebel Yell” tells the story of a passionate and untamed relationship, with Idol’s fiery delivery driving home lines like “In the midnight hour, she cried more, more, more.” The song uses its titular phrase as a rallying cry for independence and unbridled desire, with the repetitive chorus amplifying its urgency. The verses juxtapose moments of yearning with declarations of devotion, such as “I’d sell my soul for you, babe, for money to burn for you,” highlighting the track’s emotional intensity. Comparisons can be drawn to the raw energy of “Mony Mony” from this list, though “Rebel Yell” leans into a darker, more visceral tone, capturing a sense of unrelenting passion and defiance.
“Rebel Yell” achieved commercial and critical success, cementing Billy Idol’s status as a rock icon. While the song initially peaked at number 46 on the Billboard Hot 100, it gained significant traction in subsequent years, becoming one of his signature hits. The music video, directed by Jeff Stein, played a pivotal role in its popularity, showcasing Idol’s magnetic stage presence and connecting with the burgeoning MTV audience. The video’s high-energy performance style, coupled with its neon-lit visuals, reinforced the song’s rebellious spirit.
In the context of this list, “Rebel Yell” exemplifies the essence of Billy Idol’s artistry—an electrifying combination of punk energy, rock theatrics, and emotional intensity. Its powerful lyrics, innovative production, and cultural impact make it not only a standout in Idol’s catalog but also a defining track of the 1980s rock era.
# 1 – White Wedding
“White Wedding” closes this list as Billy Idol’s finest recording, solidifying its place as the pinnacle of his career. Released in 1982 as the second single from his self-titled debut album, the song captures the rebellious, defiant spirit that defined Idol’s music and persona. Recorded at Westlake Audio in Los Angeles, “White Wedding” was produced by Keith Forsey, whose collaboration with Idol created a sleek, polished sound without losing the raw energy of Idol’s punk roots. The track features Steve Stevens on guitar, whose iconic opening riff and atmospheric fills drive the song’s haunting yet electrifying tone, alongside contributions from Phil Feit on bass and Gregg Gerson on drums.
Lyrically, “White Wedding” veils its rebellious tone in wedding imagery, creating a tension between the romantic ideal and a darker, more subversive narrative. Idol’s repeated refrain, “It’s a nice day to start again,” emphasizes renewal and reinvention while casting doubt on the traditional notions of purity and permanence associated with a wedding. The line, “There ain’t nothing pure in this world,” encapsulates the song’s disillusionment with societal conventions, contrasting sharply with the upbeat celebration of love in “Cradle of Love” on this list. This thematic complexity, coupled with Idol’s snarling vocal delivery, elevates “White Wedding” beyond a simple rock anthem to a statement of defiance.
“White Wedding” achieved critical and commercial success, peaking at number 36 on the Billboard Hot 100 in 1983 and becoming one of Idol’s most enduring hits. The music video, directed by David Mallet, played a crucial role in establishing Idol as a visual icon of the MTV era. With its gothic wedding imagery, including Idol smashing a wedding cake with a motorcycle chain, the video captured the song’s mix of rebellion and theatricality, becoming a staple of early MTV programming. Compared to the high-energy swagger of “Rebel Yell,” “White Wedding” offers a slower, more atmospheric build that underscores its haunting lyrics and iconic riffs.
As the definitive Billy Idol track, “White Wedding” encapsulates everything that makes Idol a rock legend: unforgettable riffs, snarling vocals, and a rebellious spirit that continues to resonate decades later. Its placement at the number one spot on this list reflects its impact as not just a career highlight but a timeless anthem that cements Billy Idol’s legacy in rock history.
The German trio Warfield are poised to begin their next assault, charging into battle with the release of their forthcoming album and Napalm Records debut, With The Old Breed, out on April 4. Since their formation in 2012, they’ve dedicated themselves to the music of their idols like Tom Angelripper, Jeff Hanneman, and Dave Lombardo, unleashing brutal shredding riffs and lightning-fast beats with powerful precision. Warfield has already shared the stage with heavyweights like Bay Area thrash legends Exodus, captivating audiences with their electrifying live performances.
With their first single, “Lament Of The White Realm”, Warfield proves their unwavering dedication to their idols and their ability to embody the essence of thrash metal in a modern sound, further establishing them in the scene. This blistering track takes you on an icy journey through the horrors of war, exploring themes of loyalty and sacrifice. With razor-sharp riffs, “Lament Of The White Realm” fuses raw power with atmospheric storytelling, embodying an indomitable spirit of defiance.
Warfield on “Lament Of The White Realm”: “Our single ‘Lament Of The White Realm’ captures the unforgiving brutality of Alpine warfare in World War I, where Austrian and Italian soldiers fought high above the valleys on frozen mountain fronts. The lyrics use the ‘lament’ as a powerful symbol for the agonized screams that reverberated through the peaks, echoing the horrors of those harrowing battles. This song criticizes war in every form.”
Watch the official music video for “Lament Of The White Realm” below.
Warfield about the album: “Our new album With The Old Breed embodies everything we stand for as a band: Brutal, honest old-school thrash with emotion, rage and lots of energy. Sound-wise and musically evolved from the debut album, we delve even deeper into the inner human life and the harsh reality of war. Our goal is to bring out the different layers of despair, manipulation, but also camaraderie and express it all through musical heaviness. So if you call the mosh pit your home and feel like letting it all out, then give With The Old Breed a listen!”
With The Old Breed will be available in the following formats:
– 1 LP Red White Black Splatter Vinyl (with Bonus Track “F# (Wake Up)” Nuclear Assault Cover) – Napalm Records Webstore exclusive – strictly limited to 300 worldwide – 1 LP Black Vinyl, Lighter & Patch (with Bonus Track “F# (Wake Up)” Nuclear Assault Cover) – 1 LP Black Vinyl (with Bonus Track “F# (Wake Up)” Nuclear Assault Cover) – 1 Digipack CD, Lighter & Patch – Napalm Records Europe Mail Order exclusive –strictly limited to 100 worldwide – 1 Digipack CD – Digital Album
“Melting Mass” “Appetitive Aggression” “Soul Conqueror” “Fragmentation” “Lament Of The White Realm” “Tie The Rope” “Inhibition Atrophy” “Dogs For Defense” “GASP” “With The Old Breed”
“Lament Of The White Realm” video:
Live dates:
January 18 – Ohmbach, Germany – Ohmkrach Festival
February 7 – Bahrain, Germany – Diggers Club Delmon Hotel
March 28 – Weiher, Germany – Live Music Hall (Album Release Show)
June 27 – Weinheim, Germany – 30 Jahre Café Central Festival
October 25 – Hamm, Germany – Hammenser Smashed Face
The band, consisting of brothers Johannes Clemens (vocals, bass), Matthias Clemens (guitar), and drummer Dominik Marx, introduced their thrash tornado to the scene in 2012. In 2016 and 2017, Warfield played numerous shows, including at Taunus Metal Meeting, where they shared the stage with established and rising acts such as Iron Kobra, Warrant, and Evil Invaders. In 2018, they released their debut album Wrecking Command, which featured ten skull-crushing tracks.
album was the first record of new 
served as a welcome return, especially with the man who molded that classic Billy Idol sound – Mr. Steve Stevens.
