1980 marked some major turning points for live rock music, as the biggest bands of the ’70s entered the new decade with new lineups, new musical directions and in the case of both Queen and ZZ Top, new facial hair.
You can read about the 14 most important rock tours of 1980 below:
To the surprise of many, the album was a stone-cold masterpiece and commercial hit, paving the way for the group’s successful debut two-month tour of Europe.
The tour found Osbourne and company playing nearly all of their debut album before closing out the set with Sabbath classics such as “Iron Man,” “Paranoid” and “Children of the Grave.”
Contract and credit battles caused Daisley and Kerslake to be fired before 1981’s North American leg of the tour kicked off. They were replaced by Rudy Sarzo and Tommy Aldridge, and the Blizzard of Ozz band name was also jettisoned.
Black Sabbath: ‘Heaven and Hell’ Tour
While Osbourne was still dealing with the shock of being fired and assembling his solo band, Black Sabbath beat their former singer back to the market, recruiting former Rainbow frontman Ronnie James Dio for their April 1980 album Heaven and Hell.
As with Osbourne and Blizzard of Ozz, the new lineup impressively recharged Black Sabbath, giving the group’s longtime fans two excellent albums in just six month’s time. The revamped group spent three months touring Europe, performing a roughly equal mix of classic Sabbath songs and standout Heaven and Hell tracks such as “Neon Knights” and “Children of the Sea.”
Trouble hit the North American leg of the tour when drummer Bill Ward, dealing with substance abuse and missing Osbourne’s presence, abruptly quit the band mid-tour. He was replaced by Vinny Appice, who would also perform on 1981’s Mob Rules.
Pink Floyd set a new standard for rock show staging with the high-concept tour in support of their highly conceptual 1979 double album The Wall.
The production – which featured a gigantic wall being built between the audience and the band during the first half of the show, completely obscuring the group – was so complex and expensive that the group was only to perform it 31 times in four cities.
Attempts to capture the show for a concert film were unsuccessful, although in 2000 a live album named Is There Anybody Out There? The Wall: Live 1980-1981 was released.
Between 2010 and 2013, Roger Waters performed his own live production of The Wall 219 times all over the world. The results can be seen on the Roger Waters: The Wall home video.
Led Zeppelin’s Last Tour
Led Zeppelin were feeling pressured from all sides in 1980. The band hadn’t mounted a full-scale tour since their 1977 trek was cut short due to the death of Robert Plant‘s son Karac.
Their two 1979 Knebworth festival appearances were met with a mixed reaction, with some fearing the band had been left behind by the emergence of punk and other new styles.
The band agreed to a brief 1980 spring tour of Europe, in which they cut away extended songs such as “No Quarter” and “Moby Dick” in an effort to reconnect with their earlier energy.
Encouraged by the results, Plant agreed to mount a North American tour in the fall of 1980, but drummer John Bonham died after the first night of rehearsals for that tour, bringing an end to the band entirely.
Van Halen: ‘World Invasion’ Tour
Van Halen‘s rapid ascension continued unabated in 1980, as the group released their third album Women and Children First in April then mounted the eight-month “World Invasion Tour.” The album marked the first time the band wrote new music in the studio – Van Halen and Van Halen II were both comprised of songs from their early demos and pre-fame club touring days. Instant classics such as “And the Cradle Will Rock…” and “Everybody Wants Some!!” were perfectly designed for arena-size crowds, with the former featuring the band’s first use of keyboards.
ZZ Top: ‘Expect No Quarter’ Tour
After returning from a two-year hiatus with their soon-to-be-trademark long beards and a more experimental sound on 1979’s Deguello, ZZ Top hit the road for over a year on the “Expect No Quarter” tour. The trip included their first European dates, and lucky for us their fantastic April 19, 1980 show in Essen, Germany was recorded for the popular Rockpalast television series. It’s been released as a live album and on home video as Live in Germany 1980 and as part of the Double Down Live: 1980 & 2008 collection.
Journey: ‘Departure’ Tour
Journey‘s steady climb to superstardom continued with April 1980’s Departure album, which gave the band their first Top 10 hit, “Any Way You Want It.” The tour was chronicled on the band’s 1981 live album Captured – although the track list skipped several songs that were regularly performed on the tour.
Founding keyboardist and one-time lead singer Gregg Rolie left the group after the Departure tour, paving the way for Jonathan Cain‘s arrival and the completion of the lineup which gave the group their greatest commercial success on albums such as 1981’s Escape and 1983’s Frontiers.
Kiss: ‘Unmasked’ Tour
Kiss were in free-fall in 1980. Just two years earlier they were capable of selling out multiple nights at the biggest arenas in America, but the limp reception to 1980’s (underrated!) Unmasked left them unable to even tour in their home country.
The band was also forced to dismiss founding drummer Peter Criss, who had only performed one song on their last two albums.
It gave the group a much-needed shot of confidence, and although they still had one more gigantic mistake to make, in 1982 they began a very impressive comeback with 1982’s Creatures of the Night.
Judas Priest: ‘British Steel’ Tour
After honing their sound to razor-sharp perfection on 1980’s masterful British Steel, Judas Priest set out on a six-month world tour that included both headlining and supporting dates. They opened for artists such as Sammy Hagar, Journey, Heart and Ted Nugent, and welcomed opening acts including Def Leppard, Scorpions and a young Iron Maiden, whose lead singer might have stepped over the line…
Iron Maiden: ‘Iron Maiden’ Tour
When Iron Maiden singer Paul Di’Anno declared his intention to “blow Judas Priest off the stage every night” while opening for the band on their 1980 UK tour, Priest guitarist K.K. Downing was reportedly furious and demanded that the band be kicked off the tour. Singer Rob Halford and the rest of his bandmates felt differently. “I wasn’t remotely bothered by this,” Halford recalled in his autobiography. “…We had tried to do it to every major band we had supported, so why shouldn’t they? I found it funny.”
Iron Maiden’s Dec. 21, 1980 show at London’s Rainbow Theatre – one of their first with guitarist Adrian Smith – was released in March 1981 as Live at the Rainbow. It can be found on The History of Iron Maiden – Part 1: The Early Days collection as well.
Queen: ‘The Game’ Tour
The ever-evolving Queen sounded notably different on 1980’s The Game thanks to their first use of synthesizers and their Chic-inspired hit single “Another One Bites the Dust.”
The band launched an 80-date world tour in support of the album on June 30 in Vancouver, wrapping it up on Oct. 18, 1981 in Puebla, Mexico. Singer Freddie Mercury changed up his look on this tour, cutting his hair short and growing out his soon-to-be-famous mustache. In 2023 his mustache comb sold for $189,000 at auction.
Bob Dylan: Gospel Tour
After reportedly having a religious epiphany onstage at a November 1978 concert in San Diego, Bob Dylan turned to Christianity, releasing the first of three faith-based and gospel music-influenced albums with 1979’s Slow Train Coming.
His six-month tour in support of the album found him completely abandoning his back catalog in favor of his new religious-themed songs, with his backing singers performing an opening set of traditional gospel songs at the start of the show. Some fans were less than thrilled with this decision, but of course that kind of reaction never stopped Dylan from following his muse.
He recorded 1980’s Saved during a break between tour legs, and concluded the trilogy with 1981’s more rock-oriented Shot of Love. The era and tour were chronicled on the 2017 Bootleg Series collection Trouble No More: 1979-1981.
Bruce Springsteen: ‘The River’ Tour
1980’s The River was Bruce Springsteen‘s first record to top the charts – an especially remarkable feat for a double album. His nearly year-long tour in support of The River found him expanding his already generous set lists to marathon lengths, with shows running up to four hours long. (Bet his road crew loved that.)
Two-thirds of Springsteen’s Nov. 5, 1980 show in Tempe was released on home video as part of 2015’s. The Ties That Band: The River Collection box set, with audio of the whole show available as a free download. Four other shows from the tour have been made available via his archive live series.
In 2016 Springsteen launched a 35th anniversary tour forThe River, featuring the entire album played in sequence at each show.
Fleetwood Mac: ‘Tusk’ Tour
Fleetwood Mac supported their incredibly ambitions (and initially somewhat underappreciated) 1979 double album Tuskwith a excess-filled, exhausting 112-show tour that kicked off in October and concluded Sept. 1, 1980.
They were all getting pretty sick of each other, with some members turning to substance abuse to get through the tour. “I used to go onstage and drink a bottle of Dom Perignon, and drink one offstage afterwards,” Christine McVie recalled. “It’s not the kind of party I’d like to go to now.”
The tour was captured on the December 1980 album Live, which received an expanded release in 2021.
Feature Photo: Bruce Alan Bennett / Shutterstock.com
There’s something about the word when that makes it one of the most powerful openings in songwriting. It’s a word that doesn’t wait for permission — it demands answers, signals a shift, and sets the stage for everything from heartbreak to survival. For decades, artists have used when to ask the hardest questions and brace for moments they can’t control. This list of 10 songs with when in the title dives deep into that idea — exploring how one word can hold so much weight, whether it’s about love breaking down, life slipping by, or finding strength when everything’s on fire.
Prince’s “When Doves Cry” stripped love down to its rawest, most painful pieces and redefined what a pop song could be, while The Rolling Stones let loose on “When the Whip Comes Down,” tearing through city life and identity with relentless edge. Led Zeppelin turned “When the Levee Breaks” into an apocalyptic storm of sound and fury, and The Band, in “When I Paint My Masterpiece,” chased the dream of creating something meaningful in a chaotic world.
Laura Nyro didn’t flinch when facing mortality in “And When I Die,” and Linda Ronstadt gave “When Will I Be Loved” a voice full of both vulnerability and defiance. The Police, in “When the World Is Running Down, You Make the Best of What’s Still Around,” found a way to live with decay and monotony, while The Beatles’ “When I’m Sixty-Four” looked at growing old with a wink and a hope for love that lasts. The Searchers brought longing and anticipation to life in “When You Walk in the Room,” and Blood, Sweat & Tears turned “And When I Die” into a brash, soulful celebration of facing the inevitable.
Together, these songs remind us that when marks the moment something changes — when love falls apart, when life gets real, when we’re left standing with nothing but the truth. Each track is a snapshot of that moment, proof that when isn’t just a word — it’s where everything happens.
# 10 – When I’m Sixty Four – The Beatles
Imagining love that lasts a lifetime, “When I’m Sixty-Four” stands out as one of The Beatles’ most playful yet tender reflections on growing old. Recorded in December 1966 at EMI Studios (Abbey Road) in London and featured on Sgt. Pepper’s Lonely Hearts Club Band in 1967, the song was written primarily by Paul McCartney, with production by George Martin, whose clarinet trio arrangement adds to its old-time charm. McCartney handles lead vocals and piano, while John Lennon, George Harrison, and Ringo Starr contribute harmonies, guitar, and brushed drums, crafting a track that evokes the warmth of a vintage parlor song.
McCartney muses on whether love will endure the passage of time—“Will you still need me, will you still feed me, when I’m sixty-four?”—turning the question of aging into something sweet and hopeful. Though never a single, it became one of the album’s most beloved tracks, offering a glimpse of sincerity and simplicity within the broader psychedelic landscape of Sgt. Pepper. Its gentle humor and heartfelt theme earn its place on this list, as a song that looks toward the future with affection and lighthearted grace.
# 9 – When The World Is Running Down, You Make The Best Of What’s Still Around – The Police
Blending post-punk minimalism with reggae-influenced rhythms, “When the World Is Running Down, You Make the Best of What’s Still Around” captures The Police’s sharp social commentary wrapped in a hypnotic groove. Recorded in 1980 at Wisseloord Studios in the Netherlands and released on Zenyatta Mondatta, the track was produced by the band alongside Nigel Gray and features Sting on bass and vocals, Andy Summers on guitar, and Stewart Copeland on drums. The song’s relentless bassline and tight drum pattern create a sense of claustrophobic monotony, perfectly mirroring lyrics that reflect life in a world that feels depleted—“You make the best of what’s still around”—a mantra of weary perseverance in the face of decay.
Rather than offering easy answers, Sting’s lyrics lean into resignation, a theme that resonated with listeners in a time of global unrest. While not released as a single, the track became a cult favorite and remains a standout on Zenyatta Mondatta for its brooding yet sharp reflection on modern life. Its inclusion in this list highlights how songs with “When” in the title often confront pivotal moments, and here, it’s the realization that even as the world runs down, survival depends on adapting to what’s left.
# 8 – When The Whip Comes Down – The Rolling Stones
Charged with raw energy and biting realism, “When the Whip Comes Down” is one of The Rolling Stones’ most unflinching tracks, recorded between October and December 1977 at Pathé Marconi Studios in Paris for their 1978 album Some Girls. Produced by The Glimmer Twins (Mick Jagger and Keith Richards), the song reflects the band’s gritty dive into punk-influenced rock, driven by Richards’ cutting rhythm guitar and Charlie Watts’ sharp, driving drums. Mick Jagger delivers a fierce vocal performance, narrating the story of a gay man navigating life on the margins in New York City—“When the whip comes down, I’m gonna be there on the ground”—a strikingly candid lyric for its time, revealing Jagger’s willingness to push social boundaries.
Ron Wood’s guitar layers and Bill Wyman’s steady bass line give the song a relentless pulse, mirroring the tension of city life and personal struggle. Though never released as a single, “When the Whip Comes Down” has since been recognized as a standout on Some Girls, reflecting the Stones’ ability to confront raw subject matter without losing their signature swagger. Its inclusion on this list captures how songs with “When” in the title often grapple with life’s inevitable reckoning points—here, with defiance and grit.
Originally written by Bob Dylan, “When I Paint My Masterpiece” was recorded by The Band in 1971 at Bearsville Studios in Woodstock, New York, and featured on their album Cahoots, produced by The Band themselves. With Levon Helm taking lead vocals and Garth Hudson’s accordion adding a wistful, European flair, the song meditates on weariness, longing, and the search for creative fulfillment—“Someday, everything is gonna be smooth like a rhapsody, when I paint my masterpiece.”
The lyrics explore themes of travel, disillusionment, and hope, with vivid images of ancient ruins and crowded trains reflecting both the literal and metaphorical journey toward achieving something lasting. Musically, The Band’s earthy instrumentation gives Dylan’s composition a rustic, reflective tone, and the track stands out on Cahoots as a somber yet beautiful meditation on life and art. Its inclusion in this list highlights how songs with “When” in the title often center on anticipation, waiting for the moment when dreams align with reality—capturing both the struggle and the enduring hope behind the creative process.
Linda Ronstadt’s 1975 rendition of “When Will I Be Loved” transformed the Everly Brothers’ 1960 hit into a country-rock anthem of heartbreak and resilience. Recorded in 1974 at Sound Factory in Los Angeles and produced by Peter Asher, Ronstadt’s version appears on her landmark album Heart Like a Wheel, a record that helped define her as one of the most powerful voices of the era. Backed by an elite group of musicians including Andrew Gold on guitar and harmony vocals, and David Lindley on lap steel, Ronstadt delivers the song with a blend of vulnerability and defiance, asking the aching question—“When will I be loved?”—while backed by warm, soaring harmonies. Stripped of the Everlys’ rockabilly bounce and infused with a smoother California country sound, Ronstadt’s take climbed to No. 2 on the Billboard Hot 100 and topped the Cash Box Top 100. Its inclusion on this list reflects how songs with “When” in the title can become timeless questions of longing and self-worth, and Ronstadt’s passionate vocal makes this version resonate as a definitive statement of someone refusing to settle for less than real love.
Released in May 1984 as the lead single from Purple Rain, “When Doves Cry” is one of Prince’s most groundbreaking and emotionally raw songs, recorded entirely by Prince himself at Sunset Sound in Los Angeles. Produced and written solely by Prince, the track is famous for its stark, minimalist arrangement—eschewing a bassline entirely, an unusual choice that amplifies the song’s tension and vulnerability. Built around icy synthesizers, searing guitar lines, and Prince’s anguished vocals, the song explores the emotional devastation of a collapsing relationship—“Why do we scream at each other? This is what it sounds like when doves cry.”
Lyrically, “When Doves Cry” captures the pain of love turned sour, filtered through Prince’s unique blend of funk, rock, and pop. The track soared to No. 1 on the Billboard Hot 100, where it remained for five consecutive weeks, and became one of the best-selling singles of 1984. Its impact was bolstered by a visually striking music video that embraced Prince’s theatrical and androgynous image, cementing the song as both a musical and cultural phenomenon. As part of this list, it represents how songs with “When” in the title often capture pivotal moments of heartbreak, reflection, and emotional reckoning.
Written by Laura Nyro when she was just 17 years old, “And When I Die” is a remarkably mature meditation on death, acceptance, and renewal. Nyro first recorded the song in 1966 for her debut album More Than a New Discovery, produced by Milton Okun and recorded at Bell Sound Studios in New York City. Accompanied by understated instrumentation that highlights her commanding vocal delivery, Nyro’s lyrics confront mortality with striking clarity and defiance—“And when I die and when I’m gone, there’ll be one child born in this world to carry on.”
The song’s blend of folk, gospel, and jazz elements reveals Nyro’s genre-defying artistry, which set her apart from her contemporaries. Although her version wasn’t a major commercial hit, the song gained widespread recognition when Blood, Sweat & Tears released a more upbeat, horn-driven version in 1968, taking it to No. 2 on the Billboard Hot 100. Still, Nyro’s original remains a raw and introspective take on life’s inevitable end, and its inclusion in this list underscores how songs with “When” in the title often grapple with life’s most profound transitions—here, facing death with grace and hope for what continues after.
With its shimmering guitars and aching vocals, “When You Walk in the Room” captures the rush of emotion that comes with unspoken love. Originally written and recorded by Jackie DeShannon in 1963, The Searchers’ version was recorded in 1964 at Pye Studios in London and produced by Tony Hatch, transforming the song into a British Invasion classic. Featuring Mike Pender on lead vocals and guitar, Chris Curtis on drums and backing vocals, John McNally on rhythm guitar, and Frank Allen on bass, The Searchers infused the track with their signature jangling guitars and tight harmonies, creating a sound that resonated with both pop and rock audiences.
The song is a vulnerable admission of how a simple entrance from someone you love can upend everything—“Every time that you walk in the room, I close my eyes for a second and pretend it’s me you want.” Their rendition climbed to No. 3 on the UK Singles Chart, becoming one of their most enduring hits. Its place in this list reflects how songs with “When” in the title often hinge on a pivotal emotional moment, and here, it’s that charged instant when presence alone speaks volumes.
Recorded in February 1966 at Norala Sound Studio in Sheffield, Alabama, “When a Man Loves a Woman” became one of the most iconic soul ballads of all time and Percy Sledge’s defining masterpiece. Produced by Quin Ivy and Marlin Greene, the track featured a stellar lineup of Muscle Shoals musicians, including Spooner Oldham on organ, Marlin Greene on guitar, and Roger Hawkins on drums, crafting a slow-burning arrangement that allowed Sledge’s impassioned vocals to take center stage.
The song is a raw and vulnerable declaration of love and heartbreak—“When a man loves a woman, can’t keep his mind on nothin’ else”—capturing the overwhelming power of devotion that blinds reason and pride. The emotional intensity Sledge poured into his performance was rooted in personal heartbreak, giving the song an authenticity that resonated with listeners worldwide. Released by Atlantic Records, it climbed to No. 1 on the Billboard Hot 100 and R&B charts, becoming a timeless anthem of love and loss. Its presence on this list underscores the way songs with “When” in the title often explore life’s most pivotal and emotionally charged moments.
Recorded in December 1970 at Headley Grange using The Rolling Stones Mobile Studio, “When the Levee Breaks” is Led Zeppelin’s thunderous reinterpretation of the 1929 blues song by Kansas Joe McCoy and Memphis Minnie, transformed into a towering statement of despair and resilience. Produced by Jimmy Page for their 1971 album Led Zeppelin IV, the track features one of rock history’s most famous drum sounds—John Bonham’s explosive, echo-laden beat, recorded in the stone stairwell of Headley Grange, and captured with just two microphones by engineer Andy Johns. Robert Plant’s mournful harmonica and vocals channel the agony of a world washed away—“Cryin’ won’t help you, prayin’ won’t do you no good”—as Page’s layered slide guitars swirl around John Paul Jones’ pulsing bass. Lyrically, the song’s invocation of the Mississippi flood of 1927 serves as a metaphor for personal and societal collapse, making its inclusion on this list a powerful example of how songs with “When” in the title often confront moments of breaking points and reckoning. Its dark, immersive production and haunting message make it one of Led Zeppelin’s most enduring and influential recordings.
“John Bonham was at the bar drinking quadruple brandies. He just turned around and whacked Gary in the stomach”: The crazed tale of the Heavy Metal Kids, the cult rock’n’roll hooligans with a tragic TV star singer
(Image credit: Michael Putland/Getty Images)
Tougher than glam rock and pre-dating punk by a couple of years, the Heavy Metal Kids were swashbuckling rock’n’roll pirates fronted by doomed livewire Gary Holton. In 2004, Classic Rock traced the story of a band who deserve to be way better known than they were.
The tale of The Heavy Metal Kids is a rags-to-rehab saga of comedy, drama and tragedy. Stranger still, it has recently gone full circle with the addition of some new chapters, though minus its central character.
Fundamental to this story is the London-based band’s choice of name, a tongue-in-cheek and rather ill-suited monicker that its five members were initially partial to, but which would prove to be a curse as well as a blessing.
The Kids (as they later preferred to call themselves) were simply ahead of their time. A riotous, hell-raising collection of rock’n’roll rebel-rousers who not only went on to befriend punk rock icons like the Sex Pistols and The Damned, but also inspired those bands musically. Indeed, The Kids’ flamboyant, high-energy rock has been cited as the missing link in the story of Britpop.
At the eye of their hurricane was a singer now infinitely better known as a TV star. Those who knew Gary Holton say that – carpentry aside – he didn’t have to act too much to portray Wayne Winston Norris, the skirt-chasing, beer-swilling, loveable rogue who charmed the nation in the brickies-abroad TV comedy Auf Wiedersehen, Pet. It’s common knowledge that Holton died of a heroin overdose in 1985. Less known is Gary’s musical career, one worthy of considerable note.
A quintet comprising Holton, guitarist Mickey Waller, bassist Ronnie Thomas, keyboard player Danny Peyronel and drummer Keith Boyce, The Heavy Metal Kids were born 30 years ago in typically bizarre circumstances. Mickey Waller and Ronnie Thomas had been with Heaven (a band billed as England’s answer to Blood Sweat & Tears), but their prospects were fading fast. Under the guise of a farewell gig in Southend, Heaven collared Keith Boyce as replacement for their Glitter Band-bound percussionist, loaded the Transit with equipment, and fled from their manager’s winding-up order to take up, of all things, a residency in an Indian restaurant in the South of France.
“It was playing Rolling Stones covers to 20 customers a night in Nice,” Boyce recalls. “But it lead to some better gigs in St Tropez.”
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A paternity suit kept their singer in France, but Heaven had to return home at some point. In need of a new frontman they turned to Gary Holton, of the band Biggles, who despite a raucous cockney accent had joined the touring company of the hippie musical Hair two years earlier, aged just 17. Holton was becoming unhappy with Biggles’ progressive rock pretensions.
“They were like Emerson Lake & Palmer. In fact Carl Palmer’s brother Steve was their drummer,” Ronnie Thomas divulges. “We’d smoke dope and watch Gary rehearse with them, caterwauling above all this synchronised jazz rock. Like us, he was a complete looner.”
“Biggles had a huge record deal but had never recorded a note, just like Heaven,” Boyce adds sagely. “They blew their entire advance; never even did a gig.”
The Heavy Metal Kids in the early 1970s (Image credit: Gems/Redferns)
The addition of Argentina-born keyboard player Danny Peyronel from The Rats completed the line-up.
“My American accent soon became a cockney one, but until then Gary and Mickey put me through hell,” Peyronel winces. “When I spoke ‘correctly’ I became one of the boys. It made me realise that Gary could be sharp and obnoxious, but also the nicest guy you could wish to meet.”
This feature was originally published in Classic Rock magazine issue 60 (November 2003) (Image credit: Future)
Thomas recalls Ricki Farr, the band’s manager (whose boxer father Tommy once fought Joe Louis), suggesting the group call themselves The Heavy Metal Kids (from the writings of William Burroughs). The choice was viewed as a masterstroke. But it would backfire.
Co-manager Laurie O’Leary secured The Heavy Metal Kids a regular gig at his club The Speakeasy, a notorious London hangout for musicians and music biz employees; Keith Moon, Led Zeppelin, David Bowie and Bryan Ferry were all regularly spotted there. Despite the clientele’s often blasé attitude, the band knocked themselves into shape.
“It was a great practice ground for us, and for Gaz in particular,” Peyronel explains. “He’d holler: ‘Oi! Fucking listen!’ The only other time I saw the place react the same way was to Bob Marley & The Wailers.”
Having been spotted at the Speakeasy by a secretary of Dave Dee (of 60s hitmakers Dave Dee, Dozy, Beaky, Mick & Tich fame), who was then general manager of the new Atlantic Records office in England, the quintet began to attract label interest.
“They were young and raw, but there was nothing quite like Gary Holton in full flight,” Dee recalls. “He’d wander around in a pair of wellington boots – well before Freddie Starr – and a top hat. So Phil Carson and I decided to sign them [for Atlantic], but on a low-key level. What attracted us was that they were all characters. Besides Gary they had Mickey, another legend in his own lunchbox.”
“You’d be halfway up the M1 on the way to a gig, and Mickey would’ve forgotten his guitar,” Ronnie elaborates. “He’d run up huge bar bills – cognac, everything – but have no money to pay. To this day he lives in Paris and is banned from most bars in the city.”
Dave Dee produced the band’s self-titled debut in a whirlwind eight days (while The Eagles were working on their ‘Desperado’ album in the studio next door). But there was already a problem.
“Gary had begun shoving gear up his nose, and he and I fell out in the studio,” Dee explains. “The others were pretty solid blokes, but Gary was a loose cannon. In the studio I lost a stone and a half in weight.”
When The Heavy Metal Kids’ eponymously-titled debut album was released in 1974, the tracks Ain’t It Hard, Always Plenty Of Women and Rock ’N’ Roll Man captured much of the band’s live ebullience. Though not a huge seller, it upped the band’s profile immensely. The Heavy Metal Kids broke Jimi Hendrix’s attendance record at London’s Marquee club.
They then began gigging across Britain and the Continent to what Peyronel describes as “exhaustion point”. They played more than 300 gigs per year; Melody Maker acknowledged them as “the hardest working band in showbusiness”. At an early gig at London’s plush King’s Road Theatre they hired a fire-breather as their opening act.
“It was a girl, actually,” Peyronel recalls with a smile. “Very exotic-looking.”
Although the Heavy Metal Kids album sold reasonably well, the group found themselves in a vacuum. “There were all these bigger bands like Led Zeppelin, Deep Purple and Uriah Heep, and then there was pub rock like Be-Bop Deluxe. We were kinda of in the middle,” Peyronel observes. “We supported Heep and Humble Pie, but half of the audience was still out in the Hammersmith Odeon foyer drinking. It didn’t feel like we were getting anywhere. It was much, much different when we got over to tour America. Kids over there would drive 100 miles to see you and were willing to give you a chance.”
Perhaps for that reason – possibly for the sheer devilment – The Heavy Metal Kids got a reputation for ‘rearranging’ hotel rooms. They were banned from the Holiday Inn, Trusthouse Forte and Ramada hotel chains as rooms were flooded, furniture destroyed, kitchens and bars stripped of food and alcohol.
“In this country you can’t get a ham sandwich after eleven o’clock. We’d all bowl back after a great gig high as kites,” Thomas recalls. “We were raiding the kitchen one night when suddenly the lights went on. Gary overtook me on the stairs, with a string of raw sausages hanging from his pocket. When I got to the room he was trying to flush ’em down the toilet, hiding the evidence.”
But The Heavy Metal Kids outdid themselves the time their road crew snaffled a 15-foot Christmas tree from the reception of Torquay’s Holiday Inn.
The Heavy Metal Kids onstage in the 1970s (Image credit: Jorgen Angel/Redferns)
“They took it out of the pot and bent it in half to get into the lift. There were all these birds in our room, so it was party time,” Thomas remembers. “We’d plugged all the Christmas tree lights in when ‘bang, bang, bang!’, hotel security were knocking at the door and accusing us of nicking their tree. We tried to deny it, but there was a huge trail of mud from the lift to the door of our room.”
By the time of the band’s second album, 1975’s Anvil Chorus, there had been many changes – not all of them for the better. Mickey Waller had been replaced by the enigmatically named Cosmo, and Andy Johns had taken over as producer. Even the latter was an afterthought, his brother Glyn (Led Zeppelin/Free/Rolling Stones) having been first choice.
“Andy walked in with Gary on the first day, and Andy collapsed on the floor,” Boyce remembers. “They were both pissed.”
According to Peyronel, Waller’s departure was highly significant. “The magic was affected. Okay, Mickey sometimes played out of tune,” he muses, “and maybe he also drank too much, but he was the quintessential Heavy Metal Kids guitarist.”
Significantly, the band had also decided to shorten their name to The Kids. “It gave off the wrong vibes,” Peyronel reasons. “We weren’t a heavy metal band – metal people don’t think Spïnal Tap is funny.”
Being signed to Atlantic, The Kids crossed paths with Led Zeppelin on a regular basis, even socialising with them from time to time. Peyronel recalls one memorable late-night drinking session in Blake’s Hotel in Chelsea which suggested that cracks were appearing in Zeppelin’s internal relations as
well as their own.
“John Bonham was at the bar drinking quadruple brandies, when Gary went up to him and said something out of earshot,” Peyronel says. “Bonham just turned and whacked Gary in the stomach. When he got his breath back, Gary went up and started: ‘Listen, man, I don’t know what I said…’, and Bonham tries to belt him again. This time Gary was too fast, and ran up the stairs into the street, with Bonham and his roadies chasing after him and shouting: ‘You bastard. Come back here’. It was a scene from Hell.
“They had to put valiums in Bonham’s brandy to calm him down. It was embarrassing,” he continues. “Robert Plant, Ronnie [Thomas] and I were chatting afterwards, and Plant was saying: ‘I’ve had five years of this lunacy. It’s unbearable’. Jimmy Page took Gary home, with Gary milking it for all it was worth. The next day they even made a formal apology.”
The Kids had enjoyed respect from the music press of the era, with Sounds and Melody Maker supporting them from the start. But the New Musical Express was another kettle of fish entirely, slating them at every opportunity. So when The Kids were told that a journalist from ‘the enemy’ (NME) was requesting an audience in their dressing room at Barbarella’s in Birmingham, they organised a welcoming committee. To reach the band’s changing space in the attic, the writer would have to negotiate a steep stairway. A sofa was heaved out on to the landing, and a bucket of iced water prepared. You can guess the rest, right?
“The guys from Judas Priest had been with us, saying how much they enjoyed the show, when we got the word the journalist was on his way,” Thomas says, beaming at the memory. “We dropped this three-seater sofa down on to the poor sod, then the ice water. He was pinned to the wall. We could’ve killed the fucker. But he took it all in good spirit,”
Thomas then shrugs: “We later discovered the guy was actually from Sounds.”
The Kids’ notoriety took another welcome boost when TV show Panorama shot them playing The Cops Are Coming at the Fulham Greyhound pub. Reporter Julian Pettifer interviewed the audience about violence at rock concerts, and received a suitable response from two fans in particular.
“Chub and Andy came to all our gigs in top hats and Clockwork Orange outfits,” Thomas chuckles. “They went: ‘Violence, you want violence?’ and nutted this guy, who worked for The Times. Sent him sprawling.”
Consequently, local councils banned them from municipal halls. The promoter of a gig at Biba’s in Chelsea also had no idea what he’d let himself in for. “These yuppies were eating a sit-down meal until The Cops Are Coming, when Gary really let rip,” an eyewitness remembers. “He was holding up this fake head dripping with blood, leaping over the tables. It’d been specially made at Madame Tussaud’s and modelled on his own face. There was claret dripping into people’s prawn cocktails. It was brilliant.”
Holton’s showmanship certainly wasn’t lost on Alice Cooper, whom the band then opened for in America. The Kids played one memorable show in front of an audience of 82,000, and Alice regularly watched them from the side of the stage. They also played some shows with Rush, although a run of dates as support for Kiss ended abruptly.
“We were kicked off that tour, and we didn’t regret it for one moment,” Peyronel admits. “There were two incidents that they took objection to. We arrived early at the gig, and talked to some kids who’d been hanging out and buying us drinks. Kiss later claimed that we’d pretended to be them, because nobody knew what they looked like at the time.
“What they really objected to was when Gary and I stood at the side of the stage, and Gene’s hair caught fire,” Peyronel smirks. “He dropped to his knees and whacked his head against the floor to put it out. We were in hysterics. Who wouldn’t have been?”
Later on in the States, Holton’s zany antics caused him to fall from the stage and break his leg. Trooper-like, he continued the tour with his leg in a plaster cast. Peyronel concedes that, growing drug problems aside, Holton’s overpowering presence may have overshadowed the band’s music.
“It detracted from the fact that we were a very exciting rock’n’roll band,” he says. “Gary sometimes went so far over
the top that his outrageous behaviour was all you could see. It was a drag, but you couldn’t really complain because that’s what The Heavy Metal Kids were all about.”
Having severed his ties as producer and record label boss,
Dave Dee was able to rebuild his bridges with Holton.
“I used to tell Gary. ‘One day you will be a star, you’ve just gotta clean up your act’,” Dee reveals. “In fact I tore up a five-pound note. I kept one half and gave him the other, telling him that the day he was a star we’d put the fiver back together and that he could have it. Until about a year ago I still had my half. Gary probably rolled his up and used it for other purposes.”
“People had been telling Gary he was the band’s star, and that he didn’t need us,” Keith Boyce says. “He became too big for his boots.”
(Image credit: Dick Barnatt/Redferns)
Finally, on the same night in 1976 that headliners Uriah Heep ejected singer David Byron from that band – and for the same reasons – The Kids sacked Holton after a gig in Madrid. By then he no longed attended rehearsals, and the band felt he was dragging them down. Breaking into his room, they found him naked and comatose on the bed, with a bottle of brandy in hand.
“We covered his dick with some Uriah Heep stickers, wound a toilet roll around his head and put on him these ladies’ silver stilettos he’d taken to wearing, then carried him on the mattress down in the lift,” Boyce recalls with a smile. “We left him in the lobby, on a big, round table.”
Discovered by hotel chambermaids the following morning, Holton was arrested. The Kids didn’t actually tell him he was no longer their singer, but he got the message.
Three months later, after numerous unsuccessful auditions, the band invited Holton to return. By then, growing friction with Cosmo had caused Peyronel to quit and join UFO (he appeared on their No Heavy Petting album in 1976).
Peyronel had suggested John Sinclair of the Jackie Lynton Band as his replacement in The Kids. Peyronel still feels he was forced out unnecessarily.
“I still can’t believe we agreed to let Cosmo join,” he says. “He was completely wrong. We were a band that had shunned virtuosity, but he wanted to show the world how good he was.”
With newcomer Cosmo campaigning for Peyronel’s to be given the boot, the latter found himself in a resign-or-be-sacked scenario. He reluctantly took the former option. Then, confirming that there was little rhyme or reason to the
group’s thinking, Cosmo himself was then replaced by Barry Paul. Considering the group “unmanageable”, Dave Dee and Atlantic happily sold their contract to RAK Records. Mickie Most had fallen in love with the band, throwing himself into the task of producing what would become 1977’s swansong, Kitsch. Material like She’s No Angel’, Chelsea Kids and Squalliday
Inn ensured that Kitsch remains hugely popular among the fans.
Sinclair’s arrival, along with with Most’s slick production, gave the group a new flavour. Most actually spent six months mixing the record in private, adding extra orchestration and even bringing in members of Smokie to sing backing vocals.
“The album almost became an obsession for Mickie. But it still sounded shit to me,” Thomas insists. “I stayed in contact with Mickie, God bless his soul, and a few years ago he invited me to his gaff. The port and cigars came out later in the evening, and so did the reel-to-reel tapes. Unmixed, it sounded fucking great.”
During a performance at the Rainbow Theatre in north London, Captain Sensible and Rat Scabies from The Damned engaged Holton in a realistic prestaged fight, dragging him off screaming into the venue’s wings. The Damned guys were big fans of The Heavy Metal Kids and “sometimes they even followed us in a van when we were out on tour,” Peyronel says. “I still don’t know why.”
Another personnel upheaval followed when Sinclair left to form Lion (he later joined Uriah Heep). But instead of another keyboard player the band appointed second guitarist Jay Williams.
Success at last seemed within their grasp; the She’s No Angel single even secured them an appearance on Top Of The Pops. Then, without warning, Holton decided to form his own band.
“It really fucked us off,” Thomas says with considerable understatement. “Gary had been a good mate, but he was doing more drugs than ever and becoming really obnoxious. I’d been the best man at his wedding, but he was turning into a nasty little bastard. And on stage it all went out the window; he’d just do whichever song came into his head.”
After a gig on the Isle of Man – the proceeds from which were squandered by Holton in a casino – Keith Boyce decided that enough was enough. Thomas soon followed suit. But both were persuaded to play one final show – at The Speakeasy, where it had all begun. That farewell gig was as memorable for the faces it attracted as it was for the simmering dressing-room tension.
Heavy Metal Kids singer Gary Holton in 1975 (Image credit: Jorgen Angel/Redferns)
“As Gary was getting ready to go on, he was wearing white cowboy boots with spurs, no trousers and a pink posing pouch,” recalls a still gobsmacked Thomas. “Across his chest he actually had two bullet belts. Gary was then attempting to load this Smith & Wesson revolver; he was completely out of it, bullets were scattered all over the floor and roadies running in and out. I mean, people were trampling over live ammunition.”
In the front row at the gig was Johnny Rotten, who loudly and theatrically pronounced: “boring, boring, boring” to anyone within earshot. But The Kids had already made an impression on the Sex Pistols frontman. Which was proved when he passed on his approval in rather more private circumstances.
One night in the Roebuck pub in the King’s Road, a hush had descended as Lydon and Holton spotted each other in an upstairs snooker room.
“Gary was holding court with me and a group of others by the fireplace, when the atmosphere suddenly changed,” Thomas remembers. “Rotten had walked into the room with two big bouncers – he always had to be protected because he was such an obnoxious little cunt. There was a deathly silence. Finally, Rotten undid this huge gold safety pin and put it on Gary’s lapel. He then patted his cheek and said: ‘You’ve been ripped off, Holton. How does it feel?’”
Even though Peyronel had been forced from the band he loved by that time, he still feels that he and The Heavy Metal Kids were cheated, to use a famous turn of phrase. “What happened to the Pistols in ’77 should have been us,” he says ruefully. “We were one of the first bands to have the term ‘punk rock’ used to describe us.”
That fact was not lost on The Damned, who once invited Holton to replace their singer Dave Vanian when the latter couldn’t make it for a gig in Scotland. The ensuing shambles was still being spoken of in hushed tones when bassist (and future UFO member) Paul Gray joined the band.
“Vanian had pulled one of his disappearing tricks, I believe. So at the last moment Rat [Scabies, Damned drummer] got in contact with Gary,” Gray relates. “En route to Glasgow, the first stop was an off licence. It’s a fair old trot from London to Scotland, and lyrics went flying out of the window along with empty cans. When they arrived to play, Gary could only remember the title of one song, which happened to be Neat Neat Neat, repeated ad infinitum until, unsurprisingly, bottles started flying.”
Nevertheless, until it was cancelled Holton was to have been part of a February 1978 show at London’s Music Machine by the Greedy Bastards, a group that the mere mention of their line-up – Scabies, Thin Lizzy’s Phil Lynott and Gary Moore and Jimmy Bain of Rainbow – would cause liver surgeons to scrub up and put on their plastic gloves in anticipation.
Gary Holton (left) with the cast of Auf Wiedersehen, Pet in 1983 (Image credit: Alisdair MacDonald/Mirrorpix/Getty Images)
Holton would subsequently form the band Casino Steel, and even considered by AC/DC as a replacement for Bon Scott, although his addictions made him too much of a liability. The singer discussed assembling a new group with Del Bromham of Stray, but by then his acting career was flourishing. He a had role in the 1980 movie Breaking Glass, which also starred Hazel O’Connor, and had played Eddie Hairstyle in The Knowledge, a TV comedy about London cabbies.
In 1983, Holton signed to play king-birder Wayne Norris in Auf Wiedersehen, Pet. The first series became hugely popular, and Holton’s character was central to it. But on October 25, 1985, when filming of the second series was underway, Holton died of a heroin overdose. Holton had shot some scenes, but others had yet to be filmed. In the end, his final scenes fetured a stand-in.
Dave Dee was at home when he heard of Holton’s death. Having bumped into Gary a few months earlier at the Reading Festival, Dee was mentally prepared.
“He’d been with Glen Matlock [original Sex Pistols bassist] that day, all over the bloody shop,” Dee says. “With somebody larger-than-life like him, tragedy was always likely.”
Holton’s death looked as though it ruled out any further Heavy Metal Kids action, and so it proved. At least until the new millennium. By this time iving in Milan, Peyronel tracked down Thomas and Boyce in order to float the idea of recording a few songs. Nobody thought for a moment that the trio could become the Heavy Metal Kids again. But as new guitarists Marco Guarniero and Marco Barusso entered the picture the project gathered pace. Peyronel had sung with his post-UFO band Tarzen (recording an album with them at Jimmy Page’s Sol Studios), and had no hesitation in stepping up to the microphone as well as playing keyboards. The result was the end of what the band call “the longest tea break in rock’n’roll history”, and also the birth of an album called Hit The Right Button.
Rather than attempting to recreate past glories without their late singer, Hit The Right Button instead but a contemporary spin that placed it close to modern bands such as The Datsuns and The Wildhearts.
“The nicest thing is that people don’t think we’re a bunch of old farts playing the blues,” Thomas insists. “Close your eyes and we could be in our twenties.”
Older and wiser, but no less charismatic, the band’s off-stage demeanour has at least changed for the better. “Keith used to be an animal,” Peyronel says. “Now he empties the ashtrays in his hotel room before he checks out.”
Even Dave Dee has returned to the organisation, this time as manager. He admits: “The reviews all say that Hit The Right Button is an excellent record, but we know it’ll be hard for the band. Basically, they’re gonna go out on the road and start again from scratch. They’ve got a fantastic product… sometimes all you need is a bit of luck.”
And don’t The Heavy Metal Kids deserve a slice of good fortune after all this time?
This feature originally appeared in Classic Rock issue 60, November 2003
Postscript: Danny Peyronel and Ronnie Thomas left the reunited Heavy Metal Kids in 2010 and 2011. Keith Boyce is still a member of the band
Dave Ling was a co-founder of Classic Rock magazine. His words have appeared in a variety of music publications, including RAW, Kerrang!, Metal Hammer, Prog, Rock Candy, Fireworks and Sounds. Dave’s life was shaped in 1974 through the purchase of a copy of Sweet’s album ‘Sweet Fanny Adams’, along with early gig experiences from Status Quo, Rush, Iron Maiden, AC/DC, Yes and Queen. As a lifelong season ticket holder of Crystal Palace FC, he is completely incapable of uttering the word ‘Br***ton’.
“I think it’s a bit of a popularity contest,” Wheat declared during an appearance on The Seth Williams Show. “I saw that the Black Crowes are [nominated this year]. If the Black Crowes are gonna be put in the Rock & Roll Hall of Fame, then perhaps Tesla should be considered for it purely for the fact of the [1990 live album] Five Man Acoustical Jam.”
Wheat was quick to clarify that his criticism wasn’t directed at the Black Crowes, a band he said he’s “loved since day one.” Instead, the Tesla rocker was searching for exactly what merits deem a band Hall-worthy.
“The thing that [Tesla] did was we had the first successful acoustic live album — before Rod Stewart, before Eric Clapton, before Nirvana,” Wheat noted, referring to Five Man Acoustical Jam. “And that’s what we did do — that was our contribution. So based on that contribution, do I think that merits us going in the Rock & Roll Hall of Fame? I don’t know. I mean, you can make that argument for a lot of artists that are in the Rock & Roll Hall of Fame. Did what they do merit them to be in the Rock & Roll Hall of Fame? I don’t know.”
Brian Wheat Won’t Be ‘Heartbroken’ if Tesla Never Gets in the Rock Hall
“How it’s been told to me is that if you do something that is kind of influential or creates a movement or whatever,” Wheat remarked, continuing to ponder the Hall’s methodology. “My question with Bad Company is, why so long? Why have they waited so long? Bad Company should have been in there before a lot of bands.”
“I don’t trip on this Rock & Roll Hall,” Wheat insisted. “Pretty soon it’s not gonna mean shit, because everyone’s gonna be in the Rock & Roll Hall of Fame… But I mean, just in general, it’s, like, who isn’t in the Rock & Roll Hall of Fame? There’s gonna be more people in the Rock & Roll Hall of Fame than aren’t in the Rock & Roll Hall of Fame. [They’ll] have to come up with a new one.”
Wheat is far from the only musician to criticize the Rock & Roll Hall of Fame. Even artists who’ve been inducted – like Judas Priest, Ozzy Osbourne and Def Leppard – have openly questioned the institution’s criteria. Still, the Tesla bassist confessed he’d be open to the Hall’s invitation if it ever came.
“If they called and they wanted to put us in there, would I turn it down? No. No,” he admitted. “But am I gonna be heartbroken if Tesla never gets in the fucking Rock & Roll Hall of Fame? Absolutely not. What matters most to me is that 40 years later, people are still paying their hard-earned dollars to come and see us play by the thousands. And that, to me — you can keep all the fucking awards; that’s the one that I’m most proud of, is that when I look out there and I see 2,500 people, wherever we go in America to play, singing our songs, and there’s three generations of people.”
25 Rock Stars Who Have Criticized the Rock and Roll Hall of Fame
HOF execs have been labeled “faceless tuxedo-wearing morons” and “spineless weasels.”
Styx made an unexpected lineup change for their concert in Grand Ronde, Oregon on Friday night.
Todd Sucherman, the band’s drummer since 1995, had to be hospitalized due to a serious case of food poisoning. In his place, Jeff Heintz, the band’s long-time production manager and keyboard tech, rose to the occasion.
“Jeff has always been an excellent drummer and he’s watched the show for nearly 20 years now from stage right,” Sucherman noted in a Facebook post explaining what happened. “Thanks to Jeff for saving the night, my bandmates and crew, and the audience who was understanding and still saw a great show.”
Fans in attendance expressed their appreciation to Heintz for stepping up at the last minute. “Jeff did a great job! And the crowd gave great applause when he was introduced and again at the end of the performance,” remarked one fan who was there. “No one could replace you Todd Sucherman, but Jeff did a great job!” added another.
“There’s going to be so much good music, and it’s all good folks that we love spending time with,” Styx’s Tommy Shaw told UCR when the tour was announced. “It really is a brotherhood, and it has been for a long, long time.”
Styx Lineup Changes: A Complete Guide
This may have started as a simple neighborhood band, but they evolved into something much bigger.
Our 20 Songs That Make Everything Feel Okay list is here to lift your spirits because at ClassicRockHistory.com, we’ve got your back. This isn’t just about one genre—it’s about the universal power of music to turn things around. While we’re a rock-focused site, we know that rock music has always blurred the lines, borrowing from blues, soul, pop, and funk, just as those genres have borrowed from rock. That crossover is what makes music timeless, and it’s exactly what this list represents.
These songs have a way of shifting your mood, whether it’s through their lyrics, melodies, grooves, or sheer energy. Some tracks lift you up with their words, offering hope and reassurance. Others work their magic through an unforgettable riff, an infectious rhythm, or the kind of chorus that makes you want to sing at the top of your lungs. It’s the feeling of pure escape, the kind of music that wipes the frown off your face and lets the sun shine in.
From the effortless optimism of “Lovely Day” to the feel-good anthem that is “I Got You (I Feel Good),” these songs radiate positivity. “The Weight” reminds us that burdens feel lighter when shared, while “Keeping the Faith” proves that perseverance has its own rhythm. “Unwritten” is a soundtrack to new beginnings, and “A Place in the Sun” offers a promise of brighter days ahead. “Ol’ ’55” and “Listen to the Music” invite you to let go, and “Jump” pushes you to take that leap. “I Feel the Earth Move” shakes things up with unstoppable energy, while “It’s Gonna Be Alright” delivers reassurance in every note.
“Up, Up and Away” lifts you skyward, “Feelin’ Alright” embraces resilience, and “Sir Duke” celebrates music’s endless joy. “Jet” races forward with pure exhilaration, while “Dancing Days” reminds you to live in the moment. “Stoned Soul Picnic” paints a picture of carefree bliss, and “I’ll Be There” wraps you in unconditional support. “Do You Wanna Dance?” dares you to move, “Saturday in the Park” captures the magic of a perfect day, and if all else fails, James Brown is here to remind you—”I Got You (I Feel Good)”—and after this list, you just might too.
So press play, turn it up, and let these songs do what they were meant to do—make everything feel okay.
# 20 – Lovely Day – Bill Withers
Recorded in 1977 at The Record Plant in Los Angeles, “Lovely Day” was released as the lead single from Menagerie, Bill Withers’ sixth studio album. Withers co-wrote the song with Skip Scarborough, who also co-produced it. The recording featured Withers on lead vocals, backed by Ray Parker Jr. on guitar, Jerry Knight on bass, Russ Kunkel on drums, and Clarence McDonald on electric piano. The track is instantly recognizable for its smooth, feel-good groove and Withers’ remarkable sustained note in the final chorus, held for an astonishing 18 seconds—one of the longest ever recorded in a pop song.
The lyrics radiate an effortless optimism, built around the idea that no matter how difficult the day may seem, the presence of a loved one can make everything feel right. The opening verse, “When I wake up in the morning, love / And the sunlight hurts my eyes,” acknowledges the weight of everyday struggles, but the chorus quickly shifts the mood with, “Then I look at you / And the world’s alright with me.” Withers’ warm delivery and the song’s steady, mid-tempo rhythm create an atmosphere of pure reassurance, making it a perfect embodiment of the theme of this list.
Upon release, “Lovely Day” reached No. 6 on the Billboard R&B chart and No. 30 on the Billboard Hot 100, and though it wasn’t Withers’ biggest hit at the time, its influence has only grown over the decades. The song has been covered, sampled, and remixed multiple times, reappearing in films, commercials, and even a successful 1995 UK remix that introduced it to a new generation. Withers’ effortless ability to translate joy into music makes “Lovely Day” a timeless anthem of reassurance—an unwavering reminder that sometimes, all it takes is one person to turn everything around.
Recorded in early 1968 at A&R Studios in New York City, “The Weight” became one of The Band’s defining songs, appearing on their debut album, Music from Big Pink. The song was written by Robbie Robertson and produced by John Simon, featuring Levon Helm on lead vocals and drums, with Richard Manuel on piano, Rick Danko on bass, Garth Hudson on organ, and Robertson handling guitars. Despite peaking modestly at No. 63 on the Billboard Hot 100, “The Weight” grew into a cultural cornerstone, solidifying The Band’s reputation as pioneers of Americana and roots rock.
Lyrically, the song plays like an allegorical journey, with the narrator arriving in the fictional town of Nazareth, Pennsylvania—home to Martin Guitars—and encountering a cast of eccentric characters. The lyrics, “I pulled into Nazareth, was feelin’ ’bout half past dead,” set a weary but strangely comforting tone, with each verse unfolding like a fable about the burdens we carry and the kindness of strangers. The song’s chorus, “Take a load off, Fanny / Take a load for free,” offers a moment of relief, making it a fitting addition to this list of songs that make everything feel okay. The harmonized refrain exudes warmth, capturing the feeling of shared struggle and communal support.
While the song’s meaning remains open to interpretation, its universal themes of wandering, responsibility, and redemption have resonated across generations. Covered by countless artists—from Aretha Franklin to The Staples Singers—”The Weight” transcends its 1968 origins, becoming a timeless anthem of human connection. Its blend of gospel, country, and folk-rock makes it as comforting as it is profound, a track that doesn’t just tell a story but invites listeners to find their own meaning within it.
Recorded in 1983 at The Power Station in New York City, “Keeping the Faith” served as the closing track and final single from Billy Joel’s album An Innocent Man. Written and produced by Joel, with Phil Ramone handling co-production, the song featured Joel on vocals and piano, alongside Liberty DeVitto on drums, Doug Stegmeyer on bass, Russell Javors on guitar, and Mark Rivera on saxophone. The track carried the nostalgic, doo-wop-inspired sound that defined An Innocent Man, a tribute to the music of Joel’s youth. Released in 1984, the single peaked at No. 18 on the Billboard Hot 100, extending the album’s string of hits.
Lyrically, “Keeping the Faith” embraces the power of optimism and self-belief, reflecting on past mistakes and youthful dreams without slipping into regret. The lines, “You can get just so much from a good thing / You can linger too long in your dreams,” acknowledge the risks of dwelling in the past, yet the upbeat chorus reaffirms the importance of perseverance. The song’s playful energy, complete with doo-wop harmonies and a buoyant rhythm section, makes it a natural fit for this list—its feel-good message and driving beat provide an instant mood lift.
Unlike the deeply reflective nature of “The Weight” by The Band, which leans on storytelling and allegory, “Keeping the Faith” delivers its reassurance with a lighthearted, self-aware charm. The accompanying music video, featuring Joel in a courtroom-style confession of his past, added another layer of humor and warmth to the song’s sentiment. With its mix of nostalgia, humor, and sincerity, “Keeping the Faith” stands as an enduring anthem of resilience—one that reminds listeners that no matter where life takes them, holding onto optimism is always worth it.
Recorded in 2003 and released as the title track of Natasha Bedingfield’s debut album in 2004, “Unwritten” became an anthem of possibility and self-empowerment, blending pop with uplifting gospel-tinged harmonies. Produced by Wayne Rodrigues, Danielle Brisebois, and Bedingfield herself, the song featured a bright, piano-driven melody and soaring vocals that reinforced its message of embracing the unknown. Lyrically, it speaks to the freedom of charting one’s own course, with the chorus declaring, “No one else can speak the words on your lips / Drench yourself in words unspoken, live your life with arms wide open.” The song gained massive popularity in the U.S. after its 2006 release, reaching No. 5 on the Billboard Hot 100 and earning a Grammy nomination for Best Female Pop Vocal Performance. Its use in films, commercials, and as the theme for The Hills further cemented its cultural impact, making “Unwritten” a defining track of early 2000s pop and a natural inclusion on this list as a song that radiates optimism and renewal.
Released in 1977 as the title track of Pablo Cruise’s third studio album, A Place in the Sun, this song captured the band’s signature blend of soft rock and West Coast sunshine pop. Produced by Bill Schnee and recorded at The Record Plant in Sausalito, California, the track features Cory Lerios on keyboards and vocals, David Jenkins on guitar and vocals, Bruce Day on bass, and Steve Price on drums, creating a smooth yet driving groove. Lyrically, “A Place in the Sun” delivers a message of perseverance and hope, with lines like “Like a long lonely stream, I keep runnin’ towards a dream / Movin’ on, movin’ on,” reinforcing the universal desire for something better. While the song did not chart as high as some of the band’s other hits, it remains one of their most enduring tracks, embraced for its uplifting tone and breezy instrumentation. Its message of resilience and optimism makes it a perfect fit for this list, offering a reminder that no matter how hard the road gets, there’s always the promise of something brighter ahead.
Recorded in 1974 for On the Border, “Ol’ ’55” was the Eagles’ interpretation of the Tom Waits original, transforming his sparse piano-driven ballad into a polished, harmony-rich country-rock track. Produced by Bill Szymczyk, the song was recorded at Olympic Studios in London and featured Glenn Frey and Don Henley sharing lead vocals, with Bernie Leadon on guitar and pedal steel, Randy Meisner on bass, and Henley on drums. Lyrically, “Ol’ ’55” is a nostalgic reflection on a fleeting moment of happiness, as the narrator recalls the feeling of driving away from a lover in the early morning light—“And now the sun’s coming up / I’m riding with Lady Luck.” The Eagles’ version softens the raw melancholy of Waits’ original, adding shimmering harmonies and a smooth production style that heightens the song’s sense of wistful contentment. Though never released as a single, it remains a fan favorite, embodying the easygoing, reflective warmth that makes it a natural fit for this list.
From the moment its shimmering acoustic riff kicks in, “Listen to the Music” feels like a deep breath of fresh air. Recorded in early 1972 at Warner Bros. Studios in North Hollywood, the track became The Doobie Brothers’ breakthrough hit, leading Toulouse Street into the mainstream. Written by Tom Johnston and produced by Ted Templeman, the song features Johnston’s smooth lead vocals, Patrick Simmons’ rhythm guitar, Tiran Porter’s bass, and the band’s signature dual-drum attack courtesy of John Hartman and Michael Hossack. Its message is simple yet powerful—“What the people need is a way to make them smile / It ain’t so hard to do if you know how,”—encapsulating the song’s infectious optimism. Peaking at No. 11 on the Billboard Hot 100, “Listen to the Music” remains a timeless invitation to let go, turn up the volume, and escape into something that just feels good.
With its electrifying synth intro and anthemic chorus, “Jump” wasn’t just a departure for Van Halen—it was a reinvention. Recorded in 1983 at Eddie Van Halen’s 5150 Studios and released as the lead single from 1984, the track saw Eddie trading his signature guitar riffs for a bold Oberheim OB-Xa synthesizer melody, a move that would define the band’s most commercially successful era. Produced by Ted Templeman, the song featured David Lee Roth’s high-energy vocals, Michael Anthony’s driving bass, and Alex Van Halen’s pounding drums, culminating in one of the most recognizable rock songs of all time. Lyrically, “Jump” exudes pure optimism, with Roth delivering an adrenaline-fueled call to action: “Go ahead and jump!” The track dominated the charts, reaching No. 1 on the Billboard Hot 100, becoming Van Halen’s biggest hit and an enduring stadium anthem. Its explosive energy and feel-good defiance make it a perfect fit for this list, a song that demands you let loose, embrace the moment, and take the leap.
From the opening piano chords, “I Feel the Earth Move” is an unstoppable rush of energy, blending rock, soul, and Carole King’s signature songwriting brilliance. Recorded in 1971 at A&M Recording Studios in Los Angeles and released as the opening track on Tapestry, the song showcases King’s commanding piano work, with Danny Kortchmar on guitar, Charles Larkey on bass, and Russ Kunkel on drums. King’s powerful vocal delivery mirrors the song’s lyrical intensity, as she describes a love so overwhelming it shakes her foundation—“I feel the earth move under my feet / I feel the sky tumbling down.” Released as a double A-side with “It’s Too Late,” the single soared to No. 1 on the Billboard Hot 100, cementing Tapestry as one of the defining albums of its era. The song’s infectious groove and unstoppable momentum make it an undeniable mood booster, an electrifying reminder of how music can make everything feel alive again.
# 11 – It’s Gonna Be Alright – Gerry & The Pacemakers
With its upbeat tempo and reassuring lyrics, “It’s Gonna Be Alright” radiates the kind of optimism that defined the British Invasion. Recorded in 1964 at EMI Studios in London and released as the lead track from Ferry Cross the Mersey, the song was written by Gerry Marsden and produced by George Martin, the legendary architect behind The Beatles’ sound. Featuring Marsden’s warm, earnest vocals alongside Les Chadwick’s bass, Les Maguire’s keyboards, and Freddie Marsden’s drumming, the track’s buoyant melody reinforces its message of resilience—“It’s gonna be alright, it’s gonna be fine, love will find a way.” Though it didn’t achieve the massive chart success of “Ferry Cross the Mersey,” it remains a hidden gem in Gerry & The Pacemakers’ catalog, delivering an instant shot of encouragement. Its hopeful message and bright instrumentation make it a perfect addition to this list, offering the simple but powerful reminder that no matter how tough things get, better days are ahead.
A soaring celebration of optimism, “Up, Up and Away” captures the carefree spirit of the late 1960s with its dreamy melodies and uplifting harmonies. Recorded in 1967 at Sound Recorders in Hollywood and produced by Johnny Rivers, the song was written by Jimmy Webb and became a defining hit for The 5th Dimension. Featuring the warm, soaring vocals of Marilyn McCoo, Billy Davis Jr., Florence LaRue, Lamonte McLemore, and Ron Townson, the track’s light, buoyant instrumentation mirrors its whimsical lyrics—“Would you like to ride in my beautiful balloon?”—inviting listeners into a world of weightless joy. The song became a massive success, reaching No. 7 on the Billboard Hot 100 and winning five Grammy Awards, including Record of the Year. Its blend of sunshine pop and easygoing escapism makes it a perfect fit for this list, offering a blissful reminder to let go and embrace the ride.
Joe Cocker transformed “Feelin’ Alright” from a laid-back groove into a fiery, full-throttle anthem of perseverance. Originally written by Dave Mason and recorded by Traffic in 1968, Cocker’s version—released in 1969 on his self-titled second album—brought a new level of grit and urgency to the song. Recorded at A&M Studios in Los Angeles and produced by Denny Cordell, the track featured Cocker’s unmistakable raspy vocals, backed by an all-star band that included session legends like pianist Artie Butler, bassist Chris Stainton, and drummer Paul Humphrey. The lyrics, “You feelin’ alright? I’m not feelin’ too good myself,” take on a cathartic quality in Cocker’s hands, turning what was originally a song about regret into a raw, soul-powered release. While never a massive chart hit upon its initial release, Cocker’s version became a staple of classic rock radio and one of his most enduring performances, capturing the essence of shaking off troubles and pushing forward—making it a perfect addition to this list.
A jubilant tribute to the power of music, “Sir Duke” radiates pure joy from the first blast of its unmistakable horn riff. Recorded in 1976 at Crystal Sound Studios in Los Angeles and released on Songs in the Key of Life, the track was written, produced, and arranged by Stevie Wonder as a celebration of jazz legends like Duke Ellington, Count Basie, and Louis Armstrong. Featuring Wonder’s signature clavinet groove, a tight brass section, and infectious rhythm, the song’s energy is unstoppable. Lyrically, it encapsulates the universal magic of music—“Music knows it is and always will / Be one of the things that life just won’t quit.” The song soared to No. 1 on the Billboard Hot 100, becoming one of Wonder’s most beloved hits. Its exuberance and reverence for music’s ability to uplift make it a perfect fit for this list, a song that instantly brightens any moment and reminds us why music makes everything feel okay.
Blasting out of the gate with driving guitars and a soaring chorus, “Jet” is pure adrenaline wrapped in McCartney’s signature melodic craftsmanship. Recorded in 1973 at EMI’s Abbey Road Studios and AIR Studios in London, the track was released as the lead single from Band on the Run, with McCartney handling bass, lead vocals, and much of the instrumentation alongside Linda McCartney on keyboards and Denny Laine on guitar. Produced by McCartney himself, the song’s cryptic lyrics—“Jet! With the wind in your hair of a thousand laces”—add to its freewheeling energy, though McCartney later explained it was loosely inspired by his pet dog. Peaking at No. 7 on the Billboard Hot 100, “Jet” became one of Wings’ most recognizable hits, its anthemic power-chord progression and euphoric brass section making it an instant mood-lifter. The song’s boundless energy and infectious spirit make it a natural fit for this list, delivering a rush of excitement that feels like a sonic escape
Built on a hypnotic Jimmy Page riff and a groove that feels like pure sunshine, “Dancing Days” captures Led Zeppelin at their most playful. Recorded in 1972 at Mick Jagger’s Stargroves estate and released on Houses of the Holy, the track was produced by Page and features Robert Plant’s carefree vocals, John Paul Jones’ melodic bass, and John Bonham’s steady, infectious drumming. The lyrics—“Dancing days are here again, as the summer evenings grow”—radiate a sense of renewal and joy, a rare moment of lightheartedness in the band’s catalog. Inspired by a trip to India and heavily influenced by Eastern melodies, the song stands out for its blend of exotic textures and classic Zeppelin swagger. Though it was never released as a single, “Dancing Days” became a fan favorite and a staple of the band’s live sets. Its warm, celebratory energy makes it a perfect fit for this list, delivering the kind of feel-good rock that instantly lifts the spirit.
A vibrant fusion of soul, jazz, and pop, “Stoned Soul Picnic” is Laura Nyro at her most mesmerizing. Recorded in 1968 at Columbia Records’ New York studios and featured on her album Eli and the Thirteenth Confession, the song was written and produced by Nyro, showcasing her signature layered harmonies, intricate piano work, and poetic lyricism. The phrase “Can you surry, can you picnic?” evokes an almost dreamlike sense of joy and escape, inviting listeners into a world of love, laughter, and sunshine. Though Nyro’s original never became a major hit, it found new life when The 5th Dimension recorded their own version later that year, taking it to No. 3 on the Billboard Hot 100. Nyro’s version remains a dazzling showcase of her songwriting brilliance, capturing a carefree, euphoric spirit that makes it a perfect addition to this list—an invitation to let go and revel in life’s simple pleasures.
Overflowing with warmth and sincerity, “I’ll Be There” became the defining ballad of The Jackson 5’s early career. Recorded in 1970 at Motown’s Hitsville U.S.A. studios in Detroit and released as the lead single from Third Album, the song was written by Berry Gordy, Hal Davis, Willie Hutch, and Bob West, with Davis producing. Unlike the group’s previous high-energy hits, this track showcased a softer side, with a tender lead vocal from a 12-year-old Michael Jackson, harmonized beautifully by Jermaine Jackson, Tito Jackson, Jackie Jackson, and Marlon Jackson. The lyrics—“I’ll be there to comfort you, build my world of dreams around you”—embody unwavering devotion, resonating with audiences worldwide. The song became The Jackson 5’s fourth consecutive No. 1 hit on the Billboard Hot 100, cementing their status as Motown’s biggest act. Its heartfelt message and soul-stirring delivery make it a perfect addition to this list, offering reassurance and comfort with every listen.
Blasting through in just over two minutes, “Do You Wanna Dance?” is The Ramones at their most infectious, turning a ’50s rock classic into a high-speed punk anthem. Originally written and recorded by Bobby Freeman in 1958, the song was reimagined by The Ramones for their 1977 album Rocket to Russia, produced by Tony Bongiovi and Tommy Ramone at Media Sound Studios in New York. With Joey Ramone’s distinctive, half-sneering vocals, Johnny Ramone’s relentless downstroke guitar attack, Dee Dee Ramone’s driving bass, and Tommy Ramone’s pounding drums, the track replaces the original’s smooth doo-wop swing with pure adrenaline. The lyrics—“Do you wanna dance and hold my hand?”—keep their simplicity, but the Ramones’ raw energy transforms the song into an invitation to let loose and embrace the moment. Their version, which became a minor hit in the UK, remains one of their most beloved covers, radiating the carefree, reckless joy that makes it a natural fit for this list.
Exploding with uncontainable energy, “I Got You (I Feel Good)” is James Brown at his most electrifying. Recorded in May 1965 at Criteria Studios in Miami and released later that year as a single, the song was produced by Brown himself and became his biggest pop hit, reaching No. 3 on the Billboard Hot 100 and topping the R&B chart. Built around a driving horn section, a relentless groove, and Brown’s signature screams, the track is an all-out celebration of joy, with lyrics that radiate pure confidence—“I feel nice, like sugar and spice!” The song’s tight, punchy arrangement, led by saxophonist Maceo Parker and the legendary James Brown Band, set the standard for funk, influencing generations of artists. Its infectious rhythm and boundless energy make it impossible to listen to without feeling lifted, cementing its place as a song that instantly makes everything feel okay.
With its bright piano intro and breezy horns, “Saturday in the Park” feels like pure sunshine captured in a song. Recorded in 1972 at Columbia Studios in New York and released as the lead single from Chicago V, the track was written by Robert Lamm and produced by James William Guercio. Inspired by a real-life visit to Central Park, Lamm’s lyrics paint a vivid picture of joy and togetherness—“Saturday in the park, I think it was the Fourth of July.” The combination of Lamm’s warm lead vocals, Terry Kath’s soulful guitar, and Chicago’s signature brass section creates an atmosphere of pure celebration. Peaking at No. 3 on the Billboard Hot 100, the song remains one of the band’s most beloved hits, embodying the carefree feeling of a perfect summer day. Its uplifting energy and nostalgic charm make it the perfect way to close out this list, a reminder that sometimes, happiness is as simple as a sunny afternoon in the park.
Since releasing their debut album Misery Sermon in 2017, the Florida band, fronted by Russian-born singer Alex Terrible, have risen through the ranks to become arguablu the biggest deathcore band around. Now upcoming third album Grizzly – due for release in the summer – looks set to cement their place as mainstream contenders.
But their success isn’t the only thing that sets STP apart. As well as making his own facemasks and competing in bare-knuckle fights, Alex has an unusual hobby: bear wrestling. Specifically a Russian brown bear named Tom. Videos of his encounters with the animal in Moscow have become part of the band’s myth.
“It sort of became our Eddie from Iron Maiden pretty naturally,” he says.
While footage shows Alex grappling with the beast and roaring into its face, he says part of what he enjoys about wrestling with several hundred pounds of angry Paddington is the genuine sense of terror it instils in him. It’s certainly not something he’d recommend other people do.
“First of all, even if you are a girl, you have to have big balls to do that, because it’s actually fucking scary. Very scary,” he says with a laugh.
The singer is usually shirtless when he approaches the bear, and often has visible scratches on his skin by the time it’s over.
“No shirt,” he explains, insisting proudly that “it looks more dangerous and brutal”.
Alex, who also competes in bare-knuckle fighting, notes the differences between fighting a bear and a human opponent: “When you look into a human’s eyes, you feel emotions, you feel maybe anger or kindness. You feel this soul, right? You look into this bear’s eyes, you don’t see anything in there.”
In those videos, Tom the bear is a formidable opponent, with overwhelming weight and strength. Alex notes that the main challenge is just keeping the bear from grabbing your leg or back, “Because the bear is grabbing all the time.”
But most disturbing might be Tom’s utter silence as Alex struggles to control him.
“The bear stays quiet,” Alex explains. “If the bear started to scream at me, I would shit my pants and run.”
Now around six years old and weighing over 600 pounds, Tom has grown too large to wrestle safely. But when Alex used to make his special visits to the bear, Tom always recognised him and was ready to rumble.
“I hope he is thinking I’m his friend,” Alex says with a chuckle. “All the times he sees me, he knows we will wrestle and play and he got very excited. Very excited.”
Read the full interview with Alex Terrible in the brand new issue of Metal Hammer, onsale now. Order it online and have it delivered straight to your door.
“1 More Hit” – Van Weezer (2021) “Across the Meadow” – SZNZ: Spring (vinyl) (2022) “Across the Sea” – Pinkerton (1996) “Africa” (Toto cover) – Non-album single (2018) “Ain’t Got Nobody” – Everything Will Be Alright in the End (2014) “All My Favorite Songs” – OK Human (2021) “All My Friends Are Insects” (Yo Gabba Gabba! featuring Weezer) – Music Is…Awesome! Volume 2 (2010) “All the Good Ones” – Van Weezer (2021) “All This Love” – SZNZ: Spring (2022) “Aloo Gobi” – OK Human (2021) “Always” – Non-album single (B-side to “Island in the Sun”) (2001) “American Gigolo” – Maladroit (2002) “Anak Sekolah” (Chrisye cover) – Non-album single (2022) “The Angel and the One” – Weezer (Red Album) (2008) “Angels on Vacation” – SZNZ: Spring (2022) “Any Friend of Diane’s” – Pacific Daydream (2017) “Automatic” – Weezer (Red Album) (2008) “Autopilot” – Death to False Metal (2010) “Back to the Shack” – Everything Will Be Alright in the End (2014) “Basketball” – SZNZ: Winter (2022) “Beach Boys” – Pacific Daydream (2017) “Beginning of the End” – Van Weezer (2021) “Beverly Hills” – Make Believe (2005) “Billie Jean” (Michael Jackson cover) – Weezer (Teal Album) (2019) “Bird with a Broken Wing” – OK Human (2021) “Blowin’ My Stack” – Death to False Metal (2010) “Blue Like Jazz” – SZNZ: Summer (2022) “Blue Dream” – Van Weezer (2021) “Brave New World” – Hurley (2010) “Brightening Day” – Non-album single (B-side to “Island in the Sun”) (2001) “The British Are Coming” – Everything Will Be Alright in the End (2014) “Buddy Holly” – Weezer (Blue Album) (1994) “Burndt Jamb” – Maladroit (2002) “Butterfly” – Pinkerton (1996) “Byzantine” – Weezer (Black Album) (2019)
(C-D)
“California Kids” – Weezer (White Album) (2016) “California Snow” – Weezer (Black Album) (2019) “Can’t Dance, Don’t Ask Me” – SZNZ: Autumn (2022) “Can’t Knock the Hustle” – Weezer (Black Album) (2019) “Can’t Stop Partying” (featuring Lil Wayne) – Raditude (2009) “Cleopatra” – Everything Will Be Alright in the End (2014) “Cold Dark World” – Weezer (Red Album) (2008) “Crab” – Weezer (Green Album) (2001) “Cuomoville” – SZNZ: Summer (2022) “Da Vinci” – Everything Will Be Alright in the End (2014) “The Damage in Your Heart” – Make Believe (2005) “Dark Enough to See the Stars” – SZNZ: Winter (2022) “Dead Roses” – OK Human (2021) “Death and Destruction” – Maladroit (2002) “December” – Maladroit (2002) “The Deep and Dreamless Sleep” – SZNZ: Winter (2022) “Devotion” – Non-album single (B-side to “El Scorcho”) (1996) “Do You Wanna Get High?” – Weezer (White Album) (2016) “Don’t Let Go” – Weezer (Green Album) (2001) “Dope Nose” – Maladroit (2002) “Dreamin’” – Weezer (Red Album) (2008)
(E-F)
“El Scorcho” – Pinkerton (1996) “The End of the Game” – Van Weezer (2021) “Endless Bummer” – Weezer (White Album) (2016) “Eulogy for a Rock Band” – Everything Will Be Alright in the End (2014) “Everybody Get Dangerous” – Weezer (Red Album) (2008) “Everything Happens for a Reason” – OK Human (2021) “Everybody Needs Salvation” – Non-album single (2015) “Everybody Wants to Rule the World” (Tears for Fears cover) – Weezer (Teal Album) (2019) “Everyone” – Death to False Metal (2010) “Fake Smiles and Nervous Laughter” – Weezer (White Album) (deluxe edition) (2016) “Fall Together” – Maladroit (2002) “Falling for You” – Pinkerton (1996) “Feels Like Summer” – Pacific Daydream (2017) “Foolish Father” – Everything Will Be Alright in the End (2014) “Francesca” – SZNZ: Autumn (2022) “Freak Me Out” – Make Believe (2005) “Friend of a Friend” – Weezer (White Album) (deluxe edition) (2016) “The Futurescope Trilogy: I. The Waste Land” – Everything Will Be Alright in the End (2014) “The Futurescope Trilogy: II. Anonymous” – Everything Will Be Alright in the End (2014) “The Futurescope Trilogy: III. Return to Ithaka” – Everything Will Be Alright in the End (2014)
(G-H)
“The Garden of Eden” – SZNZ: Spring (2022) “Get Me Some” – Raditude (deluxe edition) (2009) “Get Off on the Pain” – SZNZ: Autumn (2022) “Get Right” – Pacific Daydream (2017) “Getchoo” – Pinkerton (1996) “Getting Up and Leaving” – Pinkerton (deluxe edition) (2010) “The Girl Got Hot” – Raditude (2009) “(Girl We Got A) Good Thing” – Weezer (White Album) (2016) “Glorious Day” – Weezer (Green Album) (2001) “Go Away” – Everything Will Be Alright in the End (2014) “The Good Life” – Pinkerton (1996) “Grapes of Wrath” – OK Human (2021) “The Greatest Man That Ever Lived (Variations on a Shaker Hymn)” – Weezer (Red Album) (2008) “Hang On” – Hurley (2010) “Happy Hour” – Pacific Daydream (2017) “Happy Together” (The Turtles cover) – Weezer (Teal Album) (2019) “Hash Pipe” – Weezer (Green Album) (2001) “Haunt You Every Day” – Make Believe (2005) “Heart Songs” – Weezer (Red Album) (2008) “Here Comes the Rain” – OK Human (2021) “Hero” – Van Weezer (2021) “High as a Kite” – Weezer (Black Album) (2019) “Hold Me” – Make Believe (2005) “Holiday” – Weezer (Blue Album) (1994)
(I-J)
“I Do” – Non-album single (B-side to “Hash Pipe”) (2001) “I Don’t Want to Let You Go” – Raditude (2009) “I Don’t Want Your Loving” – Death to False Metal (2010) “I Just Threw Out the Love of My Dreams” – Non-album single (B-side to “The Good Life”) (1996) “I Love the U.S.A.” – Weezer (White Album) (deluxe edition) (2016) “I Need Some of That” – Van Weezer (2021) “I Swear It’s True” – Weezer (Blue Album) (deluxe edition) (2004) “I Want a Dog” – SZNZ: Winter (2022) “I Want to Be Something” – Hurley (deluxe edition) (2010) “I’m a Believer” (Neil Diamond cover) – Shrek Forever After (2010) “I’m a Robot” – Death to False Metal (2010) “I’m Just Being Honest” – Weezer (Black Album) (2019) “I’m Your Daddy” – Raditude (2009) “I’ve Had It Up to Here” – Everything Will Be Alright in the End (2014) “I’ve Thrown It All Away” – Van Weezer (vinyl) (2021) “Iambic Pentameter” – SZNZ: Winter (2022) “(If You’re Wondering If I Want You To) I Want You To” – Raditude (2009) “In the Garage” – Weezer (Blue Album) (1994) “In the Mall” – Raditude (2009) “Island in the Sun” – Weezer (Green Album) (2001) “It’s Always Summer in Bikini Bottom” – The SpongeBob Movie: Sponge on the Run (2021) “It’s Been So Long” – Non-album single (2019) “Jacked Up” – Weezer (White Album) (2016) “Jamie” – DGC Rarities Vol. 1 (1994)
(K-N)
“Keep Fishin’” – Maladroit (2002) “King” – Weezer (Red Album) (deluxe edition) (2008) “King of the World” – Weezer (White Album) (2016) “Knock-down Drag-out” – Weezer (Green Album) (2001) “La Brea Tar Pits” – OK Human (2021) “L.A. Girlz” – Weezer (White Album) (2016) “La Mancha Screwjob” – Pacific Daydream (2017) “The Last Days of Summer” – Non-album single (2016) “Lawn Chair” – SZNZ: Summer (2022) “Let It All Hang Out” – Raditude (2009) “A Little Bit of Love” – SZNZ: Spring (2022) “Living in L.A.” – Weezer (Black Album) (2019) “Lonely Girl” – Everything Will Be Alright in the End (2014) “Long Time Sunshine” – Pinkerton (deluxe edition) (2010) “Losing My Mind” – Death to False Metal (2010) “Lost in the Woods” (Jonathan Groff cover) – Frozen II (Original Motion Picture Soundtrack) (2019) “Love Explosion” – Maladroit (2002) “Love Is the Answer” – Raditude (2009) “Lullaby for Wayne” – Weezer (Blue Album) (deluxe edition) (2004) “Memories” – Hurley (2010) “Mexican Fender” – Pacific Daydream (2017) “Mirror Image” – OK Human (2021) “Miss Sweeney” – Weezer (Red Album) (deluxe edition) (2008) “Mr. Blue Sky” (Electric Light Orchestra cover) – Weezer (Teal Album) (2019) “My Best Friend” – Make Believe (2005) “My Name Is Jonas” – Weezer (Blue Album) (1994) “Mykel & Carli” – Non-album single (B-side to “Undone – The Sweater Song”) (1994) “No One Else” – Weezer (Blue Album) (1994) “No Other One” – Pinkerton (1996) “No Scrubs” (TLC cover) – Weezer (Teal Album) (2019) “Numbers” – OK Human (2021)
(O-Q)
“O Girlfriend” – Weezer (Green Album) (2001) “The Odd Couple” – Death to False Metal (2010) “Oh Lisa” – WWE Tough Enough 2 (2002) “The One That Got Away” – SZNZ: Winter (2022) “Only in Dreams” – Weezer (Blue Album) (1994) “Opening Night” – SZNZ: Spring (2022) “The Opposite of Me” – SZNZ: Summer (2022) “The Other Way” – Make Believe (2005) “Outta Here” – Death to False Metal (deluxe edition) (2010) “Paperface” – Weezer (Blue Album) (deluxe edition) (2004) “Paranoid” (Black Sabbath cover) – Weezer (Teal Album) (2019) “Pardon Me” – Make Believe (2005) “Peace” – Make Believe (2005) “Perfect Situation” – Make Believe (2005) “Photograph” – Weezer (Green Album) (2001) “Piece of Cake” – Weezer (Black Album) (2019) “Pig” – Weezer (Red Album) (deluxe edition) (2008) “Pink Triangle” – Pinkerton (1996) “Playing My Piano” – OK Human (2021) “Pork and Beans” – Weezer (Red Album) (2008) “Portia” – SZNZ: Summer (vinyl) (2022) “Possibilities” – Maladroit (2002) “Precious Metal Girl” – Van Weezer (2021) “The Prettiest Girl in the Whole Wide World” – Raditude (deluxe edition) (2009) “The Prince Who Wanted Everything” – Weezer (Black Album) (2019) “Prom Night” – Weezer (White Album) (2016) “Put Me Back Together” – Raditude (2009) “QB Blitz” – Pacific Daydream (2017)
(R-S)
“Rainbow Connection” – Muppets: The Green Album (2011) “Records” – SZNZ: Summer (2022) “Represent” – Non-album digital single (2010) “Rosanna” – Non-album song (2018) “Ruling Me” – Hurley (2010) “Run Away” – Hurley (2010) “Run Over by a Truck” – Raditude (deluxe edition) (2009) “Run, Raven, Run” – SZNZ: Autumn (2022) “Say It Ain’t So” – Weezer (Blue Album) (1994) “Screens” – OK Human (2021) “She Needs Me” – Van Weezer (2021) “Sheila Can Do It” – Van Weezer (2021) “Sheraton Commander” – SZNZ: Winter (2022) “Should She Stay or Should She Go” – SZNZ: Autumn (2022) “Simple Pages” – Weezer (Green Album) (2001) “Slave” – Maladroit (2002) “Slob” – Maladroit (2002) “Smart Girls” – Hurley (2010) “Smile” – Weezer (Green Album) (2001) “The Sound of Drums” – SZNZ: Spring (2022) “Space Rock” – Maladroit (2002) “The Spider” – Weezer (Red Album) (deluxe edition) (2008) “Stand by Me” – Weezer (Teal Album) (2019) “Starlight” – Non-album single (B-side to “Hash Pipe”) (2001) “Sugar Booger” – Non-album single (B-side to “Island in the Sun”) (UK CD2) (2001) “Summer Elaine and Drunk Dori” – Weezer (White Album) (2016) “Surf Wax America” – Weezer (Blue Album) (1994) “Susanne” – Non-album single (B-side to “Undone – The Sweater Song”) (1994) “Sweet Dreams (Are Made of This)” – Weezer (Teal Album) (2019) “Sweet Mary” – Pacific Daydream (2017)
(T-U)
“Take Control” – Maladroit (2002) “Take On Me” – Weezer (Teal Album) (2019) “Tastes Like Pain” – SZNZ: Autumn (2022) “Teenage Victory Song” – Non-album single (B-side to “Hash Pipe”) (UK 7″) (2001) “Thank God for Girls” – Weezer (White Album) (2016) “Thank You and Goodnight” – SZNZ: Summer (2022) “This Is Such a Pity” – Make Believe (2005) “Thought I Knew” – Weezer (Red Album) (2008) “Time Flies” – Hurley (2010) “Tired of Sex” – Pinkerton (1996) “Too Many Thoughts in My Head” – Weezer (Black Album) (2019) “Tragic Girl” – Pinkerton (deluxe edition) (2010) “Trainwrecks” – Hurley (2010) “Trampoline” – Death to False Metal (2010) “Trippin’ Down the Freeway” – Raditude (2009) “Troublemaker” – Weezer (Red Album) (2008) “Turning Up the Radio” – Death to False Metal (2010) “Un-Break My Heart” – Death to False Metal (2010) “The Underdogs” – Raditude (deluxe edition) (2009) “Undone – The Sweater Song” – Weezer (Blue Album) (1994) “Unspoken” – Hurley (2010)
(V-Z)
“Velouria” – Where Is My Mind? A Tribute to the Pixies (1999) “Viva la Vida” – Hurley (deluxe edition) (2010) “Waiting on You” – Non-album single (B-side to “The Good Life”) (1996) “The Way I Hate You” – SZNZ: Autumn (vinyl) (2022) “We Are All on Drugs” – Make Believe (2005) “Weekend Woman” – Pacific Daydream (2017) “What Happens After You?” – SZNZ: Autumn (2022) “What’s the Good of Being Good” – SZNZ: Summer (2022) “Where’s My Sex?” – Hurley (2010) “Why Bother?” – Pinkerton (1996) “Why Don’t You Get Me” – SZNZ: Winter (vinyl) (2022) “Wild at Heart” – SZNZ: Spring (2022) “Wind in Our Sail” – Weezer (White Album) (2016) “The World Has Turned and Left Me Here” – Weezer (Blue Album) (1994) “Worry Rock” – A Different Shade of Green: Tribute to Green Day (2003) “Yellow Camaro” – Death to False Metal (deluxe edition) (2010) “You Gave Your Love to Me Softly” – Angus: Music from the Motion Picture (1995) “You Might Think” – Cars 2 soundtrack (2011) “You Won’t Get with Me Tonight” – Pinkerton (deluxe edition) (2010) “Zombie Bastards” – Weezer (Black Album) (2019)
Check out our fantastic and entertaining Weezer articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
“We saw Sleep Token in Glasgow. 14,000, sold out. It just makes me hungry.” Deathcore heroes Fit For An Autopsy have their sights on being extreme metal’s biggest band
(Image credit: Ben Gibson)
Fit For An Autopsy are an angry band. They sound angry, their unique ‘post-deathcore’ a savage outcry about the state of planet Earth. While some of their peers write posturing anthems driven by aimless rage, everyday heartbreak or juvenile gore and grisliness, FFAA dig into real-world trauma – like Gojira and Cattle Decapitation before them, they’re making extreme music with a purpose, tackling political injustice, the environment and capitalistic corruption.
They also look angry. Promotional photos show six big, glowering, tattooed dudes staring down the camera, and live shows reveal a frontman who looks like a pissed-off Uruk-Hai as he screams and bellows his guts out. So yeah, Fit For An Autopsy are angry. They’re furious, in fact. Scratch that: they’re positively seething. They’re… they’re… all bopping around this freezing-cold warehouse singing along to Haddaway’s 90s house banger, What Is Love. Wait, hold on…
“I mean, my first ever concert was Backstreet Boys,” grins frontman Joe Badolato, quickly clarifying: “Into The Millennium tour!”
OK, so maybe Fit For An Autopsy aren’t always angry. They mostly save that for the studio, where they can unleash their frustrations at the world in full, nailing their political colours to the mast, unbothered by the backlash that may follow. In 2017 they released Black Mammoth, a song written in solidarity with those who objected to the construction of the final section of the Dakota Access Pipeline, which would carry oil from North Dakota to Illinois via an area just north of Standing Rock, a Sioux Native American reservation. Protesters feared the project would destroy sacred burial sites and contaminate drinking water. The video for the single showed footage of previous devastation caused by oil spills, alongside protesters, police and historical artwork depicting themes of colonialism.
Many supported the band, but there was pushback from some fans on social media. “I will not buy this album if a single dime goes to would-be protester thugs”, commented one. “So lame and political, you guys and Suicide Singalong should have a tour sponsored by Tampax and L’Oreal,” said another.
On social posts, they’ve shown support for initiatives such as the Black Lives Matter movement and International Women’s Day. When Hammer asks guitarist Will Putney where the band’s interest in politics stems from, he attributes it to his and guitarist Pat Sheridan’s time spent in the New Jersey hardcore scene, where bands would rage against societal injustice – “the general nature of that culture was always more active in being aware of social issues,” he explains. It’s something that’s run through Fit For An Autopsy’s music ever since.
“If you know the band, you know the kind of people we are, you know what we stand for,” says Pat, as five musicians and one journalist attempt to cram into a tiny kitchen space set up next to the spacious room where our photoshoot is taking place. “We’ve always caught a little bit of heat when we come out ‘ultra-political’, or if we take a stance on something, but we’re OK with that. It’s OK to disagree with us, as long as you’re not being violent or aggressive with us. We’ll talk to anybody about anything. We’ll prove to you what kind of people we are.”
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Pat, a founding member of Fit For An Autopsy, is an engaging interviewee. Dressed in a thick North Face jacket and a black End cap that covers most of his head tattoos, he’s an intense but thoughtful fella. You soon sense he doesn’t suffer fools gladly; a quick aside on how he deals with people who object to his progressive ideological stances confirms this.
“Maybe you don’t understand me, let’s have a talk,” he explains. “There’s not enough of that, so we can do that. But we also won’t be met with the opposite of that. And if you meet us with the opposite of that, you’ll find out quickly. We will shut you down. We’ll fight. You bring a flamethrower, I’m bringing a fucking truck full of gasoline. You know what I mean? There’s no in-between.”
FIT FOR AN AUTOPSY – Hostage (OFFICIAL MUSIC VIDEO) – YouTube
It’s this zero-compromise mentality that has helped Fit For An Autopsy rise through metal’s ranks. Formed in 2007 as a side-project for musicians in that New Jersey scene, their line-up has been fluid at best: three singers, various touring members, no full-time bassist until 2019. The two constants? Pat and Will, the latter serving as an Oz-like figure behind the scenes of the band since its formation. He writes a hefty chunk of their music while sitting out touring duties to concentrate on his ‘main gig’ as one of the most in-demand producers in modern metal, working with the likes of Body Count, Thy Art Is Murder, Northlane and Knocked Loose.
Since finally establishing a long-term line-up – Pat, Will, Joe, drummer Josean Orta (who joined in 2012), guitarist Tim Howley (2013) and bassist Peter ‘Blue’ Spinazola (touring musician from 2017, full-timer from 2019… keeping up?) – the band have evolved drastically. From Gojira-esque pick-scrapes, to At The Gates-style melodeath hooks, to more intense vocal harmonies and bursts of thrash, doom and tech metal, their last two albums in particular have contained so many ideas and influences that they haven’t so much outgrown deathcore as lapped it five times over.
“We’ve emerged out of any kind of genre-specific ‘thing’,” Pat observes. “Not that I mind being called a ‘deathcore’ band. I don’t care what you call me, as long as you’re calling!”
Oh What The Future Holds, released in 2022, snuck inside the Top 25 of the Billboard 200 – an insane achievement for a band this heavy. 2024’s The Nothing That Is was another career high-water mark, rapturously received by fans and critics alike. As Hammer speaks to the band, they’re about to headline the 1,500-capacity Birmingham Institute – a venue they played as main support only a year prior, and where they played fourth from top just three years ago.
“The crazy part is, it feels like I blinked and we got here,” says Pat. “Then I start thinking about all the things that have happened in the interim. It’s been a fucking long time! But I wouldn’t change it. We all feel like we’ve earned something, and we respect it differently than a band that just comes in and immediately blows up.”
While FFAA have been a relatively slow and steady success story, it was kicked into… well, let’s call it third gear by the arrival of Joe in 2015, following the departure of original vocalist Nate Johnson and then his brief replacement, Greg Wilburn. Joe takes up most of the door frame he’s leaning against as he chats to Hammer – with his long hair and black longsleeve, he would cut an intimidating figure if it weren’t for the fact that he’s all smiles. The only time he breaks his relaxed demeanour is when he speaks of his vow to make it in the metal scene. Joe’s laidback warmth contrasts with Pat’s hyper-focused intensity, but if there’s one thing they share, it’s that determination to knuckle down and get shit done.
“I was in four local bands at the time, just trying to make it work,” Joe recalls of the moment he was asked to join FFAA. “I was a barber; I’d just been cutting hair and playing music over and over.”
While cutting the hair of one of his bands’ bassists, Joe received the phone call that’d change his life, as Will Putney invited him to demo some material for Fit For An Autopsy. Joe smashed it, went for dinner with Pat and Will in New Jersey, and the rest is history.
“They were like, ‘We’re not making a lot of money at all, so we hope that you’re not trying to make some money,’” chuckles Joe, who now owns a barber shop in Arizona. “I was like, ‘Honestly, I’ve been saving all my money so I can do this.’ I was the only one out of my entire friend group that didn’t stop doing music, because I just knew that it was what I wanted. And I’m very stubborn; if I really want something, I’m gonna push as hard as I can, even if I’m homeless, broke, doing whatever I have to do to make it work.”
(Image credit: Ben Gibson)
With The Nothing That Is, Fit For An Autopsy released some of their most urgent, affecting and provocative work, perhaps best exemplified by the track Red Horizon. Written in response to the conflict in Gaza, it includes some bone-chilling lyrics (‘The bodies burned so bright that God closed his eyes’), as well as lines that were interpreted by some fans as antisemitic (‘Beasts of Zion, Curse your name… Every pocket lined with gold has cost a soul in other places’). It also ends with the highly contentious phrase ‘From the river to the sea’ – a line claimed by pro-Palestine campaigners as a slogan for peace, but criticised by many Jewish organisations as an antisemitic call for the dismantling of Israel.
“You’re allowed to call someone who lives in a certain place a bad person without saying everyone who’s there is bad,” says Will defiantly, when Hammer asks him about those lyrics. “My family is Jewish,” he adds. “Saying I’m antisemitic is crazy… we’re calling out a shitty issue.”
The song’s striking video is a little broader in its themes. It features two girls living in parallel – one enjoying a comfortable life with her family, the other surviving in the middle of a war zone. Its message was made all the more pertinent by the fact the girl in the war zone was played by an actress named Milana Nashkova, who had escaped from Ukraine in the midst of the Russian-Ukraine War.
“We were looking for people to be in the video, and their family came up,” reveals Pat. “So we have this person who is a refugee from a war-torn country who wants to play the part of somebody who is going through that very exact thing.”
“Singing the song is always powerful, but watching it all come to life through a video, and then knowing her story, it hits you really differently,” says Joe. “It hit me pretty hard. I was watching it the first time, I was getting a little choked. Like, that was real.”
“That’s why we do it,” adds Pat. “It’s easy to say you have an opinion on something you’ve never really experienced. What would you do if these things happened to you? What would you do if your family lost everything because of decisions of a government or corporations? And how would you get through that? Those are the ideas that push us a lot.”
FIT FOR AN AUTOPSY – Red Horizon (OFFICIAL MUSIC VIDEO) – YouTube
Seventeen years and seven albums in, Fit For An Autopsy’s anger feels more vital than ever. But how far can a band like theirs go? Considering the ferocious music they make, they’ve already smashed all realistic expectations. What’s next?
“We just move forward,” responds Pat, matter-of-fact as ever. “When the wheels fall off, we pick this up and put it on our backs and carry it up the mountain.”
Joe, it seems, has more crystallised ambitions in mind. “We definitely have dreams of wanting to do certain things,” he says. “We saw Sleep Token the other day in Glasgow on our day off. 14,000, sold out. It just makes me hungry, seeing stuff like that. I will work as hard as I have to to get there, and if I don’t get there, it’s fine. At the end of this career, I’ll still leave, my head held high, knowing that I did so much really cool shit.”
Fit For An Autopsy in arenas? It might sound unlikely, but so does an extreme metal band dropping chart albums and singing along to Haddaway…
Merlin moved into his role as Executive Editor of Louder in early 2022, following over ten years working at Metal Hammer. While there, he served as Online Editor and Deputy Editor, before being promoted to Editor in 2016. Before joining Metal Hammer, Merlin worked as Associate Editor at Terrorizer Magazine and has previously written for the likes of Classic Rock, Rock Sound, eFestivals and others. Across his career he has interviewed legends including Ozzy Osbourne, Lemmy, Metallica, Iron Maiden (including getting a trip on Ed Force One courtesy of Bruce Dickinson), Guns N’ Roses, KISS, Slipknot, System Of A Down and Meat Loaf. He has also presented and produced the Metal Hammer Podcast, presented the Metal Hammer Radio Show and is probably responsible for 90% of all nu metal-related content making it onto the site.
“It was a fantastic idea. I would have liked a ménage à trois with Brian Jones and his girlfriend”: The Kinks guitarist Dave Davies’ wild tales of Jimi Hendrix, John Lennon, Led Zeppelin and more
(Image credit: GAB Archive/Redferns)
Ray Davies may have been the songwriting genius in The Kinks, but brother Dave was responsible for defining their 60s sound. The lead guitarist has a valid claim for having invented heavy metal via the roaring riffs of the Kinks’ monster hits You Really Got Me and All Day And All Of The Night. It’s a style that proved inspirational for everyone from Van Halen to Green Day, Mott The Hoople to Metallica.
When the Kinks disbanded in 1996, Dave set about firming up his solo career, though it was temporarily derailed by a stroke in 2004. In 2010, several years before he patched up his antagonist relationship with his brother Ray, Classic Rock sat down with him to look back on mixing with rock’s great and good over the years. “I was pretty manic and driven back then,” he said of his his pill-popping 60s pomp. “Music was like a big green light going on in my head.”
The Who
There was a wild, cliquey little gang of us in the 60s – me, Pete Townshend, Long John Baldry, Eric Burdon and Jeff Beck – and we used to hang out at the Scotch of St James. Me and Townshend used to spend a lot of time smoking joints in the back of tour vans. The Kinks always used to look forward to playing on Ready Steady Go! because we’d always score drugs off Keith Moon. He’d be supplying us with uppers, downers and a bit of reefer.
The last time I saw Keith was about two weeks before he died. I was staying in the Hyatt House hotel in LA. He just looked different. He was in the bar on his own and looked sad and old. I was on my way out with a girl I’d met, and he said: “Oh, stay and have a beer with me.” It was said in the same way as my dad might say it: ‘Come and have a beer, son’. It was very odd. Maybe he was very lonely in the end.
Jeff Beck
There was a lot of mutual admiration between the Kinks and the Yardbirds. When Eric Clapton left and Jeff Beck came in, he got wrapped up in the glamour of it all and we got to be good mates. I think he was actually trying to copy me. You know: “If Dave can do that, so can I”. We used to go drinking a lot and end up doing silly, childish, drunken things. One night we went down the entire road by walking over all the parked cars on the pavement. When we were drunk, we’d think: “Ah, that’s a good idea”. [Laughing] Usually we’d get home at four in the morning and not remember a thing. Our main place was the Cromwellian club. Everyone you could think of would be there. We were all big drinkers. It was a very drink-and-drugs culture. Jeff was always a wild character. He had the potential to be really insane, I think. He was born to be Jeff Beck; he could never have been a conventional pop star.
Dave Davies (right) with brother Ray in 1978 (Image credit: Michael Putland/Getty Images)
Ray Davies
We’ve always had a strange relationship, and just don’t communicate these days. Yes, he’s a genius songwriter, but there’s other stuff you have to be accountable for as well. And Ray’s just not a nice person. He’s a sly, manipulative, nasty person. He’s treated me like a piece of shit over the years. As kids, I’d be outgoing and carefree and very open, while Ray would be introverted, troubled and sneaky. He was never happy unless he was taking something from me. You can kind of live with that as children, but once you’re adults it becomes a real issue.
This feature originally appeared in Classic Rock issue 154 (January 2011) (Image credit: Future)
When we were about twelve, our brother-in-law bought us each a pair of boxing gloves. One day we were sparring in the old front room. I was quite a useful southpaw, and started leading and jabbing at Ray with my left. Then I suddenly caught him with a right-handed uppercut. He went flying and ended up smacking his head against the side of the piano. He wasn’t moving at all, and I was going: “Jesus! I’ve fucking killed him!” So I took my gloves off and moved in closer. He still wasn’t responding, so I leaned into his chest to hear if he was breathing or not. And just as I did that he punched me right in the face with a big right-hander. Take from that what you will, but that just about sums up our relationship.
Led Zeppelin
Jimmy Page was a protégé of Big Jim Sullivan’s in the early 60s. They played on a lot of sessions together. In those days people formed bands and not everybody could actually play, so the record company or producer would bring Jimmy in to play guitar in the studio. It happened a lot back then. Jimmy was always very quiet and unassuming, kept himself to himself. He’d be behind the glass at the early Kinks sessions, after [producer] Shel Talmy had called him in, in case he was needed. But he was never on those records. Some people still think otherwise, but he never played on You Really Got Me or All Day And All Of The Night. That’s me on there. Later on, I’d bump into Led Zeppelin at the Hyatt House in LA. I saw them play in Hollywood, sometime around 1971 when they’d really made it big over there. John Bonham came up to me afterwards and said: “You know what? We just give ’em You Really Got Me all night. That’s what we do.”
Jimi Hendrix
In real life, Hendrix was nothing like the wild guy that he portrayed on stage. He was a quiet, introverted guy, like Ray was. He was explosive on stage, but very softly spoken off it. I’d see him from time to time at the Scotch of St James or at parties. We used to exchange the odd word to each other, but it was never like we were close. I remember once sitting next to him on a plane bound for Stockholm. After a while we got talking a little and he suddenly said to me: “Y’know, that guitar riff you did on You Really Got Me was a real landmark.” You can imagine how I felt. To be endorsed by Hendrix was really something. It was a great compliment.
The Jimi Hendrix Experience – Hey Joe (1967) – YouTube
I’m not putting down anyone else in the Stones, but Brian was the true artist in that band. Sometimes he was into the whole rock’n’roll thing, but other times he just wouldn’t play the game. Someone might ask him something, and he’d just drift off or choose to look at a tree or a cloud. A lot of their early creativity was down to him. There’d be this great build-up to a Stones show, with people expecting lots of volume and noise. Then Brian would come on and play the guitar with a feather.
Every time the Kinks toured Paris, I’d meet up with a girlfriend there called Zouzou [actress and model Daniele Ciarlet] and we’d hang out, smoke weed and end up in bed together. We used to have a great time. Then one day at the Scotch of St James, Brian and I got talking and I told him about this girl in Paris and how great she was. He looked shocked: “What? You mean Zouzou?” It turned out that he was seeing her too. So unbeknown to both of us, we were involved in a strange kind of menage a trois. It was a fantastic idea, actually, and I would have liked a menage a trois with Brian and Zouzou, but it never happened.
Chuck Berry
I probably would never have picked up a guitar if it hadn’t been for Eddie Cochran, but Chuck Berry was the key to everything that happened in the 60s. His lyrics were on a par with Dylan and my brother. I eventually met him at an airport in Atlanta. [Long pause] Shit, I’m getting emotional here. He had these great shoes – white and brown brogues, but kind of 50s style. I looked at him and was speechless. Then he started swearing at some flight attendant who’d put him in the wrong seat. I was thinking, “Wow, I wish I could swear like that!” I was just completely in awe of him, while I think he just thought I was some cocky kid. He ended up saying things like: “Sure, yeah, how you doin’?” and “Oh, you’re in a band called the Kinks?” Humouring me, I suppose. He was looking over his shoulder and waiting for the flight to be called and the lights to go up. He had incredible presence.
Jerry Lee Lewis in 1958 (Image credit: Michael Ochs Archives/Getty Images)
Jerry Lee Lewis
I never got to play with Chuck Berry, but I did get to play with Jerry Lee Lewis. That was a big mistake. He’d been another big hero as a kid. It was at an all-star tribute gig for him. I saw Brian May there, and teased him with the You Really Got Me riff, and all of sudden, from being the super-cool Brian May he turned into a little punk Brian May: [in a falsetto voice] “Oh, great to meet you, man!” Anyway, me and Brian were plugged into the same amp, and James Burton was in the back-up band. But when we got going I soon realised that Jerry Lee Lewis was an arsehole. A complete arsehole. I quickly decided to just get on with it and get through it. He had a terrible personality. He didn’t treat people well at all. Maybe he was like that because he was surrounded by arseholes himself. You know, he could win all the accolades he wants, but on his deathbed he’ll have to look at himself. When I had my stroke I came very close to death myself, so I know how that feels.
Originally published in Classic Rock issue 154, January 2011
Freelance writer for Classic Rock since 2008, and sister title Prog since its inception in 2009. Regular contributor to Uncut magazine for over 20 years. Other clients include Word magazine, Record Collector, The Guardian, Sunday Times, The Telegraph and When Saturday Comes. Alongside Marc Riley, co-presenter of long-running A-Z Of David Bowie podcast. Also appears twice a week on Riley’s BBC6 radio show, rifling through old copies of the NME and Melody Maker in the Parallel Universe slot. Designed Aston Villa’s kit during a previous life as a sportswear designer. Geezer Butler told him he loved the all-black away strip.
