“I’ve walked past people with tattoos of mine on their arm without a flicker of recognition”: How the Sisters Of Mercy’s Andrew Eldritch avoids being stopped in public

The Sisters Of Mercy mainman Andrew Eldritch is one of rock’s more influential artists, even if he does hold much of what he’s influenced in contempt. Thanks to such dark-hued albums as 1985’s First And Last And Always and 1987’s Floodland, the Sisters Of Mercy have been held up as poster boys for the entire goth movement – much to Eldritch’s chagrin.

An aversion to the music industry has meant the band haven’t released a studio album since 1991, although they still tour regularly, and they are playing two London shows in May 2025 as part of their Two Wires Read tour.

This interview originally appeared in Classic Rock in 2011.

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Where do you live these days?

I’m a highly mobile unit. I’ve got access to cars and houses, but I’m in Leeds at the moment.

Was your childhood a happy one?

I didn’t have much of a childhood, to be honest. It wasn’t happy or unhappy. I was lucky to grow up in the company of books. I spent a lot of time in the library, which I considered completely normal.

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Which bands shaped your musical taste?

I used to like Deep Purple and Hawkwind before I got into things like Suicide.

What do you tend to listen to now?

I don’t pay much attention to music any more. Instead I watch strange films like Takeshi Kitano’s Sonatine or Hana-bi. And of course I’ve got a Kindle now. What a lovely thing that is.

When was the last time you used the phrase: ‘Don’t you know who I am?’

It was in Denver, Colorado. Somebody was trying to stop me from getting into a club. Did I feel bad saying it? Not really. They were playing my records inside, so I felt entitled.

Who’s the least-expected celebrity you’ve ever seen at a Sisters gig?

We don’t attract much in the way of celebs. We’re not that kind of band. One of the actors from Emmerdale once came along. I don’t know which one, he was one of the farmers. I’ve never watched the show.

When and why did you shave your head?

For a while there I was God’s gift to the hairspray industry; it had been every colour under the sun. I did it many years ago now. I was reaching the age where I could neither be bothered with maintaining it nor face the prospect of it receding. So I thought, to hell with it. Off it came. It was quite liberating.

How do you deal with being recognised in public?

It doesn’t happen very often, because I walk around with my shades off. I started my career with them on. I’ve walked past people with tattoos of mine on their arm without a flicker of recognition.

You’re stuck on a three-man lifeboat with David Cameron, Rupert Murdoch and The Mission’s Wayne Hussey.

Who do you throw off? Murdoch. Because he pulls Cameron’s strings. And the other one isn’t important to me.

When was the last time you took illegal drugs?

[Uncomfortable silence]

It must have been some time ago to make you think so hard.

No, I’m just debating whether to tell you or not. And I don’t think I will.

What other things piss you off in life?

The Republican Party Of America, the Tories – always. Margaret Thatcher, whom I still blame for everything. Jazz-funk. Oh, and beetroot. It’s not really a food, is it?

The Sisters of Mercy @ Dominion / Mother Russia – YouTube The Sisters of Mercy @ Dominion / Mother Russia - YouTube

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What advice would you give to the 21-year-old Andrew Eldritch?

I’d tell him to join that band he was considering becoming a member of. It will cause a lot of regrets, but he’ll get to experience things that wouldn’t happen otherwise.

Where would your life have gone had the younger Eldritch said no?

That’s a good question. I’m too anti-establishment to have joined the Foreign Office. With my academic record, I suppose I might be working at the BBC.

You’re 52 years old. Isn’t it about time you got a proper job?

It probably is. But I’m tainted by my dissolute past. Also my dissolute present.

Do you have any remaining ambitions?

I’d like to captain England at cricket, but I’m rubbish at the game.

Do you believe in God, or some form of higher being?

No. Never have and I don’t think I ever will. That might be a genetic thing, like being left-handed. Indoctrinating kids into such beliefs is a kind of child abuse.

Do you have any idea of the meaning of life?

No. I know what the trees look like, but not necessarily the woods. That’s common to most people, I think. Even philosophers have been known to doubt the whole concept of reality.

Sisters Of Mercy tickets are on sale now. This interview originally appeared in Classic Rock 160 (Sumer 2011 issue)

10 Best Songs That Feature The Word ‘End’ In The Title

10 Best Songs That Feature The Word 'End' In The Title

Feature Photo: Christian Bertrand / Shutterstock.com

Whether it’s the end of a relationship, the end of innocence, or even the end of the world itself, the word “end” has provided a rich well of inspiration for artists to craft songs that resonate deeply with listeners. This list delves into ten remarkable tracks that feature the word “end” in their titles, showcasing the diverse ways this theme has been interpreted. From heartbreak to apocalyptic visions, each of these songs offers a unique perspective, demonstrating how the idea of an “end” is often just the beginning of an unforgettable musical journey.

Linkin Park’s “In the End” stands as one of the most iconic tracks of the early 2000s, blending intense emotion with their signature rap-rock sound. The Kinks’ “Till the End of the Day” is a raucous celebration of freedom and living life to the fullest, wrapped in their classic British Invasion energy. Leonard Cohen’s “Dance Me to the End of Love” is a poetic and haunting exploration of love’s endurance, inspired by the horrors of history. Diane Birch’s “The End” captures heartbreak with a raw vulnerability, enhanced by her emotive vocal performance.

Three Dog Night’s “Till the World Ends” reflects the band’s knack for delivering soulful, harmony-driven rock songs with a message of love and unity. Sammy Hagar & The Circle’s “Childhood’s End” dives into themes of maturity and self-reflection with a hard-rock edge. James Carr’s “The Dark End of the Street” is a timeless soul ballad steeped in longing and forbidden love. Bruce Springsteen’s “Loose Ends” reveals the pain of unresolved emotions through The Boss’s evocative storytelling and rich instrumentation. Elvis Costello’s “Waiting for the End of the World” showcases his sharp wit and punk sensibilities in a surreal tale of societal decay. Finally, “The End” by The Doors closes our list with its hypnotic and groundbreaking meditation on endings, both literal and existential.

As these ten songs prove, “endings” in music are anything but final. They evoke emotions, spark introspection, and offer catharsis, demonstrating the profound impact that a single word can have when wielded by masterful songwriters. This list celebrates the many ways artists have transformed the concept of an “end” into timeless music that continues to inspire and move us.

# 10 – In The End –  Linkin Park 

“In the End” by Linkin Park is a defining track that not only solidified the band’s place in nu-metal history but also became one of their most iconic songs. Released in 2000 on their debut album, Hybrid Theory, the song was recorded at NRG Recording Studios in North Hollywood, California, and was produced by the band’s frequent collaborator Don Gilmore. Featuring Mike Shinoda’s introspective rapping seamlessly intertwined with Chester Bennington’s soaring, emotionally charged vocals, the track exemplifies the duality that became the band’s hallmark.

The song’s structure reflects the meticulous attention to detail that Linkin Park poured into their work. Brad Delson’s restrained yet poignant guitar riffs serve as the perfect counterbalance to Joe Hahn’s dynamic turntable work, which adds layers of atmosphere and texture. Meanwhile, Rob Bourdon’s drumming and Dave “Phoenix” Farrell’s basslines anchor the song with a solid rhythmic foundation. Lyrically, “In the End” explores themes of failure, frustration, and acceptance, with lines like “I tried so hard and got so far, but in the end, it doesn’t even matter” resonating universally. This blend of vulnerability and aggression struck a chord with listeners, making the song an anthem for a generation.

The accompanying music video, directed by Joe Hahn and Nathan “Karma” Cox, adds a surreal visual dimension to the track. Set in a fantastical, post-apocalyptic world, the video incorporates CGI imagery of crumbling ruins and evolving landscapes, symbolizing the emotional turmoil of the song. “In the End” became a commercial success, reaching No. 2 on the Billboard Modern Rock Tracks chart and charting in over a dozen countries. It also holds a special place among the other songs on this list for its ability to capture the finality and futility hinted at by its title, making it a natural fit for this exploration of songs with “End” in their names.

Comparatively, “In the End” stands out for its nuanced approach to finality, which is more introspective than celebratory. While other tracks on this list might use “End” to signify closure or triumph, Linkin Park delves into the complex emotions of loss and acceptance, creating a piece that feels deeply personal yet universally relatable. This balance of raw emotion and polished production ensures its lasting legacy in rock history.

Read More: Top 10 Linkin Park Songs

# 9 – Till The End Of The Days – The Kinks

Read More: Dave Davies of The Kinks: The ClassicRockHistory.com Interview

# 8 – Dance Me to the End of Love  – Leonard Cohen

“Dance Me to the End of Love,” from Leonard Cohen’s 1984 album Various Positions, is a masterful blend of poetic lyricism and hauntingly beautiful melodies. Recorded at Quadrasonic Sound Studios in New York City and produced by John Lissauer, the song exemplifies Cohen’s unparalleled ability to weave profound themes into music that resonates deeply with listeners. Drawing on elements of Greek folk music, the track features a lilting rhythm propelled by mandolins and violins, evoking both passion and melancholy.

Musically, the song’s arrangement captures an old-world charm that complements Cohen’s baritone vocals and introspective delivery. The lyrics, inspired by the harrowing imagery of Holocaust string quartets forced to play as fellow prisoners marched to their deaths, juxtapose themes of love, mortality, and perseverance. Lines such as “Dance me to your beauty with a burning violin” and “Dance me to the end of love” suggest both a celebration of intimacy and a poignant acknowledgment of life’s fragility. The subtle yet evocative instrumentation underscores the tension between joy and sorrow, a hallmark of Cohen’s artistry.

Critics have praised “Dance Me to the End of Love” for its timeless and universal appeal. Its lyrics transcend specific experiences, offering layers of interpretation that range from romantic devotion to existential reflection. Over the years, the song has been covered by numerous artists, including Madeleine Peyroux and The Civil Wars, solidifying its place in the canon of modern classics.

In the context of this list, “Dance Me to the End of Love” stands as a profound meditation on love’s ability to endure even in the face of darkness. Its unique blend of poetic depth, historical resonance, and musical sophistication sets it apart, offering listeners a timeless journey through the spectrum of human emotions.

Read More: Top 10 Leonard Cohen Songs And Fan Favorites

# 7  – The End  – Diane Birch

Diane Birch’s “The End” delivers an ethereal and introspective listening experience, marked by her powerful vocals and lush instrumentation. Released in 2017, the song beautifully exemplifies Birch’s ability to merge haunting melodies with deeply personal themes. Recorded with a sense of intimacy that resonates throughout, the track showcases a rich arrangement of strings that envelop Birch’s soulful voice, creating an atmospheric and almost hypnotic soundscape.

Birch’s vocal delivery is the true centerpiece of “The End,” striking a balance between vulnerability and conviction. Her lyrics explore the emotional weight of closure and personal reckoning, as she sings with a depth that mirrors her journey as an artist. Lines like “I didn’t know this was the end, but I’m here again” reflect a sense of reluctant finality intertwined with lingering hope. Musically, the string arrangements and minimalist instrumentation highlight the raw power of her voice, reminiscent of the ethereal production style found in some of Leonard Cohen’s later works or even the tender vulnerability of certain tracks already explored in this list.

Critically, Birch has long been hailed as one of the most underrated singer-songwriters of the last two decades, and “The End” exemplifies why she deserves greater recognition. Her ability to craft a mesmerizing track that fuses soul, folk, and pop elements makes this song a standout among others that reflect on endings. While other tracks on this list, such as Linkin Park’s “In the End,” tackle similar themes through more intense and anthemic arrangements, Birch opts for a more delicate and reflective approach, showcasing the diversity of how artists interpret the concept of “the end.”

In a list brimming with iconic songs, Diane Birch’s “The End” holds its own with an undeniable emotional resonance. Its elegant strings, haunting atmosphere, beautiful piano playing, and Birch’s commanding yet tender vocals make this a track that not only deserves a place on this list but also reminds listeners of her exceptional artistry.

Read More: Top 10 Diane Birch Songs

# 6 – Till The World Ends – Three Dog Night 

Read More:Top 10 Three Dog Night Deep Tracks

# 5 – Childhoods End – Sammy Hagar & The Circle

“Childhood’s End,” a powerful track from Sammy Hagar & The Circle’s 2022 album Crazy Times, is a reflection on life’s inevitable transitions and the challenges of maturity. The song was recorded at RCA Studio A in Nashville, Tennessee, under the production of Grammy-winning producer Dave Cobb. Known for his raw, authentic approach to recording, Cobb captured the band’s dynamic interplay and brought a stripped-down intensity to the track. The band lineup includes Sammy Hagar on vocals, Michael Anthony on bass and backing vocals, Jason Bonham on drums, and Vic Johnson on guitar, all delivering a cohesive performance that bridges hard rock energy with introspective lyricism.

The lyrics of “Childhood’s End” delve into themes of personal growth, loss, and acceptance. Hagar’s poignant lines, such as “It’s about growing up, not growing old,” encapsulate the reflective tone of the song. The track contrasts moments of vulnerability with assertive declarations, creating a tension that mirrors the complexities of coming to terms with change. The imagery is evocative, with lines like “Swallow your ego, spit out your pride” urging listeners to confront their inner struggles. Musically, the song is anchored by Johnson’s expressive guitar work and Bonham’s powerful drumming, which provide a driving backdrop to Hagar’s emotive vocal delivery.

In comparison to other tracks on this list, “Childhood’s End” leans heavily into themes of introspection, much like Diane Birch’s “The End,” though it carries a more assertive rock edge. Its layered instrumentation and nuanced lyrics position it as a standout on Crazy Times, a record hailed by critics for its honest exploration of life’s complexities. As the song builds to its climactic conclusion, it leaves listeners with a sense of resolve and understanding, making it a compelling addition to this collection of songs featuring “End” in the title.

Read More: Top 10 Best Sammy Hagar Opening Album Tracks

# 4 – The Dark End of the Street  – James Carr

“The Dark End of the Street,” recorded by soul icon James Carr in 1966, stands as a timeless exploration of forbidden love and heartbreak. Written by the celebrated songwriting duo Dan Penn and Chips Moman, the track was recorded at Royal Studios in Memphis, Tennessee, a hub for soul music’s evolution. Penn’s evocative lyrics and Moman’s poignant melody combined with Carr’s deeply expressive voice to create a track that has resonated for generations. The song was released as a single on the Goldwax label and later became a hallmark of Carr’s debut album, You Got My Mind Messed Up.

Lyrically, “The Dark End of the Street” captures the anguish of a love that must remain hidden. Lines such as “You and me at the dark end of the street / You and me” convey the yearning and guilt of lovers unable to fully live their truth. The song’s narrative is as much about the constraints imposed by society as it is about the personal torment of its protagonists. Carr’s delivery amplifies the raw emotion, his voice breaking with vulnerability in a way that mirrors the weight of the song’s story.

Musically, the track is understated yet powerful, with a minimal arrangement that highlights Carr’s soulful voice. The rhythm section is restrained, while the gentle organ and guitar flourishes underscore the song’s melancholy. In comparison to other tracks on this list, “The Dark End of the Street” shares an emotional depth with songs like Diane Birch’s “The End” and Don Henley’s “New York Minute,” though its focus on the secrecy of love gives it a unique perspective. Over the years, this song has been covered by artists across genres, but Carr’s version remains the definitive interpretation, a testament to his ability to channel profound emotion into his music.

# 3 – Loose Ends – Bruce Springsteen

Originally recorded during sessions for The River in 1979 but left unreleased until its inclusion on the 1998 box set Tracks, the song reflects Springsteen’s meticulous attention to detail and his willingness to set aside even exceptional work if it didn’t align with the overall vision of an album. Produced by Springsteen alongside Jon Landau and Steven Van Zandt, “Loose Ends” features the signature sound of the E Street Band, with its lush instrumentation and poignant lyrical delivery.

Lyrically, “Loose Ends” unravels the story of a love that disintegrates despite the couple’s best intentions. The imagery of a tightening noose serves as a powerful metaphor for a relationship suffocating under the weight of unspoken expectations and unresolved emotions. Lines like “Each one waiting for the other / Darling, to say when” encapsulate the aching hesitation and miscommunication that lead to heartbreak. Springsteen’s delivery is infused with raw emotion, and the interplay of the lyrics with the band’s performance makes the track a poignant exploration of love lost to silence and missteps.

Musically, the song strikes a balance between melancholy and grandeur, featuring a rich arrangement that includes Van Zandt’s evocative guitar work, Danny Federici’s atmospheric organ, and Max Weinberg’s steady drumbeat. The E Street Band’s ability to elevate Springsteen’s storytelling is on full display, with the instrumental layers mirroring the escalating tension of the lyrics. Comparatively, “Loose Ends” aligns with other emotionally resonant tracks in this article, such as Don Henley’s “New York Minute,” in its exploration of heartbreak and disillusionment. However, its intimate portrayal of a fractured relationship sets it apart, making it a compelling addition to the list.

Read More: Top 10 Bruce Springsteen Hits

# 2 – Waiting For The End Of The World – Elvis Costello

“Waiting for the End of the World,” a wry and edgy track from Elvis Costello’s debut album, My Aim Is True, perfectly encapsulates his knack for razor-sharp storytelling and biting social commentary. Recorded in 1976 at Pathway Studios in London, this song features Costello on vocals and guitar, with backing instrumentation provided by the American band Clover. Produced by Nick Lowe, the track is a shining example of Costello’s early punk-meets-new-wave style, blending frenetic rhythms with lyrics steeped in dark humor and observational wit. Its layered arrangement, highlighted by Costello’s urgent delivery and Clover’s tight musicianship, creates a sound both timeless and distinctly rooted in the late 1970s.

The lyrics paint vivid, surreal vignettes of chaos and absurdity, unfolding as a journey through societal disarray. Costello’s characters—a man from the television, a hitchhiker, and a scandal-ridden wedding party—serve as metaphors for societal decay, making the song as thought-provoking as it is entertaining. The line “Dear Lord, I sincerely hope You’re coming, ‘cause You really started something” underscores Costello’s sardonic critique of religious and cultural anxieties of the era. The song’s vivid imagery, paired with its relentless energy, mirrors the thematic weight of other tracks on this list, such as Bruce Springsteen’s “Loose Ends,” which similarly examines fractured relationships and unresolved tension. However, Costello’s approach veers more toward the sardonic and surreal, making it uniquely his own.

Critically acclaimed as one of the standout tracks on My Aim Is True, “Waiting for the End of the World” captures the youthful defiance and creative brilliance that established Costello as a leading voice in the burgeoning punk and new wave movements. The track’s themes of disillusionment and impending catastrophe resonate on multiple levels, aligning with other songs on this list that explore the concept of endings in varied and poignant ways. As the closer to an iconic debut album, it remains a powerful statement of Costello’s artistic vision and a memorable entry in the canon of songs grappling with the weight of “the end.”

Read More: 25 Essential Elvis Costello Songs And Fan Favorites

# 1 – End Of The Night – The Doors

Yes, I know you were expecting the final song on this list to be The Doors’ legendary musical piece “The End.” We’ve all seen the effect it had in the movie Apocalypse Now and how it’s become such an enduring classic. And that’s pretty much the point—everyone knows this song, everyone knows The Doors song “The End,” so why just do the same thing everybody else does and put that one at the end? Ironic, isn’t it? Interestingly, on the same exact album that classic song was released on is another track with the word “end” in it. That’s the one we’ve chosen to showcase here as the final track on our list of the top 10 songs with the word “end” in the title. I’m sure we’ll get complaints, especially from the people who don’t read one fucking word we even write. They just look at the pictures!

Read More: The Doors Most Underrated Songs

10 Best Songs That Feature The Word ‘End’ In The Title article published on Classic RockHistory.com© 2024

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AMORPHIS Guitarist Tomi Koivusaari’s BJØRKØ Release “Vaka Loka” Music Video

AMORPHIS Guitarist Tomi Koivusaari's BJØRKØ Release

In 2023, guitarist Tomi Koivusaari announced his long-awaited solo project Bjørkø, which features an array of stellar guest vocals and collaborations. For years, Koivusaari has been the one of the creative backbones of Amorphis, a band synonymous with innovation in heavy music. With Bjørkø (‘Birch Island’ in English), Koivusaari ventures beyond band dynamics to showcase his distinct artistic vision.

The album’s saga still continues after its release date in December 2023 and today a new Bjørkø video, containing mind blowing footage created by AI, sees the light of day.

“It’s been 1 year since the release of my solo-project Bjørkø’s debut album, Heartrot. To celebrate that I will put out one more music video from it. It’s called ‘Vaka Loka’, vocals and lyrics are by Addi Tryggvason (Sólstafir) and personally I think that is one of the strongest songs from the album. The video is produced by my old-time friend Sami J Kosonen from Studio Publivox. It also contains some AI special effects in it. So, with this I want to thank everyone who has listened to the album and being involved in any way, I hope you’ll enjoy this one, cheers!”, reveals Koivusaari.

Watch the “Vaka Loka” video below:

Heartrot is far from a solo endeavor in the traditional sense. It features an all-star lineup of vocalists in multiple languages, contributing to an atmosphere that’s rich and multi-layered. The talent of Waltteri Väyrynen (Opeth, ex-Paradise Lost), Lauri Porra (Stratovarius), and Janne Lounatvuori (Hidria Spacefolk) add a rock-solid foundation to Koivusaari’s artistry.

Unfettered by the structural limitations of a traditional band, Heartrot stands as a testament to Koivusaari’s versatility and depth. “It’s a collection of various songs and points of view,” he says. “I didn’t want a traditional approach to limit my artistic expression.”

15 years ago, Tomi Koivusaari began building riffs and songs that he could use on a solo album he planned to release on his 40th birthday. The debut album by his solo project Bjørkø took, however, years to turn into reality. As with many a musician, it wasn’t until the pandemic stopped touring that Koivusaari finally found the time to work on what became the album Heartrot .

“Heartrot is a personal vision that’s naturally influenced by all the music I have subjected myself to over the years. It is, in a way, a soundtrack to an imaginary film. Musically the album’s guiding themes are a strong visual connection to nature and moods that are rarely happy or positive. Melancholy is always looming in the background”, says Koivusaari, who in the past studied movie sound engineering among other things.

Even though the album is diverse, according to Koivusaari there are many factors that many of the songs share. Half of the lyrics were written by his old Abhorrence bandmate Jussi “Juice” Ahlroth.

“Me and Jussi worked on the themes of the lyrics together, and he turned them skillfully into text: a lot left for the imagination and open to many interpretations. Some of the singers (Mariska, Ismo Alanko, Jessi Frey and Addi Tryggvason) wrote their won lyrics while the rest (Stian Thoresen, Jeff Walker, Petronella Nettermalm, Marko Hietala and Tomi Joutsen) interpret Ahlroth’s lyrics. The album was produced by my longtime friend Nino Laurenne.”

Order the album here.

Tracklisting:

“The Heartroot Rots”
“Vaka Loka”
“Whitebone Wind”
“Värinvaihtaja”
“Awakening”
“World As Fire And Hallucination”
“The Trickster”
“Hooks In The Sky”
“Magenta”
“Reverberations”

“Värinvaihtaja” video:

“Whitebone Wind” video:

“The Heartroot Rot” video:

(Photo – Sam Jämsen)


WHITESNAKE’s DAVID COVERDALE Offers Season’s Greetings; Video

WHITESNAKE's DAVID COVERDALE Offers Season's Greetings; Video

Whitesnake leader, David Coverdale, has released the new video below, offering season’s greetings for the holiday season.

David Coverdale sees his solo work shine brightly in a new collection featuring remixed, remastered, and revisited versions of his solo albums Whitesnake (1977), NorthWinds (1978), and Into The Light (2000).

Into The Light: The Solo Albums is available through Rhino Records as a 6CD boxed set. It comes packaged in a hardcover box featuring a 60-page book with rare photos, detailed liner notes, and a new interview with Coverdale. The newly remixed version of Into The Light is also available separately as a double vinyl album presented in a gatefold sleeve.

The boxed set features two versions of Coverdale’s solo albums: one newly remixed to deliver a more dynamic sonic experience and a second remastered from the original recordings for those who want to revisit the classic sound. The remixed versions feature significant updates (particularly to Whitesnake and NorthWinds) and utilize cutting-edge audio separation software. The track “Time & Again” from NorthWinds benefited from innovative voice extraction technology, allowing for new string and piano arrangements that Coverdale has envisioned for decades.

Coverdale shares, “The remixes are modern, using new technology to squeeze the best out of them… Truly exciting to revisit and take care of any technical ‘issues’ I had with the tracks all those years ago.”

Into The Light, Coverdale’s third solo album, boasts an impressive musical lineup that includes guitarists Earl Slick (David Bowie) and Doug Bossi, bassist Marco Mendoza (who later joined Whitesnake), legendary drummer Denny Carmassi (Montrose, Whitesnake), and keyboardist Mike Finningan (Jimi Hendrix). The remixed version of the album expands the original with songs like “Let’s Talk It Over” and “All The Time In The World”. The collection also offers additional remixes, demos, and outtakes from the album, including “With All Of My Heart”. Coverdale wrote the song for his wife and considers it one of the best he’s ever written.

The set also revisits NorthWinds, and Whitesnake Coverdale’s first two solo albums recorded immediately after leaving Deep Purple. Both albums have been reimagined and re-sequenced for the upcoming collection. NorthWinds includes some new arrangements and additional tracks like “Sweet Mistreater” and “Shame The Devil, Tell The Truth”, breathing new life into this classic. Whitesnake features impossible remixes thanks to AI sound separation softwares, courtesy of technology that has only been available in the last couple of years.

Order here.

6CD tracklisting:

CD1: Into The Light (Remix)
“She Give Me”
“River Song”
“Don’t You Cry”
“Love Is Blind”
“Slave”
“Cry For Love”
“Living On Love”
“Midnight Blue”
“Too Many Tears”
“Don’t Lie To Me”
“All The Time In The World”
“Wherever You May Go”
“Yours For The Asking”
“Let’s Talk It Over”

CD2: Into The Light (Additional Remixes)
“Love Is Blind” (Band Version)
“As Long As I Have You”
“With All Of My Heart”
“Wherever You May Go” (Strings Version)
“Love Is Blind” (Strings Version)

Demos & Unfinished Symphonies
“Lust”
“Oh No Not The Blues Again”
“Into The Light Intro”
“Into The Light”
“You Make It Hard On Me”
“Would You Be Happy”
“Fooling Yourself”
“Make The Best Of It”
“Veda of Cassandra Blues”
“I Can See The Light”
“Another Fallen Angel”
“Itchy Finger”

Original Demos 1997
“Crazy ’Bout Cha” (Original Version of “Whipping Boy Blues”)
“If You Want Me”
“Lay Your Love On Me” (Original Version of “Lay Down Your Love”)

CD3: NorthWinds (2024 Remix)
“Keep On Giving Me Love”
“Sweet Mistreater”
“NorthWinds”
“Give Me Kindness”
“Queen Of Hearts”
“Only My Soul”
“Time & Again” (String Version)
“Say You Love Me”
“Shame The Devil, Tell The Truth”
“Breakdown”
“Time & Again” (Piano Version)
“Time & Again” (Strings Only)

CD4: Whitesnake MCMLXXVII (2024 Remix)
“Lady”
“Blindman”
“Goldies Place”
“Time On My Side”
“Peace Lovin’ Man”
“Sunny Days”
“Hole In The Sky”
“WhiteSnake”
“Celebration”

Young Lad’s Blues (DC’s 1968 Home Demos)
“Sunny Days” (Original)
“Love Me In The Morning”
“I Will Love You”
“Moment In Time”
“It Would Be Nice”
“There Was A Time”
“Why?”
“I Still Love You”

CD5: Into The Light (Original Mix 2024 Remaster)
“She Give Me”
“River Song”
“Don’t You Cry”
“Love Is Blind”
“Slave”
“Cry for Love”
“Living On Love”
“Midnight Blue”
“Too Many Tears”
“Don’t Lie To Me”
“Wherever You May Go”

CD6: Whitesnake (Original Mix 2024 Remaster)
“Lady”
“Blindman”
“Goldies Place”
“Time On My Side”
“Peace Lovin’ Man”
“Sunny Days”
“Hole In The Sky”
“Celebration”
“WhiteSnake”

NorthWinds (Original Mix 2024 Remaster)
“Keep On Giving Me Love”
“NorthWinds”
“Give Me Kindness”
“Time & Again”
“Queen Of Hearts”
“Only My Soul”
“Say You Love Me”
“Breakdown”

All tracks previously unreleased, except CD2 track 8, CD5 & CD6.


IRON MAIDEN’s BRUCE DICKINSON Performed In War-Torn Sarajevo 30 Years Ago This Month – “He Was The Only One Crazy Enough To Do It,” Says Team Member

IRON MAIDEN's BRUCE DICKINSON Performed In War-Torn Sarajevo 30 Years Ago This Month -

Exactly 30 years ago, in December 1994, Sarajevo was in the grip of war, reports Sarajevo Times. The besieged city faced daily shelling, hunger, and fear. During those darkest days, when everything seemed devoid of meaning, one event brought light and hope. Bruce Dickinson, the frontman of the legendary band Iron Maiden, did the unimaginable – he came to the besieged city and performed for the people of Sarajevo.

While many major global bands, like Motorhead, refused to perform in a war zone, Dickinson and his team – Chris Dale, Alex Elena, Alex Dickson, and Trevor Gibson – took on a journey many considered impossible. With no guarantees of safety and risking their own lives, they came to perform at the Bosnian Cultural Center, bringing a moment of freedom and relief to the citizens of Sarajevo.

“He was the only one crazy enough to do it,” recalled Trevor Gibson, a member of the team that accompanied Dickinson. But it wasn’t madness – it was pure courage and empathy for people who desperately needed any kind of help, even if through music.

Three decades later, that night has become part of Sarajevo’s collective memory, with its legacy brought to life in the award-winning documentary “Scream For Me Sarajevo”. The film tells the story of Bruce Dickinson’s performance and his team’s journey to war-torn Sarajevo, while also exploring humanity, bravery, and the power of music to bring hope even in the darkest times.

The documentary was made possible through the efforts of producers Jasenko Pasic and Adnan Cuhara and directed by Tarik Hodzic. Since its premiere at the Sarajevo Film Festival (SFF), the film has traveled the globe, earning recognition as one of the best depictions of Sarajevo’s siege through the universal language of music.

Read more at Sarajevo Times.


CLOSE ENEMIES Feat. AEROSMITH Bassist TOM HAMILTON Sign With TLG/Virgin; Debut Single Due In January

CLOSE ENEMIES Feat. AEROSMITH Bassist TOM HAMILTON Sign With TLG/Virgin; Debut Single Due In January

Close Enemies, the powerhouse band featuring legendary musician Tom Hamilton (multiple Grammy winner, Rock And Roll Hall Of Fame member, and bassist of the biggest-selling American rock band of all time, Aerosmith), alongside legendary drummer Tony Brock (The Babys, Rod Stewart), touring veterans Peter Stroud (Sheryl Crow, Don Henley), Trace Foster on guitar, and singer Chasen Hampton, who has been singing professionally since the age of 11 as a member and co-host of the famed 90s Mickey Mouse Club and pop group The Party, proudly announce their signing with TLG|ROCK for management and label services. Their new record will be distributed through Virgin Music Group. Unlike the name suggests, these five guys are close friends, each with an illustrious musical career.

The band will release their debut single, “Sound Of A Train”, on January 17 and will be playing shows in support (dates below).

Tom Hamilton (Bass): “We’re really excited to be working with TLG/Virgin on the release of the Close Enemies record! They’re genuinely as excited about putting it out as we are! Can’t wait to see what happens!”

Tony Brock (Drums): “TLG/Virgin are the perfect match for Close Enemies as we are both SUPERGROUPS! 👌 Can’t wait to see the results!!”

Trace Foster (Guitar): “After spending a year on the writing and recording of this record, we were not going to sign with just anyone to put it out. Once we spoke with Dennis Sanders and his team at TLG/Virgin, we knew we had an ally with the same vision.”

Chasen Hampton (Vocals): “Honored to join forces with history! TLG/Virgin/Universal Music Group are all proven visionaries and a perfect fit for this band of brothers. We are excited to get this music heard and be a part of this new family.”

Peter Stroud (Guitar): “We could not ask for a better partner with Denny and The Label Group. His experience across all fronts of the industry is a perfect fit for Close Enemies. And I always prefer flying Virgin! It’s an honor to be playing with these musical brothers and now working with the ultimate team.”

Denny Sanders, CEO of TLG|ROCK: “My good friend Andy Gallagher of the band Overhaul sent me the music. I absolutely loved it, then to find out who’s in the band, well that was just icing on the cake. We are all thrilled here at TLG to be working with Close Enemies.”

Check out the band’s upcoming tour dates below, and stay tuned for further update.

Tour dates:

January
8 – Philadelphia, PA – City Winery
9 – New York, NY – City Winery
10 – Boston, MA – City Winery
11 – Boston, MA – City Winery
14 – Manchester, NH – The Rex Theatre
23 – Pawling, NY – Daryl’s House
25 – Nashville, TN – City Winery
28 – Chicago, IL – City Winery
29 – St Louis, MO – City Winery

(Photo – Eduardo Andrade)


TARJA Shares Official “Victim Of Ritual” Video From Rocking Heels: Live At Hellfest

TARJA Shares Official

Tarja has released the official video for “Victim Of Ritual”, from her just released Rocking Heels: Live At Hellfest, available via earMUSIC. Watch below:

On June 19, 2016, Tarja delivered a captivating performance at Hellfest, one of Europe’s largest and most prestigious metal festivals held in Clisson, France. Her powerful blend of operatic vocals and heavy metal instrumentation enthralled the audience, making her performance one of the festival’s highlights. The setlist featured a carefully curated mix of her solo work and iconic Nightwish songs.

Opening with “No Bitter End” from her 2016 album, The Shadow Self, Tarja set the tone for an evening of intensity and emotion. Her dynamic stage presence and dramatic musical arrangements created an unforgettable experience, solidifying her status as one of metal’s greatest female singers.

Experience the raw energy and powerful emotion of Tarja Turunen’s unforgettable performance at Hellfest 2016. Rocking Heels: Live At Hellfest is available as a Ltd. 1LP Gatefold Vinyl Edition, CD Digipak in LP-replica design and on Digital. Order here.

Tracklisting:

“No Bitter End”
“Never Enough”
“Ciaran’s Well”
“Calling From The Wild”
“Supremacy”
“Victim Of Ritual”
“Tutankhamen / Ever”
“Tutankhamen” / “Ever Dream” / “The Riddler” / “Slaying The Dreamer” (Nightwish Medley)
“Die Alive”
“Until My Last Breath”

“Tutankhamen” / “Ever Dream” / “The Riddler” / “Slaying The Dreamer” (Nightwish Medley) video:

“No Bitter End” video:

“Ciaran’s Well” video:

“Supremacy” video:


“I thought I understood how big this band was, but I didn’t.” Spiritbox’s Courtney LaPlante on the legacy of Linkin Park – and getting to play stadiums with them next year

“I thought I understood how big this band was, but I didn’t.” Spiritbox’s Courtney LaPlante on the legacy of Linkin Park – and getting to play stadiums with them next year

Courtney LaPlante and Linkin Park

(Image credit: Courtney: Youtube (Allison Hagendorf), Linkin Park: James Minchin III)

Courtney LaPlante, singer of fast-rising Canadian metalcore crew Spiritbox, has discussed the fact that her band will be playing stadiums as support to nu metal legends Linkin Park next year on select dates of the latter’s epic From Zero world tour. Speaking to Allison Hagendorf, LaPlante marvels at the sheer size of Linkin Park in 2024, acknowledging the band’s role in helping to define the sound of ‘mainstream metal’ in the 21st century.

“It really opened my eyes to the open arms of people welcoming this band back,” she says of Linkin Park’s return this year. “I thought I understood how big this band was, but I didn’t. The giant, huge impact on the Earth that this band [had]. I thought I already had big, lofty ideas, but it turns out that I couldn’t even fathom. If you asked me if I’d ever get to play Wembley Stadium, I’d be like, ‘Sure, maybe if I was opening for a hip-hop artist or Foo Fighters or somehting.’ But I didn’t know that I would get to do that with a band that played metal music too, and created kind of a genre of metal music. Anyway, I’ll figure it out by then. I’ll figure out how to play Wembley Stadium!”

Watch the full interview below. Linkin Park’s surprise return in 2024 made headlines around the world, chiefly over the introduction of new singer Emily Armstrong, who would be officially replacing Chester Bennington in the band following Bennington’s death in 2017. Reviewing their comeback album From Zero for Metal Hammer, Merlin Alderslade wrote: “What’s clear is that Linkin Park have crafted both an earnest tribute to their own legacy and a genuinely great album worthy of their canon. The future suddenly looks brighter.”

The From Zero world tour takes place next year.

Spiritbox’ Courtney LaPlante On New Album, The Grammys & Cupping The Mic – YouTube Spiritbox' Courtney LaPlante On New Album, The Grammys & Cupping The Mic - YouTube

Watch On

Linkin Park From Zero world tour dates

Jan 31: Mexico City Estadio GNP Seguros, Mexico
Feb 03: Guadalajara Estadio 3 De Marzo, Mexico
Feb 05: Monterrey Estadio Banorte, Mexico

Feb 11: Tokyo Saitama Super Arena, Japan
Feb 12: Tokyo Saitama Super Arena, Japan
Feb 16: Jakarta TBA, Indonesia

Apr 12: Las Vegas Sick New World, NV *
Apr 26: Austin Moody Center, TX ^
Apr 28: Tulsa BOK Center, OK ^
May 01: Grand Rapids Van Andel Arena, MI ^
May 03: Baltimore CFG Bank Arena, ND ^
May 06: Raleigh Lenovo Center, NC ^
May 08: Greenville Bon Secours Wellness Arena, SC ^
May 10: Columbus Sonic Temple, OH *
May 17: Daytona Welcome To Rockville, FL *

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Jun 12: Nisckelsdorf Novarock, Austria *
Jun 14: Hradec Kralove Rock For People, Czech Republic *
Jun 16: Hannover Heinz-Von-Heiden Arena, Germany ~
Jun 18: Berlin Olympiastadion, Germany ~
Jun 20: Bern Bernexpo, Switzerland
Jun 24: Milan I-Days, Italy *
Jun 26: Arnhem Gelredome, Netherlands $
Jun 28: London Wembley Stadium, UK $&
Jul 01: Dusseldorf Merkur Spiel Arena, Germany ~&
Jul 03: Werchter Rock Werchter Festival, Belgium *
Jul 05: Gdynia Open’er Festival, Poland *
Jul 08: Frankfurt Deutsche Bank Park, Germany ~&
Jul 11: Paris Stade De France, France

Jul 29: Brooklyn Barclays Center, NY +
Aug 01: Boston TD Garden, MA +
Aug 03: Newark Prudential Center, NJ +
Aug 06: Montreal Bell Centre, Canada +
Aug 08: Toronto Scotiabank Arena, Canada +
Aug 11: Chicago United Center, IL +
Aug 14: Detroit Little Caesars Arena, MI +
Aug 16: Philadelphia Wells Fargo Center, PA #
Aug 19: Pittsburgh PPG Paints Arena, PA #
Aug 21: Nashville Bridgestone Arena, TN #
Aug 23: St Louis Enterprise Center, MO #
Aug 25: Milwaukee Fiserv Forum, WI #
Aug 27: Minneapolis Target Center, MN #
Aug 29: Omaha CHI Health Center, NE #
Aug 31: Kansas City T-Movile Center, MO #
Sep 03: Denver Ball Arena, CO #
Sep 06: Phoenix Footprint Center, AZ #
Sep 13: Los Angeles Dodger Stadium, CA !&
Sep 15: San Josa SAP Ceter, CA &
Sep 17: Sacramento Golden 1 Center, CA &
Sep 19: Portland Moda Center, OR &
Sep 21: Vancouver Rogers Arena, Canada &
Sep 24: Seattle Climate Pledge Arena, WA &

Oct 26: Bogota TBA, Colombia
Oct 29: Lima TBA, Peru
Nov 01: Buenos Aires TBA, Argentina
Nov 05: Santiago TBA, Chile
Nov 08: Rio De Janeiro TBA, Brazil
Nov 10: São Paulo TVA, Brazil
Nov 13: Brasilia TBA, Brazil
Nov 15: Porto Alegre TVA, Brazil

Festival performance *
With Queens Of The Stone Age !
With Spiritbox $
With AFI =
With Architects ~
With Grandson ^
With Jean Dawson #
With Jpegmafia &
With Pvris +

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. 

“The whole thing is still as sick as ever.” Slipknot put on 2024’s biggest heavy metal nostalgia party in Manchester

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

Tonight, Mancunian maggots are squirming their way back to 1999 – and they’re doing it in style. From mobs clad in red boiler suits to children skipping along in grotesque, hand-made masks, everyone has put the effort into honour Slipknot’s landmark anniversary. Over the last 25 years, the Iowa gang’s self-titled record has only ripened with age – and punters are hoping to experience every inch of its nauseating, bile-spattered noise as viscerally and authentically as grotty basement crowds did all those moons ago.

Before being treated to an evening of laceratingly deep cuts, crowds are treated to some of Glasgow’s finest, Bleed From Within, immersing the Co-Op Live arena in a wave of rumbling metalcore and overwhelming grooves. Frontman Scott Kennedy handles the pressure like a pro, confidently commanding crowds to move, even garnering a sly wall of death. And, if his intimidating growls weren’t already convincing, the bagpipes featured on new track In Place Of Your Halo certainly win the masses over.

Soon, however, comes the pain. As the arena is plunged into darkness, the infernal whirring of 742617000027 and unnerving calls of “come play with us…” scratching at people’s eardrums, Slipknot tease the crowd of delinquents, drawing out the tension before everything crashes into action. (sic) kicks the set off, the nefarious clash of whiplash-quick drums and tormented vocals instantly raw and nostalgic. By Eyeless, fans are swarming, revelling in the chaos of 99 – and Iowa’s finest are too, decked out in classic red boiler suits and feasting on the nu metal carnage unfolding.

When Corey Taylor finally addresses the crowd, it slightly bursts the nostalgic bubble. And that’s because he’s not deranged in the slightest; the warmth in his voice is far removed from the rabble of rascals that would drink their own vomit and huff roadkill in a jar before going onstage. “This country was the first to really fucking embrace Slipknot as a family,” he says. “For one night only…welcome back to 1999 motherfuckers!”

But that’s just a fact of life – you can’t truly go back in time. While Slipknot is a record designed for dank little clubs, sweat dripping from the ceiling as eager maggots climb up the walls, that’s just not going to contain the magnitude of what the record has since become. Right now, we’re in a rather impressive arena – the largest in the UK, in fact. While it’s a step-up to be proud of, it does leave things feeling a touch sanitised: the set is a little too clean, the guitar chugs aren’t low enough, tone not quite rumbling in your guts as you’d want them to.

But, all things considered, the show is still a mighty celebration. From the ferocious Eeyore to Taylor’s maniacal, guttural rampage throughout Me Inside, to the maggot national anthem Surfacing, fans are delighted. And additions to the band since 99 also help amp up the chaos, Michael Pfaff’s percussive energy electric as his devil horned head darts back and forth, climbing onto his drums and rolling around on the floor.

As we draw towards a close, Taylor leaves us with on final dose of that 90s nightmare lingering within him. Donning the psyche of a madman for closer Scissors, his scarily calm demeanour and unsettling performance is still unhinged and as sharp as ever. It’s a perfect end note, reminding people that, no matter what, Slipknot can never entirely be tamed. Maybe the whole thing is still as sick as ever.

Full-time freelancer, part-time music festival gremlin, Emily first cut her journalistic teeth when she co-founded Bittersweet Press in 2019. After asserting herself as a home-grown, emo-loving, nu-metal apologist, Clash Magazine would eventually invite Emily to join their Editorial team in 2022. In the following year, she would pen her first piece for Metal Hammer – unfortunately for the team, Emily has since become a regular fixture. When she’s not blasting metal for Hammer, she also scribbles for Rock Sound, Why Now and Guitar and more.

Appraiser Speechless When Handed Iconic Rankin/Bass Puppets

‘My Heart Skipped a Beat': Appraiser Recalls Emotional Moment When Rankin/Bass Christmas Puppets Showed Up at His Table

Some of the most memorable moments on PBS’s long-running Antiques Roadshow happen when a guest learns their dusty attic find is worth a small fortune. They cry. You cry. It’s pure magic.

Equally great are the moments when an appraiser catches a glimpse of something out of the corner of their eye and instantly knows: “This is going to be special.”

A Tupperware Container Holding Christmas Magic

That’s exactly what happened in 2005 when appraiser Simeon Lipman was at the table during an Antiques Roadshow taping in Providence, Rhode Island.

RELATED: The Best Holiday TV Specials of All Time, Ranked

A man walked up carrying—of all things—a Tupperware container. Inside? Absolute nostalgic Christmas magic: the original Santa and Rudolph puppets from Rankin/Bass’s iconic 1964 holiday special, Rudolph the Red-Nosed Reindeer.

‘When he opened the container, my heart skipped a beat. I was looking at two faces I’ve seen my entire life.’ – Simeon Lipman, Appraiser

It turns out the guest’s aunt had worked at Rankin/Bass in the ’70s and had acquired the puppets once production wrapped.

RELATED: Every Family Had These Iconic Christmas Decorations

Lipman noted that puppets like these are typically in rough shape (these were the only two that didn’t melt in an attic), but while they weren’t perfect, they were still in surprisingly good condition—though Santa’s whiskers and Rudolph’s nose needed some repairs.

Want to see how they were restored? Check out the clip here.

The iconic childhood treasures were initially appraised at $8,000 to $10,000. However, after being carefully restored, their nostalgic value skyrocketed. Considering they’re literal celebrities to millions of people worldwide, this is not surprising.

By 2020, the beautifully restored puppets hit the auction block and sold for a jaw-dropping $368,000.

Don’t worry about them being stashed away in another attic, though. The buyer donated these treasures to the Center for Puppetry Arts in Atlanta, where they’re now on display for the public to enjoy.

LOOK: These Nostalgic Decorations Will Bring Back the Magic of Christmas Past

From snow-in-a-can to disco ball ornaments, childhood Christmases were pure magic—and filled with buckets of glitter. Did your favorite holiday decorations make the list?

Gallery Credit: Stephen Lenz

LOOK: Holiday gift crazes and fads of the past century

Stacker compiled a list of toy crazes from the past 100 years. 

Gallery Credit: Jennnifer Billock

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