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 *

Sign up below to get the latest from Metal Hammer, plus exclusive special offers, direct to your inbox!

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

More From Ultimate Classic Rock

10 Underrated Hair Metal Bands That Deserved to Be Way Bigger

10 Underrated Hair Metal Bands That Deserved to Be Way Bigger
Paul Natkin / Watal Asanuma / Shinko Music / Fin Costello, Getty Images

“Hair metal” is not an actual genre. You know it, we know it and the myriad bands that got unfairly lumped into the category know it.

That said, the pejorative phrase serves a purpose here. Critics coined the term “hair metal” as a shorthand dismissal of the countless copycat hard rock bands that cluttered the Sunset Strip and ruled the airwaves throughout much of the ’80s. Broadly speaking, it was not a subgenre that rewarded originality. So it makes sense that many of the artists on our list of 10 Underrated Hair Metal Bands That Deserved to Be Way Bigger were also the ones that went against the grain.

Whatever you want to call it — glam metal, pop-metal, party metal — the hallmarks of hair metal are consistent: massive guitar riffs, blazing solos, debauched lyrics and sticky, radio-friendly hooks. At its best, it could be pure escapist bliss. At its worst, it was garish, contrived, lightweight fluff.

As the ’80s progressed and the L.A. hard rock scene became increasingly saturated, the latter category began to outweigh the former. The writing was on the wall long before Nirvana sounded the hair metal death knell with 1991’s Nevermind. But even as the genre hurtled toward irrelevance, several bands eked out terrific music that failed to get the recognition it deserved.

Some of the bands on this list tried to shake up the hair metal formula with blues, Southern rock or heavy metal elements and floundered for their efforts. Others suffered from mismanagement or general lack of support when they needed it most. Others, still, had their careers cut tragically short and subsequently watched their acolytes take their sound and aesthetic to staggering commercial heights.

Whatever the case, many of these bands retain cult followings today, and for good reason. Read on to see our list of 10 Underrated Hair Metal Bands That Deserved to Be Way Bigger.

10 Underrated Hair Metal Bands That Deserved to Be Way Bigger

Even as the genre hurtled toward irrelevance, several bands eked out terrific, underappreciated music.

Gallery Credit: Bryan Rolli

More From Ultimate Classic Rock

Watch Elton John’s New Video for ‘Step Into Christmas’

Watch Elton John’s New Video for ‘Step Into Christmas’

Elton John has released a new video for his 1973 holiday classic “Step Into Christmas.”

The clip stars actress and model Cara Delevingne as John in a reimagining of what happened behind the scenes of the song’s original performance clip from more than 50 years ago.

The new video features Delevingne lip-syncing to John’s song as she replicates scenes from the original clip, including a red feather boa draped over the piano. You can watch the new video below.

“I saw Cara at Glastonbury last summer, and we talked about how much we’d love to work together if the right idea came up,” John said in a press release announcing the video. “She’s hilarious to spend time with. We both have quite a self-deprecating sense of humor.

READ MORE: Rock’s Biggest Christmas Songs

“When someone suggested the idea of her playing me in a riff on the 1973 ‘Step Into Christmas’’ video, I just thought it was the perfect opportunity. Thank God Cara thought the same because it came out great.”

What’s the Story Behind Elton John’s Christmas Song?

John and songwriting partner Bernie Taupin – who appears in the original video – wrote “Step Into Christmas” in 1973 and recorded it shortly after Goodbye Yellow Brick Road was released in October of that year. The single – backed by another holiday original, “Ho, Ho, Ho (Who’d Be a Turkey at Christmas)” – came out in late November, just in time for the holiday.

The song initially reached No. 24 in the U.K., while it topped the U.S. Christmas chart. It has since become a holiday favorite, going triple platinum in the U.K. during the 2023 holiday season.

Top Classic Rock Christmas Albums

There’s only so much goopy seasonal music you can listen to, right? 

Gallery Credit: Nick DeRiso

More From Ultimate Classic Rock

The Best and Worst Classic Rock Holiday Songs: Roundtable

If you’ve ever fancied taking a ride on a different kind of Polar Express, a discussion with friends about the best and worst holiday songs might be just the ticket you’ve been waiting for.

It’s important to realize that there will be a difference of opinion….many of them, in fact. Two evergreen (intentional pun) battles center around “Last Christmas” by Wham! and separately, Paul McCartney’sWonderful Christmastime.” An informal social media poll across all of my accounts revealed a nearly universal hatred for “All I Want for Christmas is You” by Mariah Carey. We’re sure you probably have some thoughts to contribute to the pool of opinions as well.

We dug into this and other topics during the latest episode of the UCR Podcast. You can listen to our entire discussion below (and wherever you get your podcasts). Selected excerpts from our conversation follow.

1) What are some of the trademark elements of a good holiday song?

Allison Rapp: I love the kind of Christmas covers where you can tell specifically that it is that person’s style and nobody else could have done it the same way. For example, Bruce Springsteen’s “Santa Claus is Comin’ to Town,” that is such a quintessential E Street record to me. The recording of it, the arrangement, nobody else could have done the song that way. So those are my favorite kind of classic rock Christmas songs when you can tell it’s very much true to that person’s unique, original style.

Watch Bruce Springsteen Perform ‘Santa Claus is Comin’ to Town’

Corey Irwin: In terms of characteristic, I think any Christmas song needs to capture that spirit. I know that’s a very general term, but I think there’s something about Christmas that’s very whimsical. It’s got a sense of nostalgia to it. So if anybody is trying to create something new, it needs to tap into that. If it doesn’t, I feel like immediately, everybody’s going to dismiss it as just a cash grab.

READ MORE: 30 Sad Holiday Songs

2) What do you find annoying about holiday songs that are perhaps more formulaic?

Irwin: There’s the checklist theory — I’m making a Christmas song, so I need to hit all of these points. I need to hit Santa, I need to hear reindeer, I need to hit snowmen — I need all of these things. It’s wedging something in that’s unnecessary if it doesn’t fit the story to the song, to the lyrics, it feels disingenuous. I think that can really sound grating to a listener. Also, one example that happened to me recently, you’ll hit Spotify or whatever and it will start giving you a playlist. You start with artists that you know and then of course, the algorithm throws in things and you don’t know what you’re getting . I got this Gwen Stefani / Blake Shelton Christmas song, “You Make it Feel Like Christmas,” and it’s possibly one of the worst, not just Christmas song, but recordings I’ve ever heard in my life. It’s just so painful, because it doesn’t even sound like they like each other. I know they’re a couple, but I don’t believe they like each other in the song. It just sounds like they’re both kind of “pasting on the Christmas schtick” to get some streams and that’s it. It’s like, well, that’s not Christmas. That’s not fun. That’s not something I want to listen to while I’m trying to spend some time with my family. It just felt very fake and phony.

Bryan Rolli: That’s just capitalism, which one could argue is actually the true reason for the season. But when we’re talking about musical merit, that makes for a pretty bad song. I think unsuccessful Christmas songs, they take all of these elements that are supposed to traditionally be in a Christmas song and they’re using those things in place of an actual narrative and story to tell. They can also go the other direction where they become overly maudlin and sentimental. I have nothing against a melancholic Christmas, but for example, I was out running an errand earlier today and I happened to turn on the radio. Bob Seger’s version of “Little Drummer Boy” was playing and that’s not one of my favorite Christmas songs. I just feel like it’s so overwrought. There’s such an effort there to convey, “Yes, this is a serious Christmas song. I am singing about a serious topic. You must listen to the song with reverence and respect.” And it’s like, nobody was questioning the merit of the song in the first place. That version becomes so heavy handed that it makes it a challenging listen.

Watch Wham!’s ‘Last Christmas’ Video

3) How do you feel about the whole Whamageddon thing where people try to avoid hearing “Last Christmas” by Wham! until Christmas Eve?

Matt Wardlaw: For me, it’s kind of like Rick Astley’sNever Gonna Give You Up” and people getting “Rickrolled.” This has become kind of the holiday version of that, with people going out of their way to avoid getting “caught” by “Last Christmas.” The song itself is such a polarizing thing. People either like it or they hate it. But if you like it, why would you want to wait to experience that joy by trying to avoid the song?

Rolli: I get it. In this instance, I’m a big fan of “Last Christmas.” I think it’s a beautiful song and I think it’s one of my favorite Christmas rock/pop songs. I don’t place myself in as many scenarios where it’s likely I’m going to hear Christmas music. I don’t have the radio on very often. I don’t work in retail. Most days, I don’t really leave my house between the hours of 9 and 5, because of the perk of working remotely. If I were to be in those environments more, I’d proably get sick of it really fast, the same way I’m perpetually sick of Mariah Carey’s “All I Want For Christmas is You.” If I never heard that one again, it would be too soon. So I understand the logic behind a game like that. But honestly, I’m at the point where if “Last Christmas” comes on, I still see it as kind of a reprieve from some of the worst Christmas songs.

READ MORE: 20 Christmas Songs Everyone Should Play Instead of Mariah Carey

4) What are some of the worst Christmas songs in your opinion?

Rapp: I’m a longtime dedicated, devoted John Lennon fan. I always have been, always will be. But I cannot sit through “Happy Xmas (War is Over).” I don’t know if it’s the children’s choir aspect of it. I can’t even put my finger exactly on it, but to me, it just drones on and on and I can’t sit through the whole song. I don’t think I’ve sat through the whole song in years. I can’t stand it.

Wardlaw: I’m glad to hear you say that. When that song comes on the radio, I know there’s supposed to be a positive message there….

Rapp: …yeah, of unity and goodness. I don’t know what that says about me, but I hate it.

Rolli: I’m with you both. I think if I have to look at it as objectively as possible, structurally, the song is fine. But at this point, its goodness and sincerity and importance, it’s like it insists upon itself. Because people use it as a counterpoint to “Wonderful Christmastime,” normally, they’re trying to argue that “Happy Xmas” is a better song than that one. It’s like, “Look at this, the real Christmas song, between the two! It’s evidence that John Lennon was better than Paul McCartney!” It’s overwrought and I have a Pavlovian response to it. Similarly, I cannot hear the whole thing anymore.

Listen to the ‘Best and Worst Christmas Songs’ Episode of the ‘UCR Podcast’

Irwin: I like it. You know, part of that is — and this kind of goes for all Christmas songs — I remember my parents playing that song when I was little, so I have a very positive recollection of hearing that song around Christmastime. It has that nostalgia for me, so I have a personal connection to it. I probably kind of overlook some of those things you guys are talking about. That being said, I’m certainly in the camp of hating “Wonderful Christmastime.” I think I understand to some degree, why. Let’s say it’s 1979 and somebody comes to you and says, “Babe, wake up! Paul McCartney’s released a Christmas song!” You’re thinking, “Are you serious?? This is one of the greatest, if not the greatest songwriter ever, this is going to be amazing. This is going to change Christmas every year. It’s going to be special.” Then, you hear “Wonderful Christmastime” and it’s such a letdown. You know, the Band Aid song, “Do They Know it’s Christmas,” it’s probably the same idea. You have some of the greatest musical minds ever in one room and that’s what you got? It’s a letdown. So there’s a certain level of expectation that comes with it that I think probably affects the way you view it. If somebody I’d never heard of had released “Wonderful Christmastime,” I’d probably just ignore it. But because it’s Paul McCartney, I’m like, man, this is so lame!

Watch Paul McCartney’s ‘Wonderful Christmastime’ Video

5) What are some of the Christmas songs that you really like?

Wardlaw: I know this is not a hard sell for Allison, but I like “Christmas All Over Again” by Tom Petty and the Heartbreakers. That’s a longtime favorite — and it’s for similar reasons like Corey talked about. Some of these songs, I heard them for the very first time when I was a kid, so I’m still very sentimental about them and that Petty song is definitely one of those for me.

READ MORE: Rock’s Biggest Christmas Songs: The Stories Behind 15 Classics

Irwin: I think Joni Mitchell’sRiver” is a classic song, one of those that will hit you in the heart pretty much anytime you listen to it. It kind of goes with what Bryan was saying about having that melancholy aspect to it and also being personal and relatable — and a Christmas song that’s only lightly about Christmas. It’s not hitting you over the head with it. So that’s one I’ll always listen to, no matter what.

Rapp: “River” is definitely on my list too. Joni Mitchell, I don’t think you can have a Christmas playlist without there being at least one or two sad Christmas songs. Along those same lines, “Please Come Home for Christmas,” the Eagles song. That one is usually on my rotation. Also, I really love and I was just listening to it the other day, because I got roped into hosting my friend’s annual little holiday party and I was in charge of music — I stumbled across the Ray Charles version of “Santa Claus is Coming to Town.” That version is really great, really smooth and authentic to his own style.

Rolli: I really like “Little Saint Nick” by the Beach Boys. Lyrically, it goes against a lot of what I said about what constitutes a good Christmas song, maybe, but it just lets their strengths as a band shine. I love the harmonies. It’s so catchy. I always remember the Coca-Cola commercial it features in with the big polar bear, so there’s positive memories there, great associations. Also, I’m a big fan of Elvis Presley’s version of “Blue Christmas.” I love the vocal on it. It’s got this blend of being a tiny, tiny bit melancholy, maybe in its subject matter, but it’s also a bit campy at the same time. It’s a classic.

Watch the Beach Boys’ ‘Little Saint Nick’ Video

Great Classic Rock Christmas Memories

As you’ll see, rock stars celebrate Christmas in their own rock star ways.

Gallery Credit: Nick DeRiso