Author: fgt

Feature Photo: Alejandro Menéndez Vega for The Mavericks, CC BY-SA 4.0 , via Wikimedia Commons

Welsh metal band Skindred have a reputation for engaging and energetic live shows. But in 2018, drummer Arya Goggin told Prog that, every now and again, leader Benji Webbe might find himself flagging – and if that happened, Goggin’s passion for Phil Collins’ work would come to the rescue.

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“Growing up, my music taste was like osmosis from what my parents were listening to, which was Phil Collins’ solo stuff. I got used to all the big hits; and, for me, the drumming thing came from In The Air Tonight, an iconic moment in music that just happens to be on the drums.

I then worked backwards from the pop hits and started listening to Genesis. On Selling England By The Pound and The Lamb Lies Down On Broadway his drumming is incredible, with so many intricacies there. Those records were lauded at the time but unknown to kids like me in the 90s.

Tony Banks was my school friend’s godfather and our era was We Can’t Dance – I remember him saying he’d seen them play Torquay on that tour. I started to get the Genesis live albums and I’d drum along to them all the time.

Ninety per cent of drummers are interchangeable, but you definitely know when Phil Collins is playing. He brings a bit of Motown to the sound – he’s done it on all his solo records but it’s there even in his early recordings with Genesis.

There’s a pulse going; his playing is danceable when he hits a groove and he’s really musical, which is different to the two-and-four drummers – especially myself! I wish I could be as creative as him.

Then there’s his voice. It’s incredibly difficult to be a good drummer; it’s incredibly difficult to be a phenomenal singer. It’s even rarer to put them together. I saw him last year at the Royal Albert Hall and he wasn’t terribly well, but his voice was still fantastic.

It’s the ‘flats-in-Dagenham’ stuff that will always get me, though. What makes a great drum solo is when non-drummers can gravitate to it. When you see someone air drumming and they’re hitting in the right place, that’s the mark of a great solo; and Phil’s the master.

When Benji won’t shut up on stage, I’ll do ‘the Phil’ to move it along. The audience go wild – ‘Phil! Yeaaah!’ – so he’s always with us in spirit!”

In March 2008, still raw and emotional from a recent and much-publicised stint in rehab and a week before his sacking by Velvet Revolver, the late Scott Weiland spoke with Classic Rock. He talked openly about his grievances with the band, the tragic death of his brother Michael, his ongoing battles with addiction and the re-formation of Stone Temple Pilots.

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“I guess the problem at the moment is that I have some great things ahead of me and I’m in a band that I’m not getting along with who are junkies and fucking tramps and are trying to pretend they are fucking St. Francis!”

Scott Weiland is, to use an American colloquialism, pissed. It’s Easter Monday, the day before Velvet Revolver’s first night at London’s Brixton Academy, and Weiland’s relationship with the band is in meltdown.

Right now he’s aggrieved because he claims the management have confiscated his passport to prevent him from absconding before the end of the tour. But he is also very optimistic about future prospects, including a reunited Stone Temple Pilots tour, a solo double album and a biography – all happening this year.

Wearing a skinny black suit and Wayfarer shades, he looks like a hybrid of Bob Dylan and John Cooper Clarke – the epitome of grunge chic.

What’s your take on the Velvet Revolver situation?

There’s a lot of baggage that comes with the band, and a lot of displaced anger. Y’know, when I first joined Velvet Revolver I already had issues regarding the politics of a rock’n’roll band. When you’re the frontman and the person who writes the majority of the music – all the melodies, all the lyrics – the person who comes up with all the creative ideas – video ideas, concepts for covers, that sort of thing – eventually other band members start looking at you.

Initially you’re the asset, especially in the first couple of years. You’re the one who has to give all the interviews – when times are great and when times are not so great. So suddenly people are saying: “Why is he getting all the attention?” Well, sometimes none of the other guys want the attention. Well, they want the attention but they don’t want any of the responsibility that comes with it. Which is one of the issues I brought with me from STP [Stone Temple Pilots].

The problem with STP – which leads into the Velvet Revolver problem – was that we were best friends for a long time. We grew up together as kids. I was 19 when I formed the band with Robert [DeLeo, bass] and I knew him when I was 16. It started out, like every band does, as a gang. And it really never was a case of me trying to jump out and seize the spotlight, because I was really conflicted about the whole thing.

I don’t mind doing photo shoots, and I don’t mind doing an interview if it’s an important interview. Talking to Classic Rock – that’s an important thing. It’s a respected, legendary magazine. I’m not one of those people who are into saturating the media. If you have an important thing to say, then say it. But along the way with STP our communication broke down.

It was this great band with this great chemistry. We were not only great songwriters together, it was based on camaraderie, experience, the friendship I had with Robert. All this ended up breaking down because of resentment we never spoke about. It ended up with Dean [DeLeo, guitar] and I having fistfights.

So there was this period of time before Velvet Revolver that I really didn’t want to play in a rock band again. I was knee-deep in recording my solo record. I was in the process of putting together my record company and I was producing other bands. I co-produced two of the Limp Bizkit records. Not my favourite band by any stretch of the imagination, but it definitely put me on the map as a producer. I also had kids and didn’t want to spend the rest of my life on the road.

But those guys [Slash, Duff, Matt Sorum and Dave Kushner] were looking at a bunch of singers and doing a movie. They were sending me CDs of songs, and eventually I heard some stuff that I found intriguing and I started to get to know them a little bit. I felt a kinship with them in the beginning because they had gone through some shit with their previous band.

life raftFrom the outside you and those guys getting together looked like two people coming out of horrendous divorces: relating to each other’s experience, but also having the baggage that comes with that experience.

Definitely. But it was almost like coming together off a rebound. At first it was very exciting and we did jive. We had the same common interests. Duff and I shared a lot of the same musical interests with punk rock. Matt and I shared an interest in experimental music. Dave and I had known each other from back in the days of playing clubs in Hollywood. And then you had Slash and I who were – and I don’t want to come over as self-serving – two iconic figures, which the media tried to turn into a Mick/Keef kind of thing. We did have that gang-type camaraderie at first. At the same time, I was in the worst period of my drug addiction I’d ever gone through.

Was Slash messed up too?

Not at that time. He was just drinking a lot. He hadn’t done drugs in a few years. He seemed pretty cool at the time. Duff had been sober for a long time and Matt had been sober for five-and-a-half years. Dave, of course, was as solid as a rock.

So VR was a musical thing that looked like it could be promising but it also looked like it could be a life-raft. These were guys that had walked the same streets that I’d walked and in the same shoes. They were totally supportive and non-judgemental.

In the last couple of years in STP the guys had become very judgemental. And, to sort of jump ahead a little, ironically Dean [DeLeo] ended up getting sober a couple of years later and came to me and said: “Listen, man. I need to make amends to you. I was a horrible hypocrite. I was strung out too.”

You told me in our last interview [2007] that you were getting the brunt of STP’s criticism, while Dean was getting wasted at home.

Yeah. There were some tours where we would be smoking crack and heroin together. And then the next tour I would say: “Alright, let’s get on with it.” And he’d say: “What are you talking about, man? Get your shit together!” But he made amends to me. And I was shocked because he had gone to rehab and he’s been clean for some time now.

But going back to Velvet Revolver, at the time it seemed like a completely different situation to STP. It felt like the most non-judgemental situation, because the first six months was like a process of me getting clean. The first thing to go was the heroin, then the cocaine and then the pills. Then I got into treatment and I got clean. I was clean and sober for two years and then I started drinking. And that all seemed cool for about a year, but then it started escalating.

During that time is when the guys started falling off the wagon. Matt relapsed and went into treatment, then Duff relapsed and went into treatment, and then Slash had his situation. So everybody in the band ended up falling off, except for Dave, of course. At that time I was maintaining my problem in a sane way and I really didn’t fall off intensely until my brother died.

I was going to bring that up. It seemed a too little too current the last time we spoke, as you had been to his funeral just a week before.

He was a great guy. Very smart, very well read, a great writer. He was very loving, a great dad. He unfortunately didn’t love himself as much as he loved other people. There were years where he and I were just ripping and roaring together, and then unfortunately we were never clean at the same time. I was loaded, he was clean; he was loaded, I was clean. We could never be on the same page, on the same schedule, to support each other.

Did you write the song For A Brother, on VR’s Libertad, before or after he died?

I wrote it for him when… It’s the most fucked-up story. He had a custody date in court. There was a restraining order against him and he was going to be able to see his kids and have visitation again, which would lead up to partial custody. We’d been getting along the best we had in years; he spent Christmas with me.

Two days before the court date he did the same thing he always does: whenever something good is going to happen he shot himself in the foot. And he went out and got loaded and got arrested for possession. So that completely fucked up his situation. He turned up at court and told his wife what happened and that he wouldn’t be able to see his girls for a while and to tell them that he loved them. She told me afterwards that she had a feeling that she wasn’t going to see him again.

I was so angry when I heard about it that I never called him. I felt I had to wait a week before I called him, to let it sink in. So I never had a chance to talk to him again. I got a call when they found him. I had to go over and identify his body. Nobody knows for sure if it was intentional. When I got to his place he was laying on his bed with his sheets pulled up to his chest. There weren’t any works nearby. I feel that he just sort of gave up, died of a broken heart. There were drugs in his system but not enough to kill a junkie. There was a note on his fridge door that said: ‘Live for Sophia and Claudette’ – his daughters.

So that’s when things started going downhill for me. The family came out and we kind of had a wake for a week. I started drinking non-stop.

It’s strange that you responded to your brother’s relapse and tragic death by relapsing yourself.

Exactly! It was a bad year. My mother got cancer. They got the cancer but she had to go through radiation therapy. My grandfather got really sick with heart disease and emphysema. A lot of bad stuff happened that year.

You also split up with your wife. How do you deal with all that? Where does all the stress go?

How did I deal with it? It was even more confusing. Because in the band I was playing with, until then we were covering each other’s backs and then suddenly it all started evaporating. Suddenly these guys who had all fallen apart themselves became extremely judgemental. When they went through their shit I was the last person that would be judgemental after what I had gone through in my life.

The relationship I had with Matt became horrendous. He and I had come close to fist-fights so many times that it’s ridiculous. He has an attitude with lead singers. It’s a problem he had before Revolver – in Guns N’ Roses and The Cult. And, who knows, maybe even before that. Slash and I have always been able to maintain, except on a few occasions, a professional relationship. Duff and I have usually been close. Then everything started to erode. I couldn’t believe I was in this situation where I was getting ostracised by people who had been in the same fucking situation that I was in.

So while all this was going on I had been talking to the guys in STP and we said: “Let’s get back together. This story’s not over.” I feel like we have the best shit ahead of us. I definitely didn’t want to put Velvet Revolver to bed. I also don’t believe in overstaying your welcome when you are touring a dead album.

We toured our first record [Contraband, 2004] for a long time because it sold three-and-a-half million copies. But when you have an album that didn’t do that well, you don’t tour it for over a year. You take a break; you wait for the songs to happen. Like Keith Richards said: “You don’t fucking labour over songs.”

So the whole thing with STP doing a tour and some festivals was a perfect window of opportunity, while the rest of the band could have been taking some time off, working on some song ideas of their own. And then when I was done Velvet Revolver could get back together.

Right now it’s like a relationship that’s dead in the water, where you need space to figure out if it’s important enough to last. The band need time out to sit back and let the creative juices flow, and also time away to realise what everyone’s part is in why things have gotten to the point that they’re at.

Now, I’m not saying that I’m innocent in this, but everybody’s at this place where the fucking finger is getting pointed and they’re all pointing the finger at me. When you think about it, isn’t it ironic that the band is regurgitating the same story that they did with Axl Rose in their last band, where the lead singer was being demonised? Originally I thought: “What a troll he must have been. What an evil man.” But you know what? I have to say that I have an entirely different opinion of him today.

That’s a turnaround. Last year you verbally laid into him in a very public manner.

But y’know what? That was a long time ago and I’d heard a lot of stories. But there are two sides to every story, and having been in this band I actually feel for the guy and understand him a whole lot more.

Is it true that VR’s Australian tour was cancelled because you relapsed and the band and management insisted you went back into rehab before going on the road?

Oh, that’s a bunch of bullshit! There’s absolutely zero truth in that. The band had nothing to do with me going into rehab at all. I never even had a conversation with them about it. I wasn’t even speaking to them at the time. As a matter of fact they didn’t even know that I was going until the night of the show.

Did you do that impulsively?

I was talking to my manager – who is not their manager – and was trying to get a bed at this place. The only person who had an idea that I was going was Matt, cos he went to the same place when the original tour got cancelled. What happened then was I went to dry out for three days at a place my shrink has, because I was drinking a lot.

We were supposed to leave for Australia, but Matt came to rehearsals and was so fucked up that the band sent him back to rehab. That’s the reason the first tour of Australia got cancelled. A tour gets cancelled, and regardless of what Matt’s offences were no one pays attention to that because, to be quite honest, no one really gives a shit.

A couple of months later I was saying to my manager: “I can’t believe I’m saying this, but I think I want to go back into rehab again.” I was looking for a place by my house but the prices had changed from five years ago. So Matt directed me to a place in Orange County. It’s fucking ironic that the band says they asked me to go, because I tried to stop the tour earlier and go.

So eventually I said: “Fuck it! Book me a bed and after the gig I’m going.” So I packed a bag, did the gig and split off without them even knowing. So the last couple of shows [in the US] we didn’t do. But y’know what? It was more important that I went, because I was in a miserable place. It was the first time in years that I went to a rehab place because I wanted to.

Coming out rehab this time and going straight on tour must have been quite a shock to the system. You must be in quite a raw and vulnerable place.

Yeah, but it’s not like the first time I’ve done it. It’s what my life is, really. But it has changed my philosophy to the concept of what Velvet Revolver is about. With this band everything is about touring. I think by this time we should have made three albums. But we’ve spent nearly the entire life of this band on the road and I’ve missed a lot of things in my children’s life because of it. At this point I prefer recording. At least it gives you something a little more thrilling to do while you are touring. Something more challenging than playing It’s So Easy/Sex Type Thing every night.

I think the emotional let-down was that we achieved something special. We pushed the envelope and created something unique and then blew it. The initial goal was to tour our albums and not fall back on our old catalogue from our respective past. What ended up happening was exactly the opposite. We ended up falling back on the old material because there’s not enough confidence in what this band is about. It seemed to be more important to play the old rock stuff than build up a legacy with the new band. And it just became not fun. I think I have a lot more to say musically.

There have been rumours on the net that during the last shows you’re going to destroy the stage or just split prematurely.

Oh, I can’t do that, because the management have threatened to arrest me. How do you figure that one? What is this, a fucking Mormon Tabernacle Choir?!

Wouldn’t an alternative to this heated situation be that you all cool off, do your separate projects and then regroup and see how the land lies?

I think they should get Guns N’ Roses back together, to tell you the truth. I think that would be the greatest thing that they could do. I think the world would be very happy. If they could stop talking trash about Axl in the press. It almost happened. The pens were ready to sign. With the Greatest Hits there was a possibility but there was too much stuff being said. But it was a close call. I would love to see that happen, as a Guns N’ Roses fan. I’d pay to see it.

The feature originally appeared in Classic Rock 119 (June 2008)

As someone who spent many years playing weddings as a piano and keyboard player, if there’s one thing I know, it’s what type of music people like to dance to. A wedding is like a Broadway show—there are many different acts. You have to know how to work a crowd, how to get them up dancing at full speed, and, of course, how to slow things down. There are certain songs that always work. I learned that from experience because we’ve tried many songs that didn’t work. But these ten below are songs that always worked well for slow dances. There are more, of course, and there are some older songs that weren’t included on this list because we were trying to stay more towards the rock world, even though some songs have drifted in and out of this list. Songs like Elvis Presley’s “Can’t Help Falling in Love,” the Righteous Brothers’ “Unchained Melody,” and a few others are always big hits. Nonetheless, we feel good about the ten below.

# 10 – Colour My World – Chicago

Anyone who grew up in the 1970s is likely well aware of this classic Chicago song called “Color My World.” The arpeggiated piano riff that opens this one up was also a pretty popular choice for amateur pianists to sit down at a piano and tinker with.

Originally recorded in 1969 at CBS 30th Street Studio in New York City, the track is part of Chicago (commonly referred to as Chicago II), the band’s second album. Written by trombonist James Pankow and produced by James William Guercio, the song reflects a striking departure from Chicago’s signature blend of horn-driven jazz-rock. With its simple yet poignant arrangement, “Color My World” achieves a timeless intimacy, making it an enduring classic for slow dances at weddings, proms, and other heartfelt occasions.

Terry Kath’s soulful and understated vocal delivery brings warmth and sincerity to lines such as “As time goes on, I realize just what you mean to me.” These words resonate deeply with listeners, reflecting a sense of devotion that grows richer over the years. Walter Parazaider’s ethereal flute solo elevates the song’s emotional core, offering a moment of quiet reflection that feels as though it was designed for a slow waltz across the dance floor. The lyric “And I’ll stay with you through the years” solidifies the song as a promise of enduring love, perfectly tailored for moments of togetherness. With its blend of simplicity and emotional resonance, “Color My World” effortlessly earns its place as one of the greatest classic rock songs for slow dances.

Read More: Top 10 Chicago Songs of the 1970s

# 9 – My Love – Paul McCartney & Wings

Released in 1973 as part of the Red Rose Speedway album, this lush ballad stands out as a timeless classic in the realm of slow dance music. Recorded at Abbey Road Studios in London, with additional sessions at Olympic Studios, the track reflects McCartney’s extraordinary ability to craft a love song that resonates across generations. Produced by McCartney and engineered by Alan Parsons, the song features Wings members Linda McCartney on keyboards, Denny Seiwell on drums, Henry McCullough on lead guitar, and Denny Laine on rhythm guitar, all of whom contribute to its rich yet understated arrangement.

The lyrics of “My Love” paint an intimate portrait of unconditional love and faithfulness. The line “And when I go away, I know my heart can stay with my love” encapsulates the song’s central theme of enduring connection, a sentiment that perfectly complements a slow dance. Another poignant lyric, “My love does it good,” is a simple yet profound statement of love’s transformative power, elevated by McCartney’s tender delivery. The track’s emotional climax comes during McCullough’s expressive guitar solo, which McCartney allowed him to craft freely, resulting in a raw and heartfelt performance that deepens the song’s impact.

Critics lauded “My Love” upon its release, with many praising its elegant orchestration and McCartney’s sincere vocal delivery. The song achieved commercial success, reaching No. 1 on the Billboard Hot 100 in the United States and becoming a staple of romantic playlists. Its orchestral arrangement, conducted by Richard Hewson, adds a cinematic quality that enhances its appeal as a slow dance favorite. Compared to Chicago’s “Color My World,” “My Love” takes a broader approach to love’s expression, combining lyrical simplicity with instrumental grandeur, making it equally suited for intimate moments.

Read More: Complete List Of Paul McCartney & Wings Albums And Songs

# 8 – Thank You – Led Zeppelin

The ethereal beauty of Led Zeppelin’s “Thank You” showcases the band’s ability to balance raw power with heartfelt tenderness, solidifying its place as one of classic rock’s most enduring slow dance songs.  “Thank You” is a heartfelt declaration of devotion, with lines like “If the sun refused to shine, I would still be loving you” capturing an eternal and unshakable bond. This sentiment is deepened by the poetic imagery in “Little drops of rain whisper of the pain, tears of loves lost in the days gone by.” These words underscore the enduring strength of love in the face of hardship, a theme that resonates profoundly in the context of a slow dance. The closing lines, “And so today, my world it smiles, your hand in mine, we walk the miles,” encapsulate a shared journey that feels both deeply personal and universally relatable.

.When compared to Paul McCartney & Wings’ “My Love,” “Thank You” takes a more poetic and introspective approach, yet both songs share an enduring ability to evoke the profound emotions of love and connection. The raw sincerity of Plant’s vocals also contrasts beautifully with McCartney’s polished delivery, offering a unique emotional texture to this list.  Its lyrical richness and lush musical backdrop make it an ideal choice for couples seeking a meaningful slow dance, cementing its status as a cornerstone of classic rock romance.

Read More: Top 10 Led Zeppelin Love Songs

# 7 – Beth – Kiss

In the midst of Kiss’s larger-than-life rock theatrics, “Beth” emerges as a poignant moment of tenderness, proving that even the loudest band in the world has a soft side. Released on their 1976 album Destroyer, the song broke expectations, offering an orchestral ballad that showcased Peter Criss’s heartfelt vocals. Produced by Bob Ezrin and recorded at the Record Plant in New York City, “Beth” stripped away the electric guitars and pyrotechnics to reveal an emotional sincerity that resonated deeply with fans and critics alike. It climbed to No. 7 on the Billboard Hot 100, earning the band their first top-ten hit and cementing its legacy as a timeless slow dance classic.

The lyrics of “Beth” convey an intimate dialogue between a musician and his partner, capturing the strain that a life on the road can place on personal relationships. When Criss sings, “Beth, I hear you calling, but I can’t come home right now,” the emotional weight is palpable, laying bare the sacrifices inherent in chasing artistic dreams. The line “Just a few more hours, and I’ll be right home to you” carries a quiet desperation, a promise tinged with the uncertainty of their situation. As the song closes with “Beth, I know you’re lonely, and I hope you’ll be alright,” it becomes a tender apology, resonating with couples who understand the push and pull of love and responsibility.

“Beth” stands as a unique entry in Kiss’s catalog, earning the band their first People’s Choice Award and offering a stark contrast to their bombastic hits. Compared to Led Zeppelin’s “Thank You,” which features poetic lyricism and intricate instrumentation, “Beth” takes a simpler approach, relying on its raw emotional delivery to connect with listeners. Both songs share themes of love and devotion, but “Beth” thrives in its ability to distill those feelings into a direct and unforgettable expression of longing.

Read More: Complete List Of KISS Solo Albums And Discography

# 6 – Eternal Flame – The Bangles

“Eternal Flame” by The Bangles is a luminous example of a classic rock ballad that has transcended generations as a slow dance staple. Released in 1989 on their album Everything, the song showcases the delicate yet powerful vocals of Susanna Hoffs, who delivers an emotionally charged performance that captures the song’s yearning themes. Written by Hoffs alongside Billy Steinberg and Tom Kelly, the track was produced by Davitt Sigerson and recorded in Los Angeles, utilizing lush string arrangements to complement its stripped-down instrumentation. It became a global sensation, reaching No. 1 on the Billboard Hot 100 and topping charts in multiple countries, cementing its place as one of the most beloved ballads of its era.

The lyrics of “Eternal Flame” are steeped in vulnerability and unwavering devotion. The opening line, “Close your eyes, give me your hand, darling,” invites listeners into an intimate moment of connection, making it a perfect companion for slow dancing. The chorus, “Am I only dreaming, or is this burning an eternal flame?” poignantly expresses the uncertainty and passion of enduring love, balancing both fragility and intensity. The bridge, with the lines “Say my name, sun shines through the rain,” adds a layer of hope and renewal, suggesting that love can weather even the darkest moments. These themes align seamlessly with the song’s tender melody, evoking a sense of timeless romance.

Compared to other songs on this list, such as “Beth” by Kiss, “Eternal Flame” stands out for its ethereal simplicity and unadorned elegance. While “Beth” relies on orchestral arrangements to amplify its emotional weight, “Eternal Flame” draws its strength from Hoffs’s haunting vocal delivery and the understated acoustic backing. Both tracks, however, share a focus on personal, heartfelt lyrics that resonate deeply with listeners, making them unforgettable choices for slow dances.

Read More: Complete List Of The Bangles Albums And Songs

# 5 – Heaven – Bryan Adams

“Heaven” by Bryan Adams epitomizes the power ballad, with its tender lyrics and stirring melody resonating as a timeless classic for slow dances. Co-written with Jim Vallance, Adams’s primary songwriting partner throughout his career, the song was recorded in June 1983 at the Power Station in New York City. Initially appearing on the A Night in Heaven soundtrack, it was later included on the Reckless album in 1984. The track features production by Adams and Bob Clearmountain and includes the drumming of Journey’s Steve Smith, who stepped in when Adams’s regular drummer, Mickey Curry, had scheduling conflicts.

The song’s lyrics encapsulate unwavering love and devotion, making it a natural fit for romantic moments. Lines like “Baby, you’re all that I want / When you’re lying here in my arms” capture the intimacy and connection that slow-dancing couples seek. The evocative imagery continues with “We’re in heaven,” a refrain that elevates the song’s emotional impact and reinforces its timeless appeal. The yearning expressed in “It isn’t too hard to see / We’re in heaven” underscores the song’s universal theme of finding paradise in a loved one’s embrace.

Critically and commercially, “Heaven” became a defining moment in Adams’s career. Despite initial hesitation about its inclusion on Reckless, the song became a massive success, topping the U.S. Billboard Hot 100 and earning a Gold certification in Canada. It also performed well internationally, breaking into the top 10 in multiple countries, including Sweden and Norway. The song’s reception further solidified Adams’s reputation as a master of emotionally charged ballads.

Comparatively, “Heaven” shares thematic similarities with other songs on this list, such as “My Love” by Paul McCartney & Wings. Both tracks celebrate unwavering commitment, though Adams’s delivery is imbued with an anthemic power that sets it apart. With its sweeping arrangement and heartfelt lyrics, “Heaven” continues to hold its place as a go-to classic for slow dances at weddings and beyond, ensuring its legacy as a cornerstone of romantic rock ballads.

Read More: Jim Vallance: The ClassicRockHistory.com Interview

# 4 – Whiter Shade of Pale – Procol Harum

Procol Harum’s iconic debut single, “A Whiter Shade of Pale.” was released on May 12, 1967, and recorded at Olympic Sound Studios in London under the production of Denny Cordell. The song immediately became a global sensation. Its distinctive Bach-inspired organ melody, played on a Hammond M-102 by Matthew Fisher, underpins Gary Brooker’s soulful vocal performance and Keith Reid’s enigmatic lyrics. The song’s composition and arrangement, combining classical influences with the psychedelic spirit of the 1960s, make it a transcendent choice for slow dances.

Lyrically, “A Whiter Shade of Pale” paints a surreal, dreamlike picture that is both evocative and open to interpretation. The opening line, “We skipped the light fandango,” suggests a sense of revelry and whimsy, while “And so it was, that later, as the miller told his tale” nods to Geoffrey Chaucer’s The Canterbury Tales. These literary and metaphorical allusions give the song a sense of timelessness, mirroring the deep emotions often felt during slow dances. The imagery of “the room was humming harder” evokes a sense of heightened passion and connection, making it ideal for moments of intimacy.

Critically acclaimed, “A Whiter Shade of Pale” reached number one on the UK Singles Chart for six weeks and peaked at number five on the Billboard Hot 100 in the United States. Its success during the 1967 Summer of Love cemented its place as one of the most iconic tracks of the era. The song’s melancholic tone and Baroque-inspired arrangement also set it apart from other ballads, making it a compelling addition to this list. The recording features Gary Brooker on piano and vocals, Matthew Fisher on organ, Ray Royer on guitar, David Knights on bass, and Bill Eyden on drums. Notably, the track was completed in just two takes, a testament to the band’s chemistry and the song’s raw emotional power.

Read More: Top 10 Procol Harum Songs

# 3 – Have I Told You Lately – Van Morrison

Van Morrison’s “Have I Told You Lately” is a masterful ode to love and gratitude, making it an essential inclusion in any list of classic rock slow dance songs. Originally released in 1989 as part of his album Avalon Sunset, this ballad exudes sincerity and warmth, weaving its way into countless weddings and romantic occasions. The song was recorded in 1989 at The Townhouse Studios in London, produced by Van Morrison and Mick Glossop. Its timeless appeal is rooted in its stripped-back arrangement, allowing Morrison’s emotive vocals and heartfelt lyrics to shine.

The song’s lyrics are a tender expression of devotion and appreciation, beginning with the poignant line, “Have I told you lately that I love you?” This opening sets a tone of earnest reflection, emphasizing the importance of expressing love in everyday life. Lines like “You fill my heart with gladness, take away all my sadness” capture the comforting presence of a partner, framing love as both a sanctuary and a source of joy. These sentiments resonate deeply on the dance floor, offering couples a moment to connect through shared emotions.

Critically acclaimed for its universal themes and heartfelt delivery, “Have I Told You Lately” achieved chart success, reaching number 12 on the Billboard Adult Contemporary chart and number 2 on the Irish Singles Chart. Its popularity extended further when Rod Stewart covered the song in 1993, turning it into a major hit on his live album Unplugged…and Seated. While Stewart’s version introduced orchestral elements, Morrison’s original remains unmatched in its simplicity and raw emotional depth, aligning perfectly with other songs on this list that prioritize lyrical intimacy over grandiose production.

Comparing “Have I Told You Lately” to tracks like Bryan Adams’ “Heaven,” both songs convey a sense of unwavering devotion, but Morrison’s offering leans into spiritual undertones. The mention of a higher power in the lines “At the end of the day, we should give thanks and pray” elevates the song beyond a standard love ballad, infusing it with a sense of divine gratitude. This unique blend of romance and spirituality ensures its lasting appeal, earning its place as one of the most cherished slow dance songs in classic rock history.

Read More: 10 Best Covers Of Van Morrison Songs

# 2 – Wonderful Tonight – Eric Clapton

Eric Clapton’s “Wonderful Tonight” captures the essence of love in its purest and most personal form, making it an undeniable classic for slow dance moments. Written in 1976 and released on his 1977 album Slowhand, the song emerged from a tender moment Clapton shared with Pattie Boyd, then his partner. As Boyd readied herself for a night out, Clapton strummed his guitar and penned this heartfelt ode, immortalizing a moment of admiration and devotion. The track was recorded at Olympic Studios in London and produced by Glyn Johns, featuring Clapton on vocals and guitar, Carl Radle on bass, Jamie Oldaker on drums, and Dick Sims on keyboards.

The lyrics of “Wonderful Tonight” weave a narrative of quiet adoration, beginning with the line, “It’s late in the evening; she’s wondering what clothes to wear.” This opening sets a scene of intimacy, inviting listeners into a shared moment between two people. The simplicity of the words, “You look wonderful tonight,” resonates universally, encapsulating the joy of seeing a loved one in their element. Later in the song, Clapton reflects, “And then she asks me, ‘Do I look alright?’” a line that conveys vulnerability and the affirmation love brings. These sentiments create a poignant emotional atmosphere, mirroring the themes of love and appreciation present in Van Morrison’s “Have I Told You Lately.”

“Wonderful Tonight” has been celebrated for its understated arrangement and sincerity. The delicate interplay of Clapton’s guitar work and the subtle instrumentation ensures the song remains grounded in emotion rather than showmanship. It achieved chart success, peaking at number 16 on the Billboard Hot 100 in 1978 and becoming one of Clapton’s signature tracks.

Read More: 11 Incredible Eric Clapton Guitar Solos

# 1 – Something – Beatles

Closing this list with “Something” by The Beatles feels like the perfect conclusion, as the song’s blend of heartfelt lyrics, soulful melody, and timeless charm encapsulates everything a classic slow dance tune should be. Written by George Harrison, it appeared on the Abbey Road album in 1969, marking Harrison’s emergence as a songwriter on par with Lennon and McCartney. The recording took place at Abbey Road Studios between April and August 1969, under the production of George Martin. Featuring Harrison on lead vocals and guitar, Paul McCartney on bass, Ringo Starr on drums, and Billy Preston on Hammond organ, “Something” stands out as one of the most beautiful love songs ever penned by the band.

The lyrics of “Something” radiate adoration and devotion, beginning with the opening line, “Something in the way she moves, attracts me like no other lover.” Harrison’s poetic choice of words creates a sense of wonder and romantic mystery, as he expresses love that feels both deeply personal and universal. The line, “You’re asking me will my love grow, I don’t know, I don’t know,” conveys vulnerability and the unpredictability of love, giving the song an emotional depth that resonates with listeners. These sentiments align beautifully with the themes explored in songs like “Wonderful Tonight” by Eric Clapton, though Harrison’s take is more introspective and understated. The refrain, “I don’t want to leave her now,” encapsulates a sentiment of complete surrender, making it an ideal choice for couples swaying under soft lights.

“Something” became the first Harrison-penned song to be released as a single by The Beatles, reaching number one on the Billboard Hot 100 and charting in the top 10 in several other countries. Its lush orchestration, arranged by George Martin, complements the song’s tender tone without overshadowing Harrison’s sincere vocal delivery. Frank Sinatra famously described it as “the greatest love song of the past fifty years,” further cementing its place in musical history.

As the closing song on this list, “Something” leaves a lasting impression, much like its role on Abbey Road. When compared to other entries, such as Van Morrison’s “Have I Told You Lately,” it shares a similar sense of reverence for love but achieves it through a more enigmatic and poetic lens. Its combination of intimate lyrics and timeless arrangement ensures it will remain a cherished choice for slow dances, capturing moments of love that feel both fleeting and eternal.

Read More: Top 10 Beatles Love Songs

Check out more similar articles on ClassicRockHistory.com about love and slow dances and all that fun lovey-dovey stuff

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10 Best Classic Rock Slow Dance Songs article published on Classic RockHistory.com© 2024

In a week when it was announced that Aerosmith would be returning to the stage, bassist Tom Hamilton clearly had bigger things on his mind: the debut release from his new band, Close Enemies.

It would seem the week went well, for Sound Of A Train (the song in question), soared to victory in our Tracks Of The Week contest, casting asunder Those Damn Crows’ No Surrender and Skunk Anansie’ An Artist Is An Artist as it did so. So well done to him. And to them.

This week, another eight runners and riders are in the stalls, bucking and whinnying as they prepare for the race to start.

And they’re off!

Larkin Poe – Easy Love Pt. 1

Oh hell yeah, this is a good ‘un. Possibly our favourite song on Larkin Poe’s game-raising new record, Bloom, Easy Love Pt. 1 (and yes there’s also a Pt. 2) packs the sort of toe-tapping, southern sun-soaked Americana that evokes the Lovell sisters’ rural roots and their blues rocking years in Nashville. Plus they shot the video in a magnificently kitsch, all-pink abode – it’s like stepping into Liberace’s holiday house. A total winner on all fronts, in other words.

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Split Dogs – Lafayette

If you managed to bottle the sound of a particularly good night out at your favourite rock pub, Lafayette might be the result. A love letter to the northern soul nights of 70s and 80s Wolverhampton (frequented by Harry’s mum and passed on, through music and stories, to her child) and the musical influences of the band’s families in general, it’s a boot-stomping, head-banging, arse-shaking boogie to see you through this last grey stretch of January. Find more boozy yet sharp goodness like this on their album, Here To Destroy, out next month.

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Tuk Smith – Little Renegade (ballad version)

Little Renegade is perhaps our favourite track on Tuk’s latest album, Rogue To Redemption, so we were pleased to find that this searing, stripped-back reworking lends an additional tenderness to the original version. “This is the first song I’ve ever done without a single guitar track on it. I used my old 70s upright piano and an analogue synth from the early 80s for this. Then I took some real drums from another recording session and built loops and ended up having a lot of fun with this one. It’s got elements of a 70s piano ballad, an 80s pop banger, with a little more modern production with an orchestral feel.”

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Ricky Warwick – The Crickets Stayed In Clovis

We don’t know if Ricky and Tuk have met, but it’s not hard to imagine them getting on like a house on fire – maybe jamming some glam-booted, rough-throated Thin Lizzy-style romps like this one, hot off Ricky’s excellent new solo album Blood Ties (out in March). Expect rich twin-lead guitar muscle and meditations on life’s unpredictable course. “Life’s a game of chance,” Ricky says, “sometimes it’s better to play the long game and not be envious of others, as you never know what tomorrow brings.”

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Nova Twins – Monsters

Alt rock’s hottest rising duo return with this ribcage-rattling beast of a single. Bassist Georgia South gives Royal Blood’s Mike Kerr a proper run for his money – conjuring pulsating layers of deep, distorted magic with four strings and a mysterious cocktail of pedals – while singer/guitarist Amy Love drives the melody with a fiery voice that oozes rage, sass and sincerity. If Rage Against The Machine and Destiny’s Child had babies, they might have put out something like this.

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Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Stitches

Opening the case for their brilliantly titled next album, Death Hilarious, Pigs x 7 land somewhere woozily groovy between a smoke-filled stoner gig and a primal scream session on Stitches. Think Monster Magnet meets IDLES, and you’re in the right club. “I’m aware our band sits in a world largely commandeered by bravado, confidence and macho-ism,” frontman Matt Baty says, not inaccurately, “but Stitches is an expression of vulnerability, paradoxical emotions and those so familiar pangs of anxiety I wrestle with while butting heads with societal expectations and personal struggles.”

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Dorothy feat. Slash – Tombstone Town

This is the fourth song to emerge from Dorothy’s upcoming album The Way (out March 14), and our old friend Slash has clambered on board to add a stinging guitar solo to something that sounds like a hoedown at the world’s most metal barn dance, or a heavy metal disco where everyone’s dressed in plaid, depending on which angle you’re coming from. “Tombstone Town is a sexy rock’n’roll grind featuring Dorothy’s inimitable swagger and great guitar hook,” says Slash, adjusting his stetson.

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The Doobie Brothers feat. Mavis Staples – Walk This Road

Michael McDonald has had several stints with The Doobie Brothers over the years, but he hasn’t been an official member of the lineup for nearly three decades, so his return to the fold in time for the upcoming album Walk This Road (out June 6) will be celebrated by Doobie lovers the world over. Joining them on the title track is the great Mavis Staples, and the results are typically soulful, with horns that tastefully parp and vocals from McDonald and Staples that ooze experience and class. Smooth times indeed.

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Alice Cooper has announced a fill-in guitarist for his fill-in guitarist.

Former Guns N’ Roses rocker Gilby Clarke will take over duties for Nita Strauss on Cooper’s upcoming tour, which runs from Jan. 31 to Feb. 17. Former Cooper guitarist Orianthi had previously been announced as Strauss’ fill-in, but she’s now unable to complete the tour due to unforeseen circumstances.

The upcoming tour launches on Jan. 31 in Augusta, Georgia, and concludes with the Rock Legends Cruise in Miami, which runs from Feb. 13 to 17. You can see the full list of affected tour dates with Clarke on guitar below.

READ MORE: Gilby Clarke 101: Everything You Need to Know

Gilby Clarke’s Rock Resume

Clarke’s big break in the music industry came in 1991, when he replaced Izzy Stradlin on Guns N’ Roses’ Use Your Illusion Tour. He appeared on the band’s 1993 covers album “The Spaghetti Incident?” and released his debut solo album, Pawnshop Guitars, the following year. Clarke also contributed to Slash’s Snakepit’s 1995 debut album, It’s Five O’Clock Somewhere. He toured with Heart in 2003, and in 2006 he formed Rock Star Supernova with Jason Newsted and Tommy Lee.

Cooper, meanwhile, already has more than a dozen dates booked for the spring and summer, and will soon announce more with Strauss back in the fold.

Alice Cooper 2025 Tour Dates With Gilby Clarke
Jan. 31 – Augusta, GA @ The Bell Auditorium
Feb. 1 – Cherokee, NC @ Harrah’s Cherokee Casino Resort
Feb. 2 – Greensboro, NC @ Steven Tanger Center for the Performing Arts
Feb. 4 – Mobile, AL @ Saenger Theatre Mobile
Feb. 6 – Orlando, FL @ Hard Rock Live Orlando
Feb. 7 – Ft Myers, FL @ Barbara B. Mann Performing Arts Hall at FSW
Feb. 8 – Clearwater, FL @ The BayCare Sound at Coachman Park
Feb. 11 – St. Augustine, FL @ St. Augustine Amphitheatre
Feb. 13-17 – Miami, FL @ Rock Legends Cruise

Alice Cooper Albums Ranked

You can’t kill Alice Cooper.

Gallery Credit: Ultimate Classic Rock Staff

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Vampire Weekend is an indie rock band formed in 2006 in New York City by Ezra Koenig, Rostam Batmanglij, Chris Baio, and Chris Tomson during their time at Columbia University. The band has released four studio albums: Vampire Weekend (2008), Contra (2010), Modern Vampires of the City (2013), and Father of the Bride (2019). They have received critical acclaim, including multiple Grammy nominations and wins for Best Alternative Music Album (Modern Vampires of the City in 2014 and Father of the Bride in 2020). Known for their eclectic sound blending indie rock with world music influences, the band has evolved over the years, notably with the departure of Rostam Batmanglij in 2016. Vampire Weekend continues to tour with a mix of original members and new collaborators.

Ezra Koenig

Ezra Koenig, born April 8, 1984, is the lead vocalist, guitarist, and primary songwriter for Vampire Weekend, a band he co-founded in 2006. He is also a prolific producer, a two-time Grammy winner, and a cultural figure who has extended his influence into television, radio, and political activism. Vampire Weekend’s early success can be traced to Koenig’s creative vision, which shaped the band’s sound and themes across their five studio albums, including their acclaimed debut Vampire Weekend (2008) and Modern Vampires of the City (2013), which won the Grammy Award for Best Alternative Music Album. He has received multiple Grammy nominations, including Album of the Year for his contributions to Beyoncé’s Lemonade in 2016.

Born in New York City to a psychotherapist mother and a set dresser father, Koenig’s upbringing was steeped in the arts and diverse cultural influences. He began writing music at the age of ten and attended Columbia University, where he formed key relationships with his future Vampire Weekend bandmates. Koenig’s time at Columbia not only introduced him to his bandmates but also led to his involvement in various musical projects, including the comedic hip-hop group L’Homme Run and a stint playing saxophone for the Dirty Projectors.

Koenig’s versatility extends far beyond music. He created and produced the Netflix animated series Neo Yokio, which debuted in 2017, and has hosted the Apple Music radio talk show Time Crisis with Ezra Koenig since 2015. His guests have included notable figures such as Jonah Hill and Florence Welch. In addition to his work with Vampire Weekend, Koenig has collaborated with artists like Major Lazer, Charli XCX, and Phoenix. His songwriting and production credits include Beyoncé’s “Hold Up” and Liam Gallagher’s “Moscow Rules.”

Koenig’s influence on Vampire Weekend’s albums has been transformative, with his songwriting addressing themes of love, identity, and existentialism. Albums like Father of the Bride (2019) showcase Koenig’s ability to blend eclectic sounds with deeply introspective lyrics. Outside of music, Koenig has made significant contributions to the cultural landscape, from advocating for political candidates to representing Vampire Weekend at major festivals like Glastonbury. He continues to shape the trajectory of Vampire Weekend while maintaining a robust presence across multiple artistic platforms.

Chris Baio

Chris Baio, born October 29, 1984, is the bassist for Vampire Weekend, a role he has held since the band’s inception in 2006. Beyond his work with the band, Baio has carved out a significant solo career, releasing electronic and dance-inspired music under the mononym Baio. His first solo album, The Names, debuted in 2015, followed by Man of the World in 2017 and Dead Hand Control in 2021. Each album has showcased his diverse musical influences, ranging from Afrobeat to electronic dance music, and his ability to craft deeply introspective yet rhythmically engaging compositions.

Baio grew up in Bronxville, New York, where his love for music began early. By the age of seven, he had purchased his first album and was deeply influenced by bands like Pixies, often falling asleep to their Doolittle album. Baio attended Columbia University, majoring in Russian and Eurasian Regional Studies and minoring in Mathematics. During his time at Columbia, Baio became deeply involved in the campus music scene, serving as the College Rock Music Director for WBAR and forming the country-influenced band The Midnight Hours with future Vampire Weekend drummer Chris Tomson. After The Midnight Hours disbanded, Baio briefly pursued DJing before Vampire Weekend was formed.

As a member of Vampire Weekend, Baio has been integral to the band’s success. Their self-titled debut album, released in 2008, introduced their unique blend of indie rock and global influences. Songs like “A-Punk” and “Oxford Comma” gained widespread acclaim, with “A-Punk” being featured in films and television shows. The band’s sophomore effort, Contra (2010), debuted at number one on the Billboard 200, cementing their place in the indie rock scene. Baio’s basslines, known for their melodic complexity, have been a defining element of the band’s sound across their five studio albums, including the Grammy-winning Modern Vampires of the City (2013) and Father of the Bride (2019).

Outside of Vampire Weekend, Baio’s solo career highlights his versatility. His debut EP, Sunburn, released in 2012, demonstrated his ability to blend “hopeful melancholy” with danceable beats. His second album, Man of the World, explored themes of identity and globalism, while his third album, Dead Hand Control, took a darker and more introspective turn. Baio has also collaborated on projects such as a Simlish rendition of his song “The Key Is Under The Mat” for The Sims 4 and contributed to various musical endeavors outside the band.

Musically influenced by artists ranging from Queen to Afrobeat pioneers, Baio’s contributions to Vampire Weekend and his solo career reflect a dedication to blending diverse sounds. His work continues to resonate with fans and critics alike, solidifying his place as a multifaceted artist in the modern music landscape.

Chris Tomson

Christopher William Tomson, born March 6, 1984, is best known as the drummer for Vampire Weekend, a role he has held since the band’s formation in 2006. Additionally, Tomson has ventured into solo work as the lead vocalist and guitarist for his side project, Dams of the West, under which he writes and records all the music. His first solo album, Youngish American, was released in February 2017, showcasing his ability to explore themes of adulthood and self-reflection through a blend of indie rock and Americana influences.

Tomson grew up on a farm in the Imlaystown section of Upper Freehold Township, New Jersey, and this rural upbringing influenced parts of his musical journey. Notably, elements of Vampire Weekend’s first self-titled album were recorded on his family farm. Tomson graduated from the prestigious Peddie School as salutatorian before attending Columbia University, where he studied economics and music. It was during his time at Columbia that he met his future bandmates, including Ezra Koenig, with whom he played in the rap group L’Homme Run before forming Vampire Weekend. The group’s unique blend of indie rock, Afrobeat, and global influences quickly gained attention, and they released their self-titled debut album in 2008. Tomson contributed not only as a drummer but also as an integral part of the band’s tight-knit creative dynamic.

With Vampire Weekend, Tomson has played on all of the band’s major studio albums, including the Grammy-winning Modern Vampires of the City (2013) and Father of the Bride (2019). His drumming style has been praised for its versatility, seamlessly adapting to the band’s diverse influences, from classical music to African rhythms. Outside of his work with the band, Tomson has displayed his passion for music through his solo project, which delves into deeply personal themes while exploring a different sonic palette.

Beyond his music career, Tomson is known for his love of photography and his enthusiasm for soccer, particularly as a devoted supporter of Tottenham Hotspur. His eclectic musical influences include Phish, The Band, and the Grateful Dead, which are reflected in the broader scope of his creative work. Tomson continues to be an essential part of Vampire Weekend’s success while maintaining his individuality as a solo artist.

Rostam Batmanglij

Rostam Batmanglij, a multi-instrumentalist and producer, was a founding member of Vampire Weekend and contributed significantly to their first three albums. Known for his innovative use of world music influences and electronic production, Rostam left the band in 2016 to pursue solo projects but has occasionally collaborated with Vampire Weekend since. His solo career includes the album Half-Light and production work for artists like HAIM and Clairo.

Will Canzoneri

Will Canzoneri has been a touring keyboardist and backing vocalist for Vampire Weekend since 2018. While not a core member, his contributions have enriched the band’s live performances, particularly during the Father of the Bride tour.

Garrett Ray

Garrett Ray joined Vampire Weekend as a touring percussionist in 2018. His dynamic drumming has complemented Chris Tomson’s work, enhancing the band’s live shows.

Ray Suen

Ray Suen, a touring guitarist and multi-instrumentalist, began performing with Vampire Weekend in 2024. His contributions include guitar, keyboards, and violin, adding depth to their live arrangements.

Colin Killalea

Colin Killalea joined as a touring musician in 2024, playing guitar, keyboards, and saxophone. His versatile skill set has been a valuable addition to the band’s evolving live performances.

Brian Robert Jones

Brian Robert Jones was a touring guitarist and backing vocalist from 2018 to 2022, with a guest appearance in 2024. His energetic stage presence and musicianship were highlights of the Father of the Bride era.

Greta Morgan

Greta Morgan served as a touring keyboardist and backing vocalist from 2018 to 2022. Her performances brought a new dimension to the band’s live shows, particularly during their later tours.

Check out our other Vampire Weekend articles here on ClassicRockHistory.com

Complete List Of Vampire Weekend Albums And Discography

Top 10 Vampire Weekend Songs

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Vampire Weekend Band Members article published on Classic RockHistory.com© 2024