Megan Moroney was raised in Douglasville, Georgia, a town just outside Atlanta, and she carries the sound and sentiment of the South in every song she writes. Though she was born in Savannah on October 9, 1997, it was during her upbringing in Douglasville that she began her musical journey, taking piano lessons and being immersed in a household where music was a constant presence. She attended the University of Georgia, majoring in accounting, but it was there that her connection to music was fully reignited, performing and opening for artists like Jon Langston while still in school.
Her early career received a meaningful boost when she interned for Kristian Bush of Sugarland, who later became a mentor and producer. After graduating, Moroney made the critical decision to move to Nashville in 2020, where she leveraged her connections to co-write with established songwriters and begin recording. That same year, she released “Wonder,” her debut single, and followed it up in 2022 with the extended play Pistol Made of Roses. The EP included “Hair Salon,” which garnered buzz and laid the groundwork for the breakout that was about to come.
Her career changed dramatically in 2022 with the release of the single “Tennessee Orange.” Produced by Kristian Bush, the song struck a chord on streaming platforms and social media, quickly propelling her into the national spotlight. The track’s success led to a recording contract with Arista Nashville. When Arista Nashville was shut down by its parent company, Moroney transitioned to Columbia Records Nashville, maintaining momentum without losing any of the audience she had gained.
Moroney’s debut full-length album Lucky was released on May 5, 2023. The album blended her sharp, often witty songwriting with emotionally resonant storytelling. Lucky debuted in the Top 40 on the Billboard 200 and helped define her image as a country artist with a strong narrative voice. The album included “Tennessee Orange,” which peaked at number 10 on the Billboard Hot 100 and topped the Country Airplay chart, and “I’m Not Pretty,” which became another fan-favorite single, peaking at number 37 on the Billboard Hot 100.
A deluxe edition of Lucky was released later that year, featuring additional tracks that extended the album’s life and showcased her growing songwriting confidence. By the end of 2023, Moroney had emerged as one of country music’s most compelling new voices, drawing comparisons not through stylistic mimicry but through her ability to command attention with just a pen and a melody. She backed this up with a steady touring schedule that included The Pistol Made of Roses Tour and The Lucky Tour—each reinforcing her connection with audiences through sold-out shows and singalong anthems.
In July 2024, Moroney returned with her sophomore album Am I Okay?. The record marked a creative step forward, debuting at number nine on the Billboard 200 and showcasing her evolution both thematically and musically. Singles from the album included “No Caller ID,” which charted at number 58, and the title track “Am I Okay?,” which peaked at number 39 on the Billboard Hot 100. The album solidified her ability to deliver both emotional ballads and hook-driven country-pop with equal finesse.
In November 2024, Moroney released Blue Christmas…Duh, a holiday EP that added a playful and nostalgic seasonal twist to her growing discography. It was a continuation of her strategy to stay creatively engaged with her audience even outside of major album cycles. The release was well-received and complemented her growing reputation as one of the genre’s most reliable and prolific new talents.
Her accolades came quickly. In 2023, she won the Breakthrough Female Video of the Year at the CMT Music Awards for “Tennessee Orange,” and in 2024, she took home New Artist of the Year at the Country Music Association Awards. She also received nominations from the Academy of Country Music, the American Music Awards, Billboard Women in Music, iHeartRadio Music Awards, and the People’s Choice Country Awards—each a confirmation that the industry was taking notice of her rapid ascent.
Moroney’s charm lies in her authenticity—whether she’s spinning heartbreak into humor or narrating her own emotional contradictions with striking self-awareness. She’s been described as the “Emo Cowgirl” for her blend of vulnerability and defiance, but more than a nickname, it speaks to how she’s carved out a space for herself where emotional complexity is a strength. That duality—sensitive yet bold—has helped her resonate with younger listeners and longtime country fans alike.
Outside of music, Moroney has been vocal about staying grounded amid fame. She has made it a point to stay connected with her fanbase through social media and honest conversations about self-worth, heartbreak, and ambition. Her openness about navigating personal growth in public has made her a relatable figure at a time when many artists are tightly managed and image-driven. That vulnerability isn’t a gimmick—it’s an extension of her songwriting, and it’s why her music has gained such a loyal following so quickly.
As of 2025, Moroney continues her Am I Okay? Tour across North America, drawing larger crowds and receiving increased attention from the press and streaming platforms. Her live performances are marked by a sense of camaraderie with the audience, often turning personal confessionals into full-room catharsis. With each show, she proves her growing impact on the country music landscape isn’t just a product of viral success—it’s grounded in talent, tenacity, and timing.
With only two full-length albums to her name, Moroney has already built a reputation that typically takes years to develop. She’s shown she can navigate label changes, release cycles, and media scrutiny without compromising the artistry that brought her this far. Her work ethic, combined with a clear sense of identity, suggests that her best music still lies ahead.
In a genre known for its storytelling, Megan Moroney has emerged as a sharp new voice capable of blending humor, heartbreak, and honesty. Her trajectory is defined not just by hits but by her ability to create music that feels lived in, not manufactured. As she continues writing and performing, Moroney represents not only the future of country music but its vibrant, emotionally complex present.
Complete List Of Megan Moroney Songs From A to Z
28th of June – Am I Okay? – 2024
All I Want for Christmas is a Cowboy – Blue Christmas…Duh – 2024
The film, shot in Paris last year, will premiere on June 5, but will have a limited cinema in 20 countries run ahead of its global release.
The screenings will also include a preview of an “intimate behind the scenes documentary”, which will apparently lay bare “the emotional and physical trials” the band had to overcome in order to create the film.
The Los Angeles band’s performance in the eerie tunnels beneath the French capital, the final resting place for millions of French citizens, interred in the 1700s, is said to represent the fulfilment of a long-held dream for QOTSA frontman Josh Homme, who first visited the location almost 20 years ago. No band had ever before been granted permission to play in the Catacombs, which made the group’s stripped-back set, augmented by a three-piece string section, genuinely historic.
A press statement for the film reads: “Every aesthetic decision, every choice of song, every configuration of instruments… absolutely everything was planned and played with deference to the Catacombs- from the acoustics and ambient sounds – dripping water, echoes and natural resonance – to the darkly atmospheric lighting tones that enhance the music. Far from the sound-insulated confines of the studio or the comfort of onstage monitors, Alive in the Catacombs sees the band not only rise to this challenge, but embrace it.”
Josh Homme stated, “We’re so stripped down because that place is so stripped down, which makes the music so stripped down, which makes the words so stripped down… It would be ridiculous to try to rock there. All those decisions were made by that space. That space dictates everything, it’s in charge. You do what you’re told when you’re in there.”
“If you’re ever going to be haunted, surrounded by several million dead people is the place. I’ve never felt so welcome in my life.”
Alive in the Catacombs global screening dates
Jun 03: MK2 Quai de Loire, Paris, France Jun 03: The Royal, Toronto, Canada Jun 03: Kino Konepaja, Helsinki, Finland
Jun 04: Prince Charles Cinema, London, UK Jun 04: Brain Dead Studios, Los Angeles, US Jun 04: Kino Central, Berlin, Germany Jun 04: Sphinx Cinema and Cafe, Ghent, Belgium Jun 04: Cineclub Cortina, Sao Paulo, Brasil Jun 04: Cinema Barberino, Rome, Italy Jun 04: Eye Filmmuseum, Amsterdam, Netherlands
Jun 05: Cinema Nova, Melbourne, Australia Jun 05: Cine Tonala, Mexico City, Mexico Jun 05: MONA / Dark Mofo – Hobart State Cinema, Tasmania, Australia Jun 05: Double Whammy, Auckland, New Zealand Jun 05: Empire Bio, Copenhagen, Denmark Jun 05: Irish Film Institute, Dublin, Ireland Jun 05: Sala X, Madrid, Spain Jun 05: CGV Grand Indonesia West Mall, Jakarta, Indonesia Jun 05: EMU Cinema Space, Seoul, South Korea Jun 05: Cinema Oasis, Bangkok, Thailand
The latest news, features and interviews direct to your inbox, from the global home of alternative music.
Queens of the Stone Age will play their first shows since summer 2024 next month.
Their US mini-tour kicks off with a pair of shows at the MGM Music Hall at Fenway in Boston, on June 10 and 11. The band will travel to Europe to play shows in July and August, including an August 20 gig in Dublin, Ireland at the Irish Museum of Modern Art, Royal Hospital Kilmainham, and a headline performance at the Rock N Roll Circus at Sheffield’s Don Valley Bowl in England on August 27.
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
In one must have been one of the most daunting performances of recent times, Ghost frontman Tobias Forge has sung Queen‘s classic Bohemian Rhapsody for a star-studded audience at this year’s Polar Music Prize ceremony in Stockholm, Sweden.
Watching on as Forge performed were Queen members Brian May and Roger Taylor, in addition to current frontman Adam Lambert, and Sweden’s King Carl Gustaf. So it’s no surprise that Forge initially sounds a little shaky and looks nervous, even behind the mask.
Forge was joined onstage by Opeth guitarist Fredrik Åkesson, who played on Ghost’s recent Skeletá album, and the Eric Ericson Chamber Choir, who were originally founded in 1945.
The Polar Music Prize – described as the music world’s equivalent of the Nobel prize – is awarded every year to two or three musicians in contemporary and classical music, and Queen are one of this year’s recipients.
Receiving the award, Queen guitarist Brian May said, “In this special moment, I contemplate how that younger Brian May in 1974 would have felt if he knew that we would be living this kind of dream 50 years in the future.”
“When we started our band, we had ambitions, but never dreamed of the journey that was to follow,” said Roger Taylor. “We were fortunate in the fact that our four wildly different personalities came together to achieve a wonderful chemistry.”
Elsewhere during the ceremony, former Skid Row and current Michael Schenker singer Erik Grönwall performed Queen’s Stone Cold Crazy, while Adam Lambert sang Who Wants To Live Forever and Another One Bites The Dust.
Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox!
Previous winners of the Polar Music Prize – set up by ABBA’s former manager Stig “Stikkan” Anderson in 1989 – include Paul McCartney, Elton John, Joni Mitchell, Bruce Springsteen, Bob Dylan, Metallica, Pink Floyd and Led Zeppelin.
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
Few bands have embodied the raw power and rebellious spirit of rock and roll quite like Joan Jett and The Blackhearts, an American rock band formed in Los Angeles, California in 1979 as a conjunction of lead musician, singer and songwriter Joan Jett and the backup band. Founded when Joan Jett sought to continue her musical career after The Runaways disbanded, the band has undergone many lineup changes since its inception, with founders Jett and producer Kenny Laguna being its only consistent members. Three albums by Joan Jett and the Blackhearts have been certified platinum or gold, establishing them as one of the most successful female-fronted rock acts of all time. Their hit singles include “Bad Reputation”, “Fake Friends”, “Good Music”, “Light of Day”, “Little Liar”, “I Hate Myself for Loving You”, and the covers “Crimson and Clover”, “Do You Wanna Touch Me (Oh Yeah)”, “Dirty Deeds”, “Everyday People”, and “I Love Rock ‘n Roll”.
The band emerged during a pivotal time in rock history when female-fronted hard rock groups were rare, making Joan Jett a trailblazer who opened doors for countless future female musicians. After Joan Jett’s self-titled solo debut was rejected by 23 major labels, she and Laguna formed their independent record label Blackheart Records and pressed copies themselves, sometimes selling albums out of the trunk of Laguna’s Cadillac after concerts. This DIY approach proved prescient as the band went on to achieve massive commercial success throughout the 1980s. In 2015, the lineup consisting of Jett, Laguna, bassist Gary Ryan, drummer Lee Crystal, and guitarist Ricky Byrd were inducted into the Rock and Roll Hall of Fame. The band has released twelve albums over their career, with their influence extending far beyond sales figures to inspire generations of rock musicians who saw that authentic, uncompromising music could still achieve mainstream success.
Throughout their history, The Blackhearts have featured numerous talented musicians who contributed to their distinctive sound that blended punk attitude with classic rock structures. Joan Jett and the Blackhearts became the first rock band to perform a series of shows at the Lunt–Fontanne Theatre on Broadway, breaking the record at the time for the fastest ticket sell-out. The band’s longevity and continued relevance speak to both the timeless appeal of their music and the strength of the musical partnerships that have defined their sound across different eras. With Joan Jett continuing to tour and record under The Blackhearts name, the band remains an active force in rock music, introducing their rebellious anthems to new generations while maintaining the authentic spirit that first made them rock icons.
Joan Jett
Joan Marie Larkin was born on September 22, 1958, at Lankenau Hospital in Wynnewood, Pennsylvania, a suburb of Philadelphia, to James and Dorothy, and would grow to become one of rock music’s most influential figures. Often referred to as the “Godmother of Punk”, she is regarded as a rock icon and an influential figure in popular rock music. Joan founded Joan Jett and the Blackhearts as her backup band in 1979 following the dissolution of her pioneering all-female band The Runaways, which she co-founded and performed with from 1975 to 1979. Her determination to continue making music on her own terms led to the creation of what would become one of the most enduring partnerships in rock history.
As the leader and primary songwriter of The Blackhearts, Joan has served as rhythm guitarist and lead vocalist on all twelve of the band’s albums, three of which have been certified platinum or gold. Her songwriting and performance style drew from classic rock, punk, and glam influences, creating a sound that was both rebellious and accessible. With the Blackhearts, Jett has released twelve albums, three of which have been certified platinum or gold. Additionally, eleven of their singles have appeared on the Billboard Hot 100. Her most famous composition remains “I Love Rock ‘n Roll,” originally written by The Arrows, which Jett transformed into a defining anthem that spent seven weeks at number one on the Billboard Hot 100 in 1982.
Beyond her work with The Blackhearts, Joan has maintained an extensive career as a producer, songwriter, and activist. Before forming Redbone, Pat and Lolly released an album in October 1965 entitled Pat & Lolly Vegas at the Haunted House. She produced the Germs’ only album and her label Blackheart Records has released recordings from varied artists such as thrash metal band Metal Church and rapper Big Daddy Kane. Outside of music, she headlined the film Light of Day in 1987 and has appeared in several television series, including providing voice work for Steven Universe. Joan was included on Rolling Stone’s 2003 and 2023 lists of the greatest guitarists of all time, and in 2015, she and the Blackhearts were inducted into the Rock and Roll Hall of Fame. She continues to tour and record today, maintaining her status as a pioneering figure who proved that women could succeed in rock music while staying true to their artistic vision.
Kenny Laguna
Kenny Laguna stands as the most consistent member of The Blackhearts alongside Joan Jett, serving as producer, songwriter, and business partner since the band’s formation in 1979. In 1979, while fulfilling an obligation of the Runaways to complete a film based on the band’s career, guitarist and singer-songwriter Joan Jett met songwriter and producer Kenny Laguna, who was hired by her manager Toby Mamis to help Jett with writing some tracks for that film. Their collaboration began when Laguna was brought in to help with songwriting for a Runaways film project, but their creative partnership quickly evolved into something much more significant. Together, they formed the independent record label Blackheart Records after Joan’s solo debut was rejected by 23 major labels.
Laguna’s role in The Blackhearts extends far beyond traditional producing duties. With Laguna’s assistance, Jett formed the Blackhearts, and he has remained the band’s primary producer throughout their entire career. He co-wrote many of the band’s biggest hits and helped develop their signature sound that balanced Joan’s punk sensibilities with more radio-friendly arrangements. Throughout 1980, the band was able to keep touring solely due to Laguna drawing on advances from outside projects. Jett and Laguna used their personal savings to press copies of the Joan Jett album and set up their own system of distribution, sometimes selling the albums out of the trunk of Laguna’s Cadillac at the end of each concert. This grassroots approach to distribution and promotion became a template for independent artists long before such methods were commonplace in the music industry.
As a business partner, Laguna co-founded Blackheart Records with Joan, which they started with Laguna’s daughter’s college savings when no major label would sign them. The label became one of the early examples of successful artist-owned independent labels, influencing countless musicians to take control of their own careers. Laguna’s production work has been crucial to The Blackhearts’ sound across all twelve of their studio albums, helping them achieve both critical acclaim and commercial success. In 2015, Laguna was inducted into the Rock and Roll Hall of Fame alongside Joan and the classic Blackhearts lineup, recognizing his essential contributions to the band’s legacy. His partnership with Joan Jett represents one of the most successful producer-artist collaborations in rock history, spanning over four decades and continuing to the present day.
Gary Ryan
Gary Ryan was born Gary Moss and adopted his stage name upon joining the Blackhearts in 1979, in part to cover up the fact that he was only 15 at the time. He mentioned a local bass player, Gary Ryan, who had recently been crashing on his couch. Ryan was part of the Los Angeles punk scene and had played bass with local artists Top Jimmy and Rik L. Rik before joining The Blackhearts. John Doe of X sat in on bass for the auditions held at S.I.R. studios in Los Angeles when Joan was forming her backup band. Despite his young age, Ryan’s talent and familiarity with Joan’s work from his time as a Runaways fan made him an ideal fit for the band’s rhythm section.
Ryan served as The Blackhearts’ bassist from 1979 to 1987, playing on their most commercially successful albums and contributing to their biggest hits. He had been a fan of the Runaways and Jett for years. Jett recognized him at the audition and he was in. His bass work can be heard on crucial albums including “Bad Reputation” (1981), “I Love Rock ‘n Roll” (1981), “Album” (1983), “Glorious Results of a Misspent Youth” (1984), and “Good Music” (1986). Ryan’s playing style provided the solid foundation that allowed Joan’s guitar and vocals to shine while maintaining the punk edge that defined the band’s sound. His contributions were particularly notable on “I Love Rock ‘n Roll,” where his bass lines helped drive one of the most recognizable songs in rock history.
Before joining The Blackhearts, Ryan had run away to Hollywood at age fourteen driven by his love for rock and roll. For six months Gary lived in a shuttered Hollywood basement rock club that is now a rehearsal space for bands, and for another seven months he lived in a Santa Monica Boulevard apartment with the band X. After leaving The Blackhearts in 1987, Ryan stepped away from the music industry and became a school teacher, though he remained connected to his former bandmates. In 2015, Ryan was inducted into the Rock and Roll Hall of Fame as part of the classic Blackhearts lineup, and he briefly reunited with the band for some performances leading up to the induction ceremony. Gary moved out of the city and became a school teacher. His contribution to The Blackhearts’ legacy during their most successful period cemented his place as an essential part of their story, even though his post-music career took a very different direction from his rock and roll origins.
Lee Crystal
Lee Jamie Sackett, better known as Lee Crystal, was born on February 3, 1956, in Brooklyn, New York, and became one of the most important drummers in The Blackhearts’ history. Sackett grew up in Coney Island, Brooklyn, New York, as he would say, “across the street from the Cyclone.” When he was 17, a car hit him while he was riding a bicycle, and after receiving a settlement from the accident, Crystal was able to purchase his first drum kit, which had been left over from a drum clinic run by Brooklyn drummer Carmine Appice. This fortunate accident led to his entry into music, and he studied under drummer Bernard Purdie, whom Crystal said, “influenced me a great deal in really keeping a backbeat.”
Crystal served as The Blackhearts’ drummer from 1981 to 1986, during their most prolific and popular period. Crystal was the drummer during the band’s most prolific and popular period from 1981–86, including the album I Love Rock ‘n Roll and that album’s title track, which stayed atop the Billboard charts for seven weeks in 1982. He first gained attention in the New York City rock club scene as a member of The Boyfriends, which recorded one single for Bomp Records and earned a strong cult following, opening for the Ramones and the Dead Boys at clubs like CBGB and Max’s Kansas City. After leaving The Boyfriends, Crystal worked with three former members of the New York Dolls, touring with Sylvain Sylvain and playing club dates with Johnny Thunders and David Johansen before auditioning for The Blackhearts in 1981.
Crystal’s drumming style was essential to The Blackhearts’ sound during their peak commercial period. Lee Crystal, formerly of the Boyfriends and Sylvain Sylvain, became the new drummer. He stated, “Joan Jett was what I needed. I wanted to play real rock ‘n’ roll.” His powerful, straightforward drumming approach provided the backbone for hits like “I Love Rock ‘n Roll,” “Crimson and Clover,” and “Everyday People.” His unrelenting beat on “I Love Rock ‘n Roll” is legendary and helped establish the song as one of rock’s most enduring anthems. In 1993, he was diagnosed with multiple sclerosis, which eventually ended his performing career. Upon retiring from the music industry, Crystal sold furniture in Manhattan and gave music lessons from his home, where he would tell his students to “get real familiar with your drums, because you’ll be hitting them.” Former Blackhearts drummer Lee Crystal died from complications of multiple sclerosis on November 5, 2013, at the age of 57. As a member of Joan Jett and the Blackhearts, Crystal was inducted into the Rock and Roll Hall of Fame in 2015 by his wife, the former Maura Shea.
Ricky Byrd
Ricky Byrd was born Richard Scott Bird on October 20, 1956, and became one of the most important guitarists in The Blackhearts’ history, contributing to some of their biggest commercial successes. At 21 in 1977, Byrd joined the Power pop band called Susan, which released one album, “Falling in Love Again!” in 1979 on RCA Records, and toured opening for Graham Parker and others. In 1981, when Joan Jett was looking for a guitarist to replace Eric Ambel in her band, Byrd auditioned and immediately clicked with the group. After jamming with her band, Byrd joined the Blackhearts and played guitar and sang background vocals on the album in progress, I Love Rock n’ Roll.
Byrd served as lead guitarist for The Blackhearts from 1981 to 1991, one of the longest tenures of any member besides Joan and Kenny Laguna. Byrd was a Blackheart with Joan Jett from 1981 to 1991, recording guitar, vocals and co-writing various songs for the followup platinum-selling Album in 1983, Glorious Results of a Misspent Youth in 1984, Good Music in 1987, Up Your Alley in 1988, and The Hit List in 1990. His guitar work was featured on some of The Blackhearts’ biggest hits, including “I Love Rock ‘n Roll,” which sold one million copies in the U.S., went to number 2 on the Billboard 200 Albums chart, and sold over ten million copies worldwide. The single remained at Billboard Hot 100 number one for seven weeks, establishing The Blackhearts as major stars.
During his time with The Blackhearts, Byrd struggled with drug and alcohol addiction but got clean and sober in 1987, remaining with the band for another four years. His guitar style combined classic rock influences with punk energy, contributing to the band’s crossover appeal. Byrd recalled in an interview with Guitarhoo!, “One day I went to a studio to jam around a bit with Jett and everything clicked”. After leaving The Blackhearts in 1991, Byrd signed with Sony Music Publishing and went on to work with numerous legendary artists including Roger Daltrey, Ian Hunter, Paul McCartney, Ringo Starr, and many others. He has released five solo albums, with his recent work focusing on recovery themes drawn from his own experience overcoming addiction. In April 2015, Joan Jett and the Blackhearts were inducted into the 30th Annual Rock and Roll Hall of Fame at a ceremony in Cleveland, Ohio, with Byrd being recognized as an essential part of their classic lineup. His decade with The Blackhearts represented both his greatest commercial success and the foundation for a continuing career as a respected guitarist and songwriter.
Eric Ambel
Eric Ambel served as The Blackhearts’ original guitarist before being replaced by Ricky Byrd during the recording of “I Love Rock ‘n Roll.” Ryan in turn recommended guitarist Eric Ambel, who was also at the time part of Rik L. Rik. Ambel was recruited to the band on the recommendation of Gary Ryan, as both musicians were part of the Los Angeles punk scene and had played with local artist Rik L. Rik. This early connection through the LA punk community helped establish The Blackhearts’ initial lineup and sound, which drew heavily from the raw energy and DIY ethos of that scene.
Ambel’s tenure with The Blackhearts was relatively brief but important for establishing the band’s early identity. After a year of touring and recording, the Blackhearts recorded a new album entitled I Love Rock ‘n Roll for the label. Ambel was replaced by local guitarist Ricky Byrd during the recording. He played on their early live performances and contributed to the development of their sound during the crucial period when they were building their following through constant touring. His guitar work helped establish the fundamental approach that would later be refined by his successor, providing a bridge between Joan’s Runaways background and The Blackhearts’ emerging style.
The transition from Ambel to Byrd occurred during a pivotal moment in The Blackhearts’ career, as they were preparing to record what would become their breakthrough album. While Ambel’s recorded contributions with The Blackhearts were limited, his role in the band’s formation period was significant in helping Joan establish her new musical identity after The Runaways. The fact that he was recruited through the punk community connections that also brought Gary Ryan to the band demonstrates the organic way The Blackhearts came together through the Los Angeles music scene. After leaving The Blackhearts, Ambel continued his music career, though he never achieved the same level of commercial success that his former bandmates would enjoy with their subsequent recordings.
Danny “Furious” O’Brien
Danny “Furious” O’Brien served as The Blackhearts’ original drummer before being replaced by Lee Crystal. The final addition to the original Blackhearts was drummer Danny “Furious” O’Brien, formerly of the San Francisco band the Avengers. O’Brien brought experience from the San Francisco punk scene, having played with The Avengers, one of the notable bands from that city’s vibrant punk community. His background provided The Blackhearts with the aggressive, driving rhythm section approach that would become central to their sound, even though his time with the band was relatively short.
O’Brien’s drumming style reflected the raw energy of late 1970s punk rock, which aligned well with Joan’s vision for The Blackhearts’ sound. This lineup played several gigs at the Golden Bear, in Huntington Beach, California, helping to establish The Blackhearts’ live reputation during their formative period. These early performances were crucial for developing the band’s stage presence and refining their musical approach as they transitioned from Joan’s Runaways background to their new direction. The experience gained during these early shows helped inform the band’s development even after O’Brien’s departure.
The change from O’Brien to Lee Crystal marked an important evolution in The Blackhearts’ rhythm section. Laguna fired O’Brien at the end of the tour, and upon returning to the States, Jett, Ryan, and Ambel moved to Long Beach, New York. While O’Brien’s contributions were limited to the very early period of the band’s development, his role in establishing their initial live performance approach was significant. His departure coincided with other lineup changes that would ultimately lead to the classic Blackhearts formation that achieved their greatest commercial success. The experience of working with O’Brien provided valuable lessons about the type of drummer The Blackhearts needed to achieve their artistic goals, ultimately leading to the successful audition and hiring of Lee Crystal.
Later Members and Current Lineup
Following the departure of the classic lineup members in 1987, The Blackhearts underwent significant changes as Joan Jett continued the band with new musicians. In 1987, Ryan and Crystal left the Blackhearts. They were soon replaced by Thommy Price and Kasim Sulton. Thommy Price, who had previously worked with various notable artists, became the new drummer and brought a more polished, stadium-ready approach to the band’s rhythm section. Kasim Sulton, formerly of Utopia and a respected session bassist, replaced Gary Ryan and contributed his extensive experience to help The Blackhearts maintain their commercial momentum during the late 1980s and early 1990s.
The late 1980s lineup with Price and Sulton coincided with one of The Blackhearts’ most successful periods commercially. Later that year, Jett released Good Music, which featured appearances by the Beach Boys, the Sugarhill Gang, and singer Darlene Love. This period saw the release of “Up Your Alley” (1988), which went multi-platinum and included the hit single “I Hate Myself for Loving You,” which peaked at No. 8 on the Billboard Hot 100 chart. The album’s success demonstrated that The Blackhearts could continue to achieve mainstream success even with significant lineup changes, though many fans and critics continued to associate the band’s peak with the earlier Crystal-Ryan-Byrd formation.
Throughout the 1990s and beyond, The Blackhearts continued to evolve with various musicians joining and leaving the band. Her 1991 release, Notorious, which featured the Replacements’ Paul Westerberg and former Billy Idol bass player Phil Feit, was the last with Sony/CBS, as Jett switched to Warner Bros. More recent lineups have included various talented musicians who have helped Joan maintain an active touring and recording schedule. The band continues to perform regularly, introducing their classic songs to new generations while occasionally releasing new material. Joan Jett and the Blackhearts released Changeup on March 25, 2022, the first acoustic album ever recorded by the band, featuring “Bad Reputation” and “Crimson and Clover”. On June 2, 2023, Joan Jett and the Blackhearts released the 6 song EP, Mindsets, the band’s first release of new material in ten years. While the current lineup may not have the same historical significance as the classic 1980s formation, it allows Joan to continue sharing her music and message with audiences worldwide, ensuring that The Blackhearts’ legacy remains vibrant and relevant for contemporary rock fans.
Check out more Joan Jett And The Blackhearts articles on ClassicRockHistory.com Just click on any of the links below……
Feature Photo: Ellen van Bodegom, from Rotterdam, The Netherlands, CC BY 2.0 , via Wikimedia Commons
It started with a band called Shrug and a student radio station at the University of Dundee—but no one could’ve predicted the slow-burning, arena-filling rise that would eventually follow. Snow Patrol was born from the friendship of Gary Lightbody and Mark McClelland, two Northern Irish students who first came together in 1994 to write music under the Shrug name. After a brief stint as Polar Bear, they finally adopted the name Snow Patrol in 1997. Based out of Scotland but rooted in Northern Ireland, the group spent the better part of a decade in the margins—touring university towns, recording on a shoestring budget, and constantly evolving their sound before the world began to pay attention.
Their first two albums, Songs for Polarbears (1998) and When It’s All Over We Still Have to Clear Up (2001), were released on the independent Jeepster label. While they received critical praise and built a cult following, neither album managed to chart significantly. Despite their raw charm and creative songwriting, mainstream success remained elusive. Lineup changes began during this period, and Lightbody’s songwriting began to shift, moving from experimental indie tendencies toward a more accessible melodic style. Still unsigned by a major label, the band was at a crossroads by the early 2000s, unsure if they would continue or fade out like so many others.
That turning point came with their signing to Polydor’s InfiDelity imprint, which backed the band’s third studio album, Final Straw, released in 2003. With Nathan Connolly now in the fold on guitar and Jonny Quinn on drums, Snow Patrol’s sound began to crystallize. The album’s breakout single, “Run,” soared to number five on the U.K. Singles Chart, pulling the band into the spotlight for the first time. The album itself eventually went five-times platinum in the U.K., firmly establishing the group as a major act. It marked a creative and commercial breakthrough that had been nearly a decade in the making.
The momentum didn’t just hold—it exploded. Their next album, Eyes Open, released in 2006, became a phenomenon. Fueled by the global success of the single “Chasing Cars,” the record became the best-selling album of the year in the U.K. and went multi-platinum worldwide. “Chasing Cars” achieved something even more elusive than chart success: longevity. It became a cultural fixture, featured in numerous television dramas and emotional climaxes, and ultimately became one of the most-played songs on British radio. The band had officially crossed into the mainstream, not as a one-hit wonder, but as a group capable of crafting songs that lived far beyond their release dates.
Their fifth album, A Hundred Million Suns (2008), continued to build on their success while also showcasing a broader palette of musical ideas. Though it didn’t replicate the towering impact of Eyes Open, it still performed strongly across international markets and featured singles such as “Take Back the City” and “Crack the Shutters.” The album leaned into the band’s increasingly polished and cinematic style, reflecting their comfort with large-scale production and orchestral flourishes. It became clear that Snow Patrol had graduated from alternative underdogs to one of the U.K.’s most consistently successful rock acts of the 2000s.
In 2009, they released their first compilation album, Up to Now, a 30-track retrospective covering their early indie years through to their commercial peak. The release served not just as a summary of their journey but also as a reaffirmation of their longevity. Around this time, the band expanded its influence, with Lightbody collaborating on side projects such as Tired Pony, which brought together members of R.E.M. and Belle and Sebastian. Snow Patrol was now part of the broader rock conversation, and their members were being recognized as seasoned artists in their own right.
The release of Fallen Empires in 2011 marked a more electronic turn in their sound, incorporating loops and synth textures while still retaining their core emotive sensibility. Though met with mixed critical reception, the album debuted at number three on the U.K. Albums Chart and number five in Ireland. It further demonstrated their willingness to evolve while maintaining the grand emotional sweep their fans expected. Supporting the record, they embarked on one of their largest world tours to date, selling out arenas and continuing to build their global following.
After Fallen Empires, the band entered a long period of silence. Behind the scenes, Gary Lightbody was battling depression and writer’s block, a fact he would later speak openly about. The hiatus stretched for seven years, during which fans were uncertain if the band would return. But when they did, in 2018, with Wildness, it marked not just a return to form but a personal triumph. The album explored themes of loss, identity, and survival, reflecting the struggles Lightbody had endured. It debuted at number two in the U.K. and reinforced Snow Patrol’s ability to connect deeply with their audience on emotional terrain.
Throughout their career, the band has amassed numerous awards and accolades. They’ve received six Meteor Ireland Music Awards and a BRIT Award nomination for Best British Group. Their singles “Chasing Cars” and “Run” have become modern standards, and their albums have consistently performed across the U.K., Ireland, and mainland Europe. They’ve also been honored for their contributions to music and charity, with Lightbody receiving awards for his work supporting music education and mental health initiatives in Northern Ireland.
Outside the studio, Snow Patrol has remained deeply connected to their Irish roots. They’ve played countless benefit concerts, performed for youth music programs, and participated in awareness campaigns related to mental health. Lightbody, in particular, has become an outspoken advocate for mental wellness, using his platform to encourage open discussion around depression and anxiety, especially among men. His transparency has endeared him to fans and positioned him as a voice for empathy and resilience within the music world.
Snow Patrol’s endurance has always been about more than hits. Their songs resonate because they embrace vulnerability. Whether it’s the slow-build longing of “Set the Fire to the Third Bar” or the aching honesty of “Open Your Eyes,” they’ve built a career on quiet emotional force. Their music doesn’t shout—it lingers, grows, and stays with people. That quiet power, sustained across decades, is what has allowed Snow Patrol to evolve from university club gigs to headlining international tours.
As of today, the band has released seven studio albums, one compilation, and countless singles that have defined key emotional moments for millions of listeners. Their catalog is a testament to persistence, craft, and the ability to speak plainly and powerfully in song. From the outside, theirs might look like a slow rise—but from the inside, it’s a masterclass in building a meaningful career one album, one lyric, one connection at a time.
Complete List Of Snow Patrol Songs From A to Z
– – Eyes Open – 2006
A Dark Switch – Wildness – 2018
A Youth Written in Fire – Wildness – 2018
Absolute Gravity – Songs for Polarbears – 1998
All – The Forest Is the Path – 2024
An Olive Grove Facing the Sea – When It’s All Over We Still Have to Clear Up – 2001
And Then I’m Gonna – When It’s All Over We Still Have to Clear Up – 2001
Ask Me How I Am – When It’s All Over We Still Have to Clear Up – 2001
Ask Me How I Am (video) – When It’s All Over We Still Have to Clear Up – 2001
Batten Down the Hatch – When It’s All Over We Still Have to Clear Up – 2001
Berlin – Fallen Empires – 2011
Black and Blue – When It’s All Over We Still Have to Clear Up – 2001
Broken Bottles Form a Star (Prelude) – Fallen Empires – 2011
But I’ll Keep Trying – The Forest Is the Path – 2024
Called Out in the Dark – Fallen Empires – 2011
Chased by… I Don’t Know What – When It’s All Over We Still Have to Clear Up – 2001
Chasing Cars – Eyes Open – 2006
Chocolate – Final Straw – 2003
Chocolate (video) – Final Straw – 2003
Crack the Shutters – A Hundred Million Suns – 2008
Crack the Shutters (video) – A Hundred Million Suns – 2008
Days Without Paracetamol – Songs for Polarbears – 1998
Disaster Button – A Hundred Million Suns – 2008
Don’t Give In – Wildness – 2018
Don’t Give In (alternate version) – Wildness – 2018
Downhill from Here – Songs for Polarbears – 1998
Empress – Wildness – 2018
Engines – A Hundred Million Suns – 2008
Everything’s Here and Nothing’s Lost – The Forest Is the Path – 2024
Fallen Empires – Fallen Empires – 2011
Falling Through All of This Time – The Forest Is the Path – 2024
Favourite Friend – Songs for Polarbears – 1998
Fifteen Minutes Old – Songs for Polarbears – 1998
Firelight – When It’s All Over We Still Have to Clear Up – 2001
First Week of Term – A Hundred Million Suns – 2008
Get Balsamic Vinegar…Quick You Fool – Songs for Polarbears – 1998
Gleaming Auction – Final Straw – 2003
Grazed Knees – Final Straw – 2003
Half the Fun – Final Straw – 2003
Hands Open – Eyes Open – 2006
Headlights on Dark Roads – Eyes Open – 2006
Heal Me – Wildness – 2018
Heal Me (alternate version) – Wildness – 2018
Hold Me in the Fire – The Forest Is the Path – 2024
Hollow as I Am – When It’s All Over We Still Have to Clear Up – 2001
Holy Cow – Songs for Polarbears – 1998
How to Be Dead – Final Straw – 2003
I Could Stay Away Forever – Songs for Polarbears – 1998
I’ll Never Let Go – Fallen Empires – 2011
If I’d Found the Right Words to Say – When It’s All Over We Still Have to Clear Up – 2001
If There’s a Rocket Tie Me to It – A Hundred Million Suns – 2008
If There’s a Rocket Tie Me to It (video) – A Hundred Million Suns – 2008
In Command of Cars – When It’s All Over We Still Have to Clear Up – 2001
In My Arms – Eyes Open – 2006
In the End – Fallen Empires – 2011
It’s Beginning to Get to Me – Eyes Open – 2006
Jacknife Lee’s Studio Safari – A Hundred Million Suns – 2008
Jj – Songs for Polarbears – 1998
Last Ever Lone Gunman – When It’s All Over We Still Have to Clear Up – 2001
Life and Death – Wildness – 2018
Life on Earth – Wildness – 2018
Life on Earth (alternate version) – Wildness – 2018
Lifeboats – A Hundred Million Suns – 2008
Lifening – Fallen Empires – 2011
Limited Edition – Songs for Polarbears – 1998
Little Hide – Songs for Polarbears – 1998
Mahogany – Songs for Polarbears – 1998
Make Love to Me Forever – When It’s All Over We Still Have to Clear Up – 2001
Make This Go on Forever – Eyes Open – 2006
Make Up – Songs for Polarbears – 1998
Making Enemies – When It’s All Over We Still Have to Clear Up – 2001
Marketplace – Songs for Polarbears – 1998
Monkey Mobe – When It’s All Over We Still Have to Clear Up – 2001
My Last Girlfriend – Songs for Polarbears – 1998
Never Gonna Fall in Love Again – When It’s All Over We Still Have to Clear Up – 2001
Never Really Tire – The Forest Is the Path – 2024
New York – Fallen Empires – 2011
NYC – Songs for Polarbears – 1998
On/Off – When It’s All Over We Still Have to Clear Up – 2001
One Hundred Things You Should Have Done in Bed – Songs for Polarbears – 1998
One Night Is Not Enough – When It’s All Over We Still Have to Clear Up – 2001
Open Your Eyes – Eyes Open – 2006
Perfect Little Secret – Eyes Open – 2006
Please Just Take These Photos from My Hands – A Hundred Million Suns – 2008
Post Punk Progression – Final Straw – 2003
Raze the City – Songs for Polarbears – 1998
Riot, Please – Songs for Polarbears – 1998
Run – Final Straw – 2003
Run (video) – Final Straw – 2003
Same – Final Straw – 2003
Sessions@AOL: Interview – Final Straw – 2003
Sessions@AOL: Run – Final Straw – 2003
Set Down Your Glass – A Hundred Million Suns – 2008
Set the Fire to the Third Bar – Eyes Open – 2006
Shut Your Eyes – Eyes Open – 2006
Somewhere a Clock Is Ticking – Final Straw – 2003
Soon – Wildness – 2018
Soon (alternate version) – Wildness – 2018
Spitting Games – Final Straw – 2003
Spitting Games (video) – Final Straw – 2003
Starfighter Pilot – Songs for Polarbears – 1998
Steal – Final Straw – 2003
Sticky Teenage Twin – Songs for Polarbears – 1998
T.M.T. – Songs for Polarbears – 1998
Take Back the City – A Hundred Million Suns – 2008
Take Back the City (video) – A Hundred Million Suns – 2008
Talk to the Trees – When It’s All Over We Still Have to Clear Up – 2001
Talking About Hope – The Forest Is the Path – 2024
The Beginning – The Forest Is the Path – 2024
The Finish Line – Eyes Open – 2006
The Forest Is the Path – The Forest Is the Path – 2024
The Garden Rules – Fallen Empires – 2011
The Golden Floor – A Hundred Million Suns – 2008
The Last Shot Ringing in My Ears – Songs for Polarbears – 1998
The Lightning Strike I. What If This Storm Ends? II. The Sunlight Through the Flags III. Daybreak – A Hundred Million Suns – 2008
The Only Noise – Eyes Open – 2006
The Planets Bend Between Us – A Hundred Million Suns – 2008
The President – Fallen Empires – 2011
The Symphony – Fallen Empires – 2011
The Weight of Love – Fallen Empires – 2011
These Lies – The Forest Is the Path – 2024
This Is the Silence – The Forest Is the Path – 2024
This Is the Sound of Your Voice – The Forest Is the Path – 2024
This Is the Sound of Your Voice (Will Reynolds Remix) – The Forest Is the Path – 2024
This Isn’t Everything You Are – Fallen Empires – 2011
Those Distant Bells – Fallen Empires – 2011
Tiny Little Fractures – Final Straw – 2003
Velocity Girl – Songs for Polarbears – 1998
Waking Up Now – The Forest Is the Path – 2024
Warmer Climate – Eyes Open – 2006
Ways & Means – Final Straw – 2003
We Can Run Away Now They’re All Dead and Gone – Final Straw – 2003
What If Nothing Breaks? – The Forest Is the Path – 2024
What If This Is All the Love You Ever Get? – Wildness – 2018
What If This Is All the Love You Ever Get? (alternate version) – Wildness – 2018
What’s Left in the Light – The Forest Is the Path – 2024
Whatever’s Left – Final Straw – 2003
When It’s All Over We Still Have to Clear Up – When It’s All Over We Still Have to Clear Up – 2001
When You’re Right, You’re Right (Darth Vader Bringing in His Washing Mix) – Songs for Polarbears – 1998
Wild Horses – Wildness – 2018
Workwear Shop – When It’s All Over We Still Have to Clear Up – 2001
Wow – Final Straw – 2003
Years That Fall – The Forest Is the Path – 2024
You Could Be Happy – Eyes Open – 2006
You’re All I Have – Eyes Open – 2006
Your Heart Home – The Forest Is the Path – 2024
Albums
Songs for Polarbears (1998): 25 songs
When It’s All Over We Still Have to Clear Up (2001): 21 songs
Final Straw (2003): 21 songs
Eyes Open (2006): 16 songs
A Hundred Million Suns (2008): 16 songs
Fallen Empires (2011): 14 songs
Wildness (2018): 15 songs
The Forest Is the Path (2024): 18 songs
Check out our fantastic and entertaining Snow Patrol articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Robert Fripp‘s pre-King Crimson outfit, Giles, Giles & Fripp, the band he featured in with brothers Michael and Peter Giles, both of whim would go on to play with Fripp in King Crimson, are to have their 1968 debut album, The Cheerful Insanity of Giles, Giles & Fripp, remastered and reissued on CD and vinyl.
At the same time, The Brondesbury Tapes, a collection of home demo recordings, newly remastered by King Crimson manager David Singleton, will be released, both releases coming through the Panegyric/DGM label on July 4.
Fripp applied for, and got the role of “a singing organist”, advertised for by the Giles brothers in 1967, despite not being able to sing, nor was he an organist! However the trio were offered a record deal with Decca, for whom they recorded The Cheerful Insanity of Giles, Giles & Fripp, which was released in 1968, a mixture of psychedelic pop, folk music and the trio’s trademark humour.
The Brondesbury Tapes is a collection of demos recorded at the flat the three musicians shared at 93a Brondesbury Road in North London, converting their living space into a recording studio of sorts, with a single Revox reel-to-reel tape machine, and where the trio were visited by the likes of Ian McDonald, Greg Lake and Judy Dyble.
The demos provide fans with a glimpse of how the band’s sound developed, and I Talk To The Wind (which would feature on the King Crimson 1969 debut album In The Court Of The Crimson King) features while parts of Fripp’s Suite No.1 would later be transformed into Prelude: Song Of The Gulls and his Why Don’t You Just Drop In became, with new lyrics, The Letters for 1971’s album Islands.
The spoken interludes from The Cheerful Insanity of Giles, Giles & Fripp have been removed for this new reissue, while the audio quality of The Brondesbury Tapes is limited in places due to the original source, new remastering by Singleton has improved the sound significantly compared to previous issues.
Both are released on heavyweight 200g vinyl, with the vinyl cut by Jason Mitchell at Loud Mastering. The Brondesbury Tapes vinyl features 13 of the best quality recordings from the tapes, while the CD features all 21 tracks.
Sign up below to get the latest from Prog, plus exclusive special offers, direct to your inbox!
The Cheerful Insanity Of Giles, Giles & Fripp (The Songs)
LP SIDE A: 1. North Meadow 2. Newly-weds 3. One in a Million 4. Call Tomorrow 5. Digging My Lawn 6. Little Children 7. The Crukster 8. Thursday Morning
SIDE B: 1. How Do They Know 2. Elephant Song 3. The Sun is Shining 4. Suite No. 1 5. Erudite Eyes
CD (Running order as above plus) She is Loaded Under the Sky One in a Million (Mono Single) Newly-weds (Mono Single) Thursday morning (Mono Single) Thursday morning (Stereo Single)
The Brondesbury Tapes
LP – A Selection from The Brondesbury Tapes
Side A 1. Erudite Eyes 2. I Talk to the Wind (1) 3. Make it Today 4. Wonderland 5. She is Loaded
Side B 1. Scrivens 2. Why Don’t You Just Drop In? 3. Suite No. 1 4. I Talk to the Wind (2) 5. Under the Sky 6. Plastic Pennies 7. Tremolo Study in E Major (Spanish Suite) 8. Passages of Time
CD – The Brondesbury Tapes 1. Hypocrite 2. Digging My Lawn (A) 3. Tremolo Study In E Major (Spanish Suite) 4. Newly Weds 5. Suite No. 1 6. Scrivens 7. Make It Today (A) 8. Digging My Lawn (B) 9. Why Don’t You Just Drop In (I) 10. I Talk To The Wind (1) 11. Under The Sky (*) 12. Plastic Pennies 13. Passages Of Time 14. Under The Sky (**) 15. Murder 16. I Talk To The Wind (2) 17. Erudite Eyes 18. Make It Today (B) 19. Wonderland 20. Why Don’t You
Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.
Liam Payne’s journey from a small-town boy in Wolverhampton to global music stardom is one of modern pop’s most widely watched arcs—marked by early determination, massive commercial success, creative reinvention, and deep personal challenges. Born in August 1993, Payne showed an early aptitude for performance. He auditioned for The X Factor in 2008 at just 14 years old and was told to come back when he was more seasoned. He did just that in 2010, and though he didn’t progress as a solo artist, a decision by the show’s judges to group him with four other contestants—Harry Styles, Niall Horan, Louis Tomlinson, and Zayn Malik—led to the formation of One Direction.
The band’s impact was immediate and global. Over the span of five years, One Direction released five studio albums, all of which topped charts worldwide. Payne’s role in the group extended beyond vocals—he was an emerging songwriter and often served as a musical anchor during live shows. Songs like “Story of My Life,” “Night Changes,” and “Drag Me Down” showed the band’s growth from teen idols to serious pop contenders, and Payne’s behind-the-scenes influence helped steer their evolution.
When One Direction went on indefinite hiatus in 2016, Payne was among the first to dive into a solo career. He signed to Capitol Records UK and Republic Records in the U.S., and in 2017 released “Strip That Down,” featuring Quavo. The single peaked at No. 3 in the UK and No. 10 on the Billboard Hot 100, going multi-platinum in several countries. It was a significant shift from the band’s sound—heavily influenced by R&B and hip-hop, signaling his desire to break free of past constraints and reintroduce himself on his own terms.
Over the next few years, Payne continued releasing singles, collaborating with artists like J Balvin (“Familiar”), Zedd (“Get Low”), and Rita Ora (“For You,” a hit featured on the Fifty Shades Freed soundtrack). His voice and confidence remained strong, but the critical reception was mixed, with some praising his versatility and others questioning the cohesiveness of his musical identity. Still, the hits kept coming, and Payne remained a chart presence.
In December 2019, he released his debut full-length album, LP1. The album featured many of his previously released singles and new material that aimed to solidify his solo sound. It debuted at No. 17 on the UK Albums Chart, reflecting moderate commercial performance. While the reviews were divided, Payne’s dedication to his craft was never in question, and the album was a culmination of years spent developing his post-1D voice.
Outside of music, Payne engaged deeply in philanthropic efforts. He supported UNICEF, the Global Goals campaign, and mental health initiatives, often speaking candidly about his own struggles with anxiety and addiction. His openness on these topics resonated with fans and helped dismantle the stigma surrounding mental health, particularly among young men in the entertainment industry.
He also embraced fatherhood, welcoming a son with Cheryl in 2017. His role as a father became a central part of his life, shaping his public image and influencing his priorities. Interviews from the period reflect a man working hard to balance fame, family, and personal growth—a balancing act that wasn’t always easy but was always sincere.
Fashion and modeling became another outlet. Payne appeared in campaigns for Hugo Boss and other global brands, positioning himself as a crossover figure with influence beyond music. His sense of style and evolving image kept him in the spotlight, even during breaks between releases.
Though LP1 remains his only full studio album, Payne released over 20 solo tracks, dozens of collaborations, and remained a regular performer at major events, award shows, and live festivals. His music collected billions of streams globally, and he achieved numerous certifications, including multi-platinum singles across the UK, U.S., and Europe. Awards included BMI honors and Teen Choice Awards, as well as nominations recognizing his solo emergence.
Fans and peers alike respected his resilience. The transition from a globally dominant boy band to solo adulthood is a notoriously difficult path, but Payne walked it with both ambition and vulnerability. He made mistakes—some of them public—but he never stopped trying to grow. That relentless effort defined the latter half of his career.
Liam Payne passed away in 2025, a shocking and deeply saddening loss to fans around the world. Details surrounding his death have not been fully disclosed, but tributes poured in immediately from friends, collaborators, and former bandmates. The music world mourned not just the artist, but the person—someone who had given so much of himself publicly and privately.
His death closed a chapter, but his music remains. For a generation, he was a voice that grew with them—from the stages of The X Factor, through stadiums around the world, to a solo career that showed constant reinvention. His work, both in and outside of One Direction, will continue to be listened to, studied, and remembered.
Liam Payne’s legacy is one of transformation, perseverance, and an unwavering connection with fans across the globe. His voice—warm, textured, honest—echoes in the songs he leaves behind, and his influence continues to be felt throughout pop music.
Complete List Of Liam Payne Songs From A to Z
All I Want (For Christmas) – LP1 – 2019
Before It Ends – LP1 (Target edition) – 2019
Bedroom Floor – LP1 – 2019
Both Ways – LP1 – 2019
Depend On It – First Time – 2018
Down – LP1 (Japanese edition) – 2019
Familiar (with J Balvin) – LP1 – 2019
First Time (with French Montana) – First Time – 2018
For You (Liam Payne and Rita Ora) – Midnight Hour – 2020
For You (Fifty Shades Freed) (with Rita Ora) – LP1 – 2019
Check out our fantastic and entertaining Liam Payne articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
This isn’t the first time Sabbath have announced a farewell gig. The band played what was billed as their final show on February 4, 2017 at the Birmingham NEC at the culmination of The End tour. Before that, there were ‘farewell’ shows in 1999, and 2005.
But speaking exclusively in the brand new issue of Classic Rock, Ozzy says that the all-star Back To The Beginning show, which takes place at Villa Park in Birmingham on July 5, 2005, will definitively bring the curtain down on his own career as a performer, as well as that of Sabbath.
“It’s very important,” says Ozzy of the Back To The Beginning show. “The original Sabbath will never be on stage together again. From the late 60s, we’re probably one of the only bands where the original members are still alive and speaking with one another.”
The Back To The Beginning show is headlined by Ozzy, who will play a short set before joining Sabbath bandmates Tony Iommi, Geezer Butler and Bill Ward for a short set of their own. It will be the first time the band’s original line-up has played together in almost 20 years, with Ward stepping back from a 2012 reunion following a contract dispute.
The surprise news of the Back To The Beginning gig earlier in 2025 came two years after Ozzy announced that he was retiring performing live following several years of health issues and physical injuries. The bill for the show also features Metallica, Guns N’ Roses, Tool, Slayer, Alice In Chains and several more big-name bands.
Speaking in the new issue of Classic Rock, Sabbath guitarist Tony Iommi admits he was reluctant to play another Sabbath show seven years after The End tour.
Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox!
“I’d already closed the door on it,” he says. “I thought that [The End tour] was it.”
Iommi he was convinced to do it by the fact that profits would be going to three charities, Cure Parkinson’s, Birmingham Children’s Hospital and Acorn Children’s Hospice, plus the presence of Bill Ward, whose place was taken by drummer Tommy Clufetos on Sabbath’s last two tours.
“There’d be no point [doing it without Ward],” says Iommi. “Because it’s the original line-up, that makes it more proper. So no, I wouldn’t have done it without the original line-up.”
Speaking to Classic Rock, Ward himself says he is overjoyed to be reuniting with his old bandmates. “My job is to play my ass off,” he says. “That’s what I do. No slight on other people, but I’m the drummer with Black Sabbath. Always have been, always will be.”
Read the full interview in the brand new issue of Classic Rock, onsale on May 23.
(Image credit: Future)
Classic Rock is the online home of the world’s best rock’n’roll magazine. We bring you breaking news, exclusive interviews and behind-the-scenes features, as well as unrivalled access to the biggest names in rock music; from Led Zeppelin to Deep Purple, Guns N’ Roses to the Rolling Stones, AC/DC to the Sex Pistols, and everything in between. Our expert writers bring you the very best on established and emerging bands plus everything you need to know about the mightiest new music releases.
Former Scorpions and UFO guitarist Michael Schenker has enjoyed bouts of adulation and success, and famously endured periods of drug-fuelled madness. In 2006, Classic Rock sat down with the man himself and attempted to seperate myth from fact.
Many thousands of words have been written about Michael Schenker since 1970 when, as a raw 15-year-old, he joined elder brother Rudolf’s band the Scorpions. The adjectives ‘mercurial’, ‘eccentric’, ‘selfish’, ‘egotistical’, ‘hot-headed’ and ‘self-destructive’ – even ‘genius’ – are all regularly applied to the Sarstedt-born guitar hero but few have dug beneath the surface of this painfully shy yet enigmatic individual. Which is, of course, what Classic Rock intends to do.
Our audience with Schenker takes place in the dressing room of London’s Mean Fiddler venue, where getting him to talk about himself or his work is like asking him to knit fog. Schenker claims to ignore reviews and the results of interviews he gives, but while professing not to give a damn about what people think of him, he begrudgingly reveals the opposite is true. Enquire about rock media’s obsession with ‘Mad Mickey Schenker’, the cartoonish maverick who cuts off his hair, destroys his trademark Flying V guitars and disappears when the going gets tough and Michael is, for once, candid.
“When Ozzy Osbourne, Whitesnake or whoever approached me to join them, I always ensured there were too many conditions,” he confides. (He also declined to audition for The Rolling Stones.) “I was so insecure, I made it impossible for them to take me.
“Life, as well as music, is full of ups and downs,” Michael adds, in response to the suggestion that troughs have outnumbered peaks since he left first the Scorpions, then UFO (as the latter were about to go global with 1979’s Strangers InThe Night), then abandoned the Scorpions again after Lovedrive.
“I’ve never cared about being commercial and could have joined some of the world’s biggest bands, but I’m happier without people telling me what I’ve done isn’t good enough for the radio,” he says simply. “My peace and freedom are important.”
(Image credit: Paul Natkin/Getty Images)
Michael is now based in Germany again after a frustrating time in America that prevented him from getting to know his two sons. Tonight’s show is opened by a band called Faster Inferno that feature his 22-year-old, Tyson, and a third Schenker – 18-year-old Taro – joins MSG for an encore of UFO’s Doctor Doctor. Given his chequered experiences, does Schenker Snr have any practical advice for the Flying V-wielding offspring that seem set to follow in their father’s footsteps?
Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox!
This feature was originally published in Classic Rock 96 (Summer 2006)(Image credit: Future)
“They’re smart enough to figure things out for themselves,” he decides. “I had very little to do with their upbringing, and the man who was their father figure did a much better job than I could’ve done. They know very well that I’ve been ripped off many times in my career. The best that they can do is do better than I did.”
In typically erratic style, Michael has just released Tales Of Rock’n’Roll, a quarter-of-a-century commemoration of a solo career that, were we to nitpick, actually began 26 years ago. But, as becomes obvious while retracing the Michael Schenker Group’s trajectory, little in the blond axeman’s world ever goes to plan.
He explains walking out on the Scorpions during the Lovedrive tour by saying, “I kept forgetting that I didn’t like being in [other people’s] bands” – but the very next thing Michael did was to follow manager Peter Mensch’s advice and audition to replace Joe Perry in Aerosmith. According to Steven Tyler, in the official Aerosmith book Walk This Way, Michael breezed into the rehearsal room with the words “Hello, I’m taking over. Before I join your band, I want it clear I’m taking over right now. Here – my jacket – take and hang up”.
Michael’s eyes narrow like it’s the first time he’s heard this quote. “No, no, no… it wasn’t like that at all,” he protests. “Steven Tyler is a big fan of mine but it was a weird situation and everybody was pretty drunk and, of course, Steven ended up in hospital. We all write our own book the way we remember it.”
While in Boston, Michael bumped into Geddy Lee and Neil Peart from Rush, with whom he’d toured in UFO, and there was talk of forming a group. “It wasn’t really where I wanted to be,” he says now. “Have I ever thought of where such a line-up might’ve taken me? No. I don’t deal in ‘ifs’ or ‘buts’.”
Working in London with the first Michael Schenker Group line-up of ex-Montrose drummer Denny Carmassi and future Mr Big bassist Billy Sheehan, Michael buckled under problems with alcohol and drugs, going AWOL again. “He was caught between heaven and hell,” says brother Rudolf. “He was playing the best I’d ever heard him, but mentally he was in terrible shape.”
“I hospitalised myself,” Michael explains. “I’d been taking tablets for stage fright – the same ones that killed Keith Moon – and they were highly addictive. It was a tough withdrawal.”
Arriving from Jeff Beck’s band, drummer Simon Phillips and bassist Mo Foster plus current Deep Purple keyboardist Don Airey all played on MSG’s self-titled debut, which was produced by Rainbow’s Roger Glover. “Peter Mensch offered ‘Mutt’ Lange for my first album but I refused,” Michael casually reveals. “He produced all of Mensch’s bands and I didn’t want to be the same.”
Fortuitously for all concerned, a demo by unknown singer Gary Barden happened to be playing just as Michael walked past the Head of A&R’s office at Chrysalis Records. The chemistry between guitarist and the swiftly hired singer was instantaneous enough to bestride a couple of giant hurdles:
“Herr Schenker was very clean at the time, but he didn’t speak much English,” recalls Barden today. “I had my own problems with communication [he has a stutter] but the music spoke for us.”
Tough yet anthemic rock songs like Armed & Ready, Victim Of Illusion and the epic Lost Horizons made the album a Top 20 success in the UK. Little did anyone know myriad personnel changes and self-inflicted damage would ensure MSG had already reached their commercial peak in Britain.
The Michael Schenker Group – Armed and Ready (Official Video) – YouTube
A second album, confusingly also titled MSG, arrived in 1981, by which time the band comprised Barden on vocals, ex-UFO guitarist/keyboard player Paul Raymond, former Sensational Alex Harvey Band bassist Chris Glen and the much-travelled Cozy Powell on drums. On paper it was a splendid line-up but Schenker told Sounds magazine:
“I wouldn’t use [Ron Nevison] again if he were the last producer on earth.” Despite this outburst, Michael has worked with Nevison many times since, although the 1981 MSG double concert set One Night At Budokan was self-produced by the group.
It proved to be the last will and testament of what many consider the classic Michael Schenker Group. For Assault Attack in 1982 another SAHB man, Ted McKenna, had replaced Powell, Graham Bonnet had taken over from Gary Barden and the band had new representation. The switches were ironic, as Powell had sided with Peter Mensch to engineer Barden’s sacking.
“I still don’t know how that happened,” puzzles Michael, scratching his head. “It was other people trying to ‘improve’ MSG. Cozy and Peter both wanted a better singer. Peter wanted David Coverdale, I wanted Graham Bonnet.”
But hold on a minute… wasn’t the band called the Michael Schenker Group, not the Peter Mensch Group?
“Don’t you think I know that?” says Michael, patiently. “But if they have something better to offer then why not listen? Sometimes you win, sometimes you lose.”
“Michael was riding the wave; people were ganging up on him,” is Barden’s generous perspective of his dismissal. “He’s not English or American, and people took advantage of his German temperament. If they forced him into a corner, he’d say ‘Fuck you’ and get pissed. But we were all out of our heads, and I’m not bitter.”
Michael Schenker Group in 1982. L-R Chris Glen, Graham Bonnet, Michael Schenker and Ted McKenna (Image credit: Fin Costello/Redferns)
After MSG cited the famous ‘musical differences’ cliché in regard to Barden’s departure, ex-Rainbow singer Bonnet arrived. “I went to see them play in Los Angeles and afterwards said to Cozy, ‘Great show’,” recollects Graham. “He asked, ‘Do you wanna join?’. They went back to England and I got a call a few weeks later.”
Bonnet had never written lyrics before – a fact that Michael learned only recently. But as Michael attests, the Martin Birch-produced Assault Attack is “the most popular MSG album with musicians,” also housing the staples Rock You To The Ground, Desert Song and Assault Attack. However from the public’s perspective, Bonnet’s tenure in the band would last for all of 15 minutes.
At a Sheffield Polytechnic warm-up for 1982’s Reading Festival, the singer imploded. An inebriated Bonnet took great delight in hauling roadie Steve Casey from behind the speakers, waving his penis at the crowd and exiting both stage and group.
“I made a complete fool of myself, had too much fun in the afternoon then an argument with Michael and don’t remember much of the experience,” admits Bonnet, who’d been drinking on top of prescribed medicine. “There’s a tape of the show… I hate to think what it sounds like. It’s something that I’ve never lived down.”
“Was the Sheffield gig an embarrassing experience?” muses Michael. “No, we finished the set instrumentally and it still went down well. It’s true we used a rhythm guitarist, but that was because Andy Nye [keyboardist] didn’t play guitar. A reporter made up the fact I couldn’t play those parts. What’s he doing for a living now?”
With MSG still committed to a crucial gig, a representative arrived at Barden’s house in Hampstead. Despite having formed his own band, Statetrooper, he agreed to do Reading with them after just six hours of rehearsal. “I’m just too nice,” the singer deadpans. “Michael’s manager was actually crying, saying he was gonna lose everything.”
Gary Barden and Michael Schenker onstage at Hammersmith Odeon in London, November 27, 1982 (Image credit: Pete Still/Redferns)
Nobody expected to see Barden again and the festival was such a huge success that the singer was welcomed back on a permanent basis. All the same, Michael doesn’t rate the resulting 1983 studio set Built To Destroy too highly. Neither did then-Sounds critic Garry Bushell, who wrote a merciless one-star review – which panned Barden’s “sub-Bad News vocals”, namechecked Rudolf Hess and ended “[This] doesn’t even reach the average heights that MSG have scaled before” – that Barden claims resulted in a visit to the magazine’s office.
“Bushell said, ‘Touch me and there are 20 security guards, you’re outta the building’. It was fucking pathetic,” he recalls. Bushell denies this reprisal ever took place: “I’d definitely have recalled being threatened by a muppet,” he states. “But if Barden wants to know, tell him I’ll see him in the beer garden of his choice to settle the argument.”
Unsurprisingly, the 1984 live disc Rock Will Never Die proved to be the last Michael Schenker Group release for a decade. “We were doing cocaine until we dropped,” reminisces the now-clean Barden.
“Everything fell apart during a US tour,” agrees Michael, who doesn’t recall whether Barden or Chris Glen was the first to hand in their notice. “Gary was drinking quite a bit and I wasn’t too happy about that. And so MSG ended for a while.”
Schenker firmly denies printed allegations that he went into rehab during the three years he then spent away from music. “My new desire was to experience a partnership,” he insists. “I wanted someone to make decisions with.”
That lucky partner was Robin McAuley, a singer formerly of Grand Prix and Far Corporation (who’d scored a hit with a cover of Stairway To Heaven in 1985). Under the revised handle of the McAuley Schenker Group, Michael and Robin toured with Rush, Def Leppard, Ozzy Osbourne and Whitesnake, releasing three albums – Perfect Timing (1987), Save Yourself (1989) and, again, MSG (1992) – which largely toned down showmanship in favour of commercial songs.
“The more melodic aspect was something that came from me,” claims McAuley, who now has a band called Bleed. “Some people liked it, some didn’t. But with me, Michael’s songs went to radio and MTV for the first time. Several times we almost crossed over but then he’d hit a wall and you’d go, ‘Oh shit’. He has a big heart but it’s often 10 steps forward and a thousand steps back. There are times when you think you know Michael but nobody ever does.”
“I clashed with [producer of Perfect Timing] Andy Johns because he was drinking, but Save Yourself was a good album,” reflects Michael. “But in 1989 I ended up in rehab because I was addicted to various tablets I was taking to calm my nerves. Just like being in UFO, McAuley Schenker Group hadn’t made me any money and after a while I didn’t want to be part of a partnership anymore.”
Michael Schenker Group – Rock Will Never Die (Official Video) (HD) – YouTube
In late 1990, during one of the McAuley Schenker Group’s many breaks, Michael agreed to do a favour for his friend Warren DeMartini and temporarily replaced Robbin Crosby in LA hair-rockers Ratt.
“That was a pain in the butt – I was caught between two groups of enemies,” he winces. The Ratt experience was followed by a similarly ill-fated venture called Contraband, with members of Shark Island, Vixen, LA Guns and Ratt. Their one and only album savaged by the critics in 1991, Contraband saw their tour collapse after just two gigs.
Preparing for what he felt would be his next step, Michael embarked upon half a dozen self-improvement programmes. He tried to stage a charity famine concert, even going on hunger strike until musician friends joined the cause but was eventually forced to throw in the towel through a lack of interest. Seeking to reward his fans for their patience, the self-financed acoustic Thank You album was then issued via his own Michael Schenker Records in 1993.
“I knew that if I sold three CDs a day I’d have enough to eat,” he recalls. To promote Thank You, Michael boarded Greyhound buses and turned up at radio stations, often unsolicited, to request interviews. “By the time I came home, enough fans had bought the album to make me rich,” he smiles, barely hiding his pride.
Declining a lucrative approach from Deep Purple to replace Ritchie Blackmore, Michael made the first of several returns to UFO for the Walk On Water album and tour in 1995. Unlike others that would follow, this initial reunion was satisfying.
“I was excited by earning money for the first time and I wanted to teach them how [to do it],” says Michael. “One of my conditions for going back was that because the name [UFO] had been so abused since 1979, half of it became mine.”
The Michael Schenker Group – Cry For The Nations (Official Music Video) – YouTube
He formed a new Michael Schenker Group in 1996 but, like a spouse in a bad marriage, spent years flitting back and forth from UFO. Produced again by the once maligned Nevison, MSG’s underrated 2001 comeback disc Written In The Sand featured an above-average vocalist in Leif Sundin.
The same hasn’t necessarily been true of other singers; Michael has declared that Keith Slack was “average” while Chris Logan (who sang on Be Aware Of Scorpions in 2002 and Arachnophobiac a year later) was by far the worst of a mediocre bunch. Michael blames the comings and goings on his inability to afford retainers for backing groups; fans have learned to live with the changes.
There were two further UFO albums, Schenker returning to the band for the last of these (2002’s Sharks) after an infamous drunken performance in Manchester during which he thanked the audience for booing him. Michael allowed the band to replace him with Vinnie Moore and swears he hasn’t heard You Are Here, the 2004 album they made without him.
“And you know what?” he says, sitting up straight to reinforce the point, “I’m not even curious about it. These days I try to think of music as chocolate: you savour it better if you experience it less.”
After splitting up with his wife in 2002 Michael hit the doldrums and spent almost 12 months in court.
“I lost my recording studio, cars and everything,” he rues. “All I had left was a bicycle and a few shirts. Then one day I got up and snapped out of it. I did a crash course in computers – having a website has really allowed me to connect with my audience.”
He doesn’t lie; visitors to michaelschenkerhimself.com can read postings about brushes with the law, drug addiction, the pawning of equipment and even child support disputes that others would find intrusive.
“Some people say it’s too personal but I owe my fans the truth,” he shrugs, adding apropos of nothing: “I was supposed to tour America but couldn’t go because two women were waiting there to have me arrested.”
Although a cancelled British trek with Yngwie Malmsteen last May further undermined confidence in him as a box-office attraction, Michael has no regrets. “I agreed to being a co-headliner and that changed,” he rationalises. “That’s like being offered $1000 to clean a room and then only be paid $500. An agreement is an agreement and my true fans deserve to know what really goes on in my life.”
Let’s face it; Michael Schenker’s career is a clusterfuck. Singers have been deported mid tour, punch-ups erupted between band members and road crew and Night Ranger’s Jeff Watson even had to complete some of Michael’s guitar parts on Arachnophobiac after he suffered a nervous breakdown.
“That was at the tail end of my depression,” he sighs. “It was a tough time for me.”
Few musicians would admit that their latest album was eked out of a scrapped former project, but Michael happily volunteers the fact that Tales Of Rock’n’Roll was intended as a UFO album – the one that eventually became Sharks – hence bassist Pete Way playing on it.
“Phil [Mogg, UFO vocalist] didn’t arrive for the recording,” he explains. So, realising that an anniversary was imminent, Michael found a young Finn called Jari Tiura to track most of the vocals and contacted all six of MSG’s previous frontmen – Barden, Bonnet, McAuley, Kelly Keeling, Sundin and Logan – to participate. Perhaps surprisingly, given the circumstances of their various sacking and departures, all agreed.
“Things didn’t end badly with anyone,” Michael semi-scowls. “Where you are getting these stories from?”
Where shall we start? You sacked Gary Barden and reinstated him, then Graham Bonnet walked out after the Sheffield fiasco… “I don’t read any of the gossip about myself, although there’s a lot of it out there,” he responds; “it’s how I keep a smile on my face.”
Michael Schenker onstage during MSG’s first Japanese tour at the Sunpalace Hall in Fukuoka, Japan, August 17, 1981 (Image credit: Koh Hasebe/Shinko Music/Getty Images)
Astonishingly, Michael remains on good terms with many of those he’s worked with. The ex-MSG members we spoke to still speak of him like they would some flawed, eccentric-yet-loveable relative.
“I don’t think anyone was paid to appear on Michael’s new album but he repaid my favour with a guest appearance on my solo album [The Agony And Xtasy],” reveals Barden.
“He seems a lot happier these days and, for all his problems, I wish there was somebody like Michael Schenker on every street corner in every country.”
Despite the ignominy of his own exit, Graham Bonnet still regrets his one night of madness and would rejoin the Michael Schenker Group in a heartbeat if requested to do so.
“He’s back in Germany again and seems to have sorted out some of his demons,” Bonnet observes, “but I don’t really don’t see it happening.”
If Michael’s career seems rudderless, hope is on the horizon. He plans to make a record with brother Rudolf, who has approached Peter Mensch to oversee the project, as The Schenker Brothers.
Confides Michael: “Carlos Santana is going to be a part of it, too. It’s looking like I will also be writing for the next Scorpions album.”
In closing, Michael Schenker attempts to sum up his 51 years on the planet. His existence is haphazard but he’s long since learned to accommodate perpetual change.
“My audience is largely made up of musicians and that’s something I’m absolutely fine with,” he concludes. “The good thing about having gone through so many ups and downs is that it brings a wide range of experiences. It’s made me a better person.”
This feature was originally published in Classic Rock 96 (Summer 2006)
Dave Ling was a co-founder of Classic Rock magazine. His words have appeared in a variety of music publications, including RAW, Kerrang!, Metal Hammer, Prog, Rock Candy, Fireworks and Sounds. Dave’s life was shaped in 1974 through the purchase of a copy of Sweet’s album ‘Sweet Fanny Adams’, along with early gig experiences from Status Quo, Rush, Iron Maiden, AC/DC, Yes and Queen. As a lifelong season ticket holder of Crystal Palace FC, he is completely incapable of uttering the word ‘Br***ton’.
Watal Asanuma, Shinko Music / Peter Pakvis / John Atashian, Getty Images
These five ’80s rock and metal guitarists who started great new bands serve as an unfortunate reminder that previous success and loads of talent don’t guarantee future prosperity.
That doesn’t mean we shouldn’t applaud them for trying — and for gifting us with some excellent music in the process.
Bands that are formed or led by guitarists could be a gamble, especially in the ’80s and early ’90s. In an era when hard rock and glam metal ruled the roost, and dizzying guitar solos were an integral part of countless hits, it was easy — perhaps even encouraged — for guitarists to go overboard with the fretboard-melting histrionics.
The problem was that, often, these hotshot shredders forgot to write songs around their blazing solos. (We’re not specifically talking about Vinnie Vincent, but we’re not not talking about Vinnie Vincent.)
It makes sense, then, that when the guitarists on this list left their lucrative main gigs, they did so to form other bands, not solo projects. (There’s one pseudo-exception here, but more on that later.) They applied their incredible skills in a group context, recruiting top-tier musicians and songwriters to round out their endeavors.
In some cases, these guitarists’ new bands even surpassed their previous efforts in terms of quality. Liberated from commercial expectations and intraband dysfunction, they could get back to making the music they wanted to make. Sometimes, the results were so electrifying that fans couldn’t help but wonder: Why couldn’t they have done this with their old band?
It’s a valid question, especially because none of the projects on this list performed particularly well, and consequently, most of them were short-lived. But perhaps that’s just part of the magic. Sometimes, great rock bands are meant to be here for a good time, not a long time — and it’s up to us to appreciate what they made, rather than mourn what could have been.
Read on to see five ’80s rock and metal guitarists who started great new bands.
5 ’80s Rock and Metal Guitarists Who Started Great New Bands
Free from commercial expectations and intraband dysfunction, these shredders let it rip.
![A Hundred Million Suns [2 LP]](https://m.media-amazon.com/images/I/411PWqweroL._SL500_.jpg)
![The Forest Is The Path[Extended Edition]](https://m.media-amazon.com/images/I/3154P-pqI4L._SL500_.jpg)
