Why Crosby, Stills and Nash Wanted to Reshoot Their Iconic Cover

Why Crosby, Stills and Nash Wanted to Reshoot Their Iconic Album Cover

The cover artwork for Crosby, Stills and Nash’s 1969 debut ranks among the most recognizable of its era. So why did the band initially want the image reshot?

During a recent conversation with The Rockonteurs podcast, Graham Nash explained what happened.

“One day, (photographer) Henry Diltz came into the studio. He’s a dear friend of ours.
And we realized that, you know, we were halfway through this CSN record and we realized that we didn’t have a cover,” the singer recalled. “So we told Bill Halvorsen, our engineer, I said, ‘Look, do me a favor, figure something out to do for an hour. We’re going to take a walk.’”

The trio, accompanied by Diltz, strolled over to Melrose Avenue in Los Angeles.

“We saw this old house and we said, ‘You know what, let’s just sit on this couch, take a picture,’” Nash remembered. A day later, they saw the prints, but there was a problem. “We saw the ones that we loved, but we’re sitting in the wrong order. We’re sitting as Nash, Stills, Crosby. And we decided to call ourselves Crosby, Stills and Nash because that’s how it comes off the tongue.”

READ MORE: Weird Facts About Rock’s Most Famous Album Covers

Initially, it seemed like an easy issue to fix. Diltz agreed to go back to the same house with the band the next day to take a new round of pictures.

“So we go back. There’s no house. It’s gone. It’s just a pile of lumber in the back,” Nash recalled. “It had been bulldozed the same day.”

CSN had no choice but to go with the original photo, even though the musicians were not seated in the correct order. While it created a little confusion among the band’s fans – Nash noted some “people think I wrote ‘Guinnevere’” – the artwork nevertheless became one of the era’s timeless images.

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The Most and Least-Played Song Live Off Every ZZ Top Album

If there is one place ZZ Top feels the most at home, it’s the stage.

The band has been touring more or less nonstop since 1969, though they’ve also somehow managed to find time to record 15 studio albums. At the time of this writing, ZZ Top is on tour, with dates scheduled literally all over the world.

“Going back to the early days, playing live for us, that was the warm-up fields,” Billy Gibbons said to MusicRadar in 2016. “Not only did it get warm, we aimed for it to get hot.”

We’d argue that get hot they did. For over 50 years, ZZ Top has been burning up live stages and attracting rock fans of all ages to their shows. Using data from setlist.fm, we’ve crunched the numbers and figured out the most and least-played song live from every one of their studio albums. Of course, there are some songs that have never seen a set list, but for those that have, here’s how it breaks down.

Album: ZZ Top’s First Album (1971)
Most-played: “Brown Sugar”
Least-played: “Old Man”

When ZZ Top stepped into Robin Hood Studios in Tyler, Texas in the fall of 1970, they genuinely did not know what their future held. “We weren’t certain if we’d get another chance in the studio, but we had high hopes,” Gibbons explained to MusicRadar in 2013. Obviously, they got many more chances, but they gave an impressive first-time effort here. “Brown Sugar” is the clear winner for most-played with 480 performances. On the low end, two songs from the aptly-titled ZZ Top’s First Album have never been played live — “Squank” and “Bedroom Thang” — making “Old Man” the next least-played with one performance in 1974.

Album: Rio Grande Mud (1972)
Most-played: “Just Got Paid”
Least-played: “Mushmouth Shoutin'”

Just two tracks from this album, 1972’s Rio Grande Mud, have been neglected set list-wise, “Apologies to Pearly” and “Sure Got Cold After the Rain Fell,” but the former is an instrumental, so we’ll let it slide. In the meantime, “Mushmouth Shoutin’” got exactly one play in July of 1974 and hasn’t been heard since, while “Just Got Paid” has racked up 1,049 plays. “We were gigging 350-odd days a year with some really wicked headliners,” Gibbons recalled in his 2020 book Rock + Roll Gearhead. “By ’72 our onstage skills were getting good and sharp.”

Album: Tres Hombres (1973)
Most-played: “La Grange”
Least-played: Tie Between “Have You Heard?” and “Hot, Blue and Righteous”

It’s easily one of the most recognizable guitar riffs in rock, the one from ZZ Top’s “La Grange,” which is not only the most-played song from Tres Hombres, but also from the band’s entire catalog. “The simplicity of that song was part of the magic — only two chords,” Gibbons said to Rolling Stone in 2015. “And the break coming out of the solo — those notes are straight Robert Johnson. He did it as a shuffle. I just dissected the notes.” The only song from this album that hasn’t been played is “Shiek,” which makes for a tie for the next least-played between “Have You Heard?” and “Hot, Blue and Righteous.”

Album: Fandango! (1975)
Most-played: “Tush”
Least-played: “Balinese”

Here’s the thing: if you’re looking at the setlist.fm data, you’ll see that John Lee Hooker’s “Long Distance Boogie” is the least-played song from Fandango! But we’re not entirely certain how the numbers stack up considering that song is technically part of “Backdoor Medley,” which ZZ Top has performed 30 times. So, we’re giving the official title of least-played to “Balinese” with 25 performances. At the top is none other than “Tush,” a No. 20 hit for the band.

Album: Tejas (1976)
Most-played: “Arrested for Driving While Blind”
Least-played: Tie Between “Asleep in the Desert” and “Avalon Hideaway”

“Asleep in the Desert” may be an instrumental, but it did manage to squeeze in one play in September of 1980. That track is tied with “Avalon Hideaway” for least-played, which got its one shot in October of 1981. (“Snappy Kakkie” is the only song from Tejas to not yet see a set list.) And then there’s “Arrested for Driving While Blind” at No. 1 with 177 plays — not bad, but nothing compared to other ZZ tracks. “It’s fair to say that this is a transitional record,” Gibbons would later recall, “although I’m not really sure what we were transitioning from and what we were becoming.”

Album: Deguello (1979)
Most-played: “I’m Bad, I’m Nationwide”
Least-played: “Lowdown in the Street”

We have to assume ZZ Top isn’t doing this on purpose but yet again, here’s an album where only one song has never been played live, this time in the form of “Esther Be the One” from 1979’s Deguello. With 20 plays to its name, “Lowdown in the Street” takes the title then for least-played, while “I’m Bad, I’m Nationwide” has racked up a hefty 1,320 performances. That phrase popped into Gibbons’ head many years ago while leaving a gig with a friend. “He and I stumbled out of the Vulcan Gas Company, a nightclub in Austin. We’d just seen Freddie King,” Gibbons explained to Guitar World in 2008. “And we were searching for a phrase that would sum it up. He said, ‘Man he’s bad.’ And I said, ‘Yeah, he’s nationwide.'”

Album: El Loco (1981)
Most-played: “Tube Snake Boogie”
Least-played: Tie Between “Don’t Tease Me” and “I Wanna Drive You Home”

El Loco is where ZZ Top started dipping their toes into using synthesizers in their music. “Linden [Hudson, who plays synths on the album but was left uncredited] had no fear and was eager to experiment in ways that would frighten most bands,” Gibbons recalled. “For us, there was no turning back.” Unfortunately, the lovely ballad “Leila” has not been played live, and neither has “It’s So Hard,” but there’s a tie for next least-played between “Don’t Tease Me” and “I Wanna Drive You Home,” each of which have been played nine times. “Tube Snake Boogie” has gathered up 864 plays — tube snake is, apparently, lingo for a surfboard.

Album: Eliminator (1983)
Most-played: “Sharp Dressed Man”
Least-played: “Bad Girl”

Out of all of ZZ Top’s albums, 1983’s Eliminator is the most commercially successful — it’s got not just one or two hit singles, but four of them. Three songs from this release have never been played live, “Thug,” “Dirty Dog” and “If I Could Only Flag Her Down,” making “Bad Girl” the next least-played with three performances. At the top of the list is “Sharp Dressed Man” with 1,706 plays, which means it’s the fourth most-played song of ZZ Top’s entire catalog.

Album: Afterburner (1985)
Most-played: “Rough Boy”
Least-played: “Delirious”

Fans of “Woke Up with Wood,” “I Got the Message” and “Dipping Low (In the Lap of Luxury)” from 1985’s Afterburner have never gotten to hear those songs live. “Delirious” is the least-played then with 17 performances, most of them in 2011 for some reason. Then you have “Rough Boy” at the No. 1 spot with 295 plays. “‘Rough Boy’ is a pretty li’l song,” Dusty Hill said to The Oklahoman in 2007. “We’re doin’ it this tour. We pulled it back out. I like that song so much, I had it played at my wedding.”

Album: Recycler (1990)
Most-played: “My Head’s in Mississippi”
Least-played: “Penthouse Eyes”

Recycler is where ZZ Top started shifting back toward a looser feel, away from polished synthesizers — Gibbons would later refer to Recycler as “our Tres Hombres/Eliminator album.” “Penthouse Eyes” only has three plays to its name, which is still more than the zero “Decision or Collision” has. The clear winner here for most-played is “My Head’s in Mississippi,” which has been played a whopping 965 times, a track that Gibbons called “a great example of how we mixed the new with the old.”

Album: Antenna (1994)
Most-played: “Pincushion”
Least-played: “Cover Your Rig”

Four songs from 1994’s Antenna have never been played live, but most of them hover around 50 plays a piece. The exceptions are “Cover Your Rig,” which managed to squeak in two plays, both in 1994, and “Pincushion,” which has accumulated 945 plays. Interestingly, “Cover Your Rig” was more or less the catalyst for the whole album, with the band hitting on it early in the sessions — “after we did that we saw the direction to take,” Gibbons told Mojo back then.

Album: Rhythmeen (1996)
Most-played: “Vincent Price Blues”
Least-played: Tie Between “Black Fly,” “Hairdresser” and “Zipper Job”

Rhythmeen marks the last album ZZ Top would make with their longtime producer Bill Ham. Interestingly, it’s the last four tracks of the album that have never seen a set list: “My Mind Is Gone,” “Loaded,” “Prettyhead” and “Hummbucking, Pt. 2.” Meanwhile, there’s a three-way tie for next least-played between “Black Fly,” “Hairdresser” and “Zipper Job,” each of which have been played once. Even the album’s most-played song, “Vincent Price Blues,” only has 129 performances under its belt — small potatoes compared to others on this list.

Album: XXX (1999)
Most-played: “Fearless Boogie”
Least-played: “(Let Me Be Your) Teddy Bear” by Elvis Presley

Back in 2015, UCR wrote about ZZ Top’s 1999 release XXX, describing it as “a wrongly overlooked, dirty little comet of an album.” Generally speaking, the album didn’t wildly impress or wildly disappoint. As The Austin Chronicle put it: “This is the 1999 model: millennium blues — slick, steely, modern.” Not many songs from this album have been played. At the bottom of the list with 9 plays is a cover of Elvis Presley‘s “(Let Me Be Your) Teddy Bear.” The most-played is “Fearless Boogie,” which has gotten a small but mighty 37 performances.

Album: Mescalero (2003)
Most-played: “Buck Nekkid”
Least-played: “Piece”

This will sound crazy but only two songs from 2003’s Mescalero have been played live: “Buck Nekkid” and “Piece.” In other words, those are also the most and least-played songs from the album, respectively. If you like ZZ Top songs with Hill on lead vocals, you’ll dig “Piece.”

Album: La Futura (2012)
Most-played: “I Gotsta Get Paid”
Least-played: “Heartache in Blue”

It’s almost like a rock ‘n’ roll rite of passage to make at least one album with Rick Rubin. ZZ Top’s was 2012’s La Futura. “When we got together with Rick Rubin, he said, ‘My idea of ZZ Top is three guys playing together at the same time with the red light turned on,'” Gibbons recalled to MusicRadar that year. “That sounded just right to us.” Only four of the album’s 10 tracks have been played live: “I Gotsta Get Paid” (865 plays), “Chartreuse” (406), “Flyin’ High” (227) and “Heartache in Blue” (42).

Ranking Every ZZ Top Album

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Sixx:A.M. Details ‘Prayers for the Damned and Blessed’ Deluxe Set

Sixx:A.M. Details ‘Prayers for the Damned and Blessed’ Deluxe Set

Sixx:A.M. have merged songs from their 2016 albums Prayers for the Damned and Prayers for the Blessed into a collector’s edition, which arrives on Jun. 6.

Motley Crue bassist Nikki Sixx, former Guns N’ Roses guitarist Ashba and singer-producer James Michael have included new versions of their songs “Maybe It’s Time” and “Prayers for the Damned” and an alternative mix of “We Will Not Go Quietly” to the collection.

Titled Prayers for the Damned & Blessed, a limited-edition option is presented in a smoke-colored 3LP set, and the set will also be available via streaming platforms.

READ MORE: Sixx:A.M. Share Their Spinal Tap Moments

“Over the years, the trio toured the globe and released six studio albums, a live album, multiple hit singles, including ‘Life Is Beautiful,’ ‘Stars,’ ‘Lies of the Beautiful People’ and from ‘Maybe It’s Time,’” Endurance Music Group said in a press release.

“SIXX:A.M. announced their hiatus in 2021, marking the end of an era for the band. With over 500 million streams across digital platforms, their music continues to resonate with fans worldwide. As the first time both original albums have been available on vinyl in years, this is a must-have for collectors of rock history and fans alike.”

Prayers for the Damned & Blessed can be pre-ordered now.

Sixx:A.M. Prayers for the Damned & Blessed

Endurance Music Group

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Sixx:A.M., ‘Prayers for the Damned & Blessed’ Track Listing

Side A
“Rise”
“You Have Come to the Right Place”
“I’m Sick”
“Prayers for the Damned”
“Better Man”

Side B
“Can’t Stop”
“When We Were Gods”
“Belly of the Beast”
“Everything Went to Hell”
“The Last Time (My Heart Will Hit the Ground)”

Side C
“Rise of the Melancholy Empire”
“Barbarians (Prayers for the Blessed)”
“We Will Not Go Quietly”
“Wolf at Your Door”

Side D
“Maybe It’s Time”
“The Devil’s Coming”
“Catacombs”
“That’s Gonna Leave a Scar”
“Without You” (Badfinger cover)

Side E
“Suffocate”
“Riot in My Head”
“Helicopters”
“Prayers for the Damned” (Acoustic)
“Rise” (Acoustic)

Side F
“Maybe It’s Time” (Piano version)
P”rayers for the Damned” (Piano version)
“We Will Not Go Quietly” (Alternate Mix)

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“It seemed to sum up the existential crisis I was having.” Smashing Pumpkins’ Billy Corgan on the Metallica song that saved his life

Billy Corgan
(Image credit: Wendy Redfern/Redferns)

Smashing Pumpkins frontman Billy Corgan was a teenage metalhead, and in a new interview with The Guardian the 58-year-old musician has singled out a Metallica classic as a song that saved his life.

Fade to Black by Metallica showed me the power of music when I was going through some hard times as a teen,” Corgan states, “When you’re really down, a song really can save your life.”

James Hetfield wrote Fade To Black, Metallica’s first ballad, following the theft of his beloved Marshall amp in Boston in the early hours of January 14, 1984. Recorded for the San Francisco band’s second album, Ride The Lightning, and credited to all four members, the song is, to quote James Hetfield “a suicide song”.

“I’m sure I wasn’t really thinking of killing myself,” Hetfield clarified in one interview around the time of the album’s release. “But It was my favourite Marshall amp, man!”

Talking to Conan O’Brien for his Conan O’Brien Needs A Friend podcast in the summer of 2023, Billy Corgan explained why the song meant so much to him at the age of 17, and why it continues to mean so much to him.

“So I’d got kicked out of my house,” Corgan began, revisiting his teenage years. “My dad wasn’t in jail at that point, but he was in some form of like, work release, where you got to be in the jail at night, but you could be out during the day, and he wasn’t living with us anymore. And then I got kicked out by my stepmother, so I ended up living with this drug dealer. And I have this enduring memory where I latched onto the song because it seemed to sum up what I was going through, this kind of existential crisis in my life.

“I’d seen Metallica live,” Corgan continued, “and I’d seen the power of what they were creating. This was back in the day of the boombox, and I remember sitting at the guy’s kitchen table, where he used to fiddle the seeds out of the weed that he’d sell to cute, young teen girls, and I was playing the song over and over and over again. I must have played it 14 times in a row, and he came down and he was like, ‘You gotta leave’, he threw me out for listening to the song so many times. So I was thrown out of my house, and then, because of this song, I was thrown out of the drug dealer’s house where I was living.”

Corgan went on to describe Fade To Black as “timeless”, adding, “somehow it lives beyond the band, it’s like a movie unto itself.”

“What a song,” he concludes. “James [Hetfield] is such a talented songwriter.”

“I love that lyric in there, ‘I was me, but now he’s gone.’ I still get the feels on that.”

You can listen to the full ‘Billy Corgan And The Songs That Inspired Him episode of the Conan O’Brien Needs A Friend podcast below.

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Talking about Fade To Black to Metal Hammer‘s Dave Everley in 2022, Metallica drummer Lars Ulrich recalled, “Everybody seemed to be caught off-guard by the fact we’d done it. We surprised everyone but ourselves.”

The song was considered controversial at the time due to the fact that it was the first Metallica song to feature an acoustic guitar. When the quartet first played the song in Bay Area clubs, some of San Francisco’s ‘Trues’ – the community’s most hardcore metal purists – pulled out handkerchiefs, and pretended to cry, to mock the band for what they perceived as ‘selling out’, an accusation Metallica always laughed off.

“You can hear that the New Wave Of British Heavy Metal inspired the first record,” Lars Ulrich continued, referring to Kill ‘Em All. “But if you step back further than that, you get to Deep Purple’s Child In Time and Judas Priest’s Beyond The Realms Of Death, even Stairway To Heaven – those big, brooding, epic songs. That kind of song was always in the background for us – we knew in our hearts that was part of the Metallica sound, but we just didn’t have the skill or finesse to tackle it on Kill ’Em All. By the time Cliff [Burton] and Kirk {Hammett] had come onboard, we felt we had the ability to go down that path.”

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.

Slayer announce only North American headline show of 2025, with Knocked Loose and a host of thrash metal legends supporting

Slayer have announced their only headlining North American show of the year.

The thrash metal aggressors will play at the 16,000-capacity Hersheypark Stadium in Hershey, Pennsylvania, on September 20. Support will come from Grammy-nominated hardcore firebrands Knocked Loose, plus a host of thrash favourites: Suicidal Tendencies, Power Trip, the Cavalera brothers (playing 1993 Sepultura album Chaos A.D.) and Exodus (playing debut album Bonded By Blood).

Tickets go on general sale on Friday (April 11) at 10am Eastern Time, although pre-sales start from Tuesday (April 8) at 10am Eastern Time.

As well as the performing bands, Slayer’s Hersheypark show will feature WWE wrestler Damian Priest, who’s emceeing the event. Priest is a known metalhead who uses a finishing move called the “South Of Heaven”, named after Slayer’s 1988 album. Slayer guitarist Kerry King plays guitar on the wrestler’s entrance theme.

Of the upcoming gig, King comments: “Last year, Slayer played only two shows, and those shows affected me like playing The Big Four shows [with Metallica, Megadeth and Anthrax in 2010 and 2011] did.

“When we played our first show last year in Chicago, I figured it was going to be great for the fans, maybe there would be some people who had never seen us play before, but the reaction was just completely overwhelming. The fans reacted to us like I’d expect them to react to the biggest band on the planet. It was amazing.

“So, for the Hershey concert, we’ll play a Slayer show, we’ll have all of our big fire effects, and just burn everything like we used to.”

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Slayer returned from a five-year retirement in February 2024 and announced a string of US festival shows for later in the year. Although King said afterwards that fans shouldn’t expect the band’s concerts to become a “yearly event”, they’ve already announced a number of dates for 2025. They include the first Slayer headline concerts since 2019, taking place at Blackweir Fields in Cardiff on July 3 and Finsbury Park in London on July 6. Support will come from Mastodon, Anthrax, Hatebreed and death metal newcomers Neckbreakker.

In between the Cardiff and London shows, Slayer will perform at Black Sabbath’s farewell show, Back To The Beginning, at Birmingham’s Villa Park on July 5. Also on the bill will be Metallica, Mastodon, Alice In Chains and many more, plus a “supergroup” composed of Fred Durst (Limp Bizkit), Billy Corgan (The Smashing Pumpkins), Papa V Perpetua (Ghost) and others.

Rounding out Slayer’s live schedule for the year so far is a headline spot at FEQ festival in Quebec on July 11 and a set at Louder Than Life in Kentucky on September 18. The band were set to play the US festival last year but had their day cancelled due to adverse weather.

Slayer 2025 North American concert poster

(Image credit: Slayer)

“Clem was not just a drummer; he was the heartbeat of Blondie.” Blondie drummer Clem Burke dead at 70

Clem Burke in 2023
(Image credit: Dave J Hogan/Getty Images)

Clem Burke, longtime drummer with Blondie, has died, aged 70.

Burke’s death, following a battle with cancer, was announced by his bandmates on social media this afternoon, April 7.

The statement reads:

“It is with profound sadness that we relay news of the passing of our beloved friend and bandmate Clem Burke following a private battle with cancer.

“Clem was not just a drummer; he was the heartbeat of Blondie. His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable. Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm and rock solid work ethic touched everyone who had the privilege of knowing him.

“Clem’s influence extended far beyond Blondie. A self proclaimed ‘Rock & Roll survivalist’, he played and collaborated with numerous iconic artists, including Eurythmics, Ramones, Bob Dylan, Bob Geldof, Iggy Pop, Joan Jett, Chequered Past, The Fleshtones, The Romantics, Dramarama, The Adult Net, The Split Squad, The International Swingers, L.A.M.F., Empty Hearts, Slinky Vagabond, and even the Go-Go’s. His influence and contributions have spanned decades and genres, leaving an indelible mark on every project he was a part of.

“We extend our deepest condolences to Clem’s family, friends, and fans around the world. His legacy will live on through the tremendous amount of music he created and the countless lives he touched. As we navigate this profound loss, we ask for privacy during this difficult time. Godspeed, Dr. Burke.

The statement is signed by Debbie Harry, Chris Stein and the entire Blondie family


Born Clement Anthony Bozewski in Bayonee, New Jersey on November 24, 1954, Burke joined Debbie Harry and Chris Stein in Blondie in 1975.

He played on every album by the legendary New York punk/new wave group, from their self-titled 1976 debut,. through to 2017’s Pollinator.

When Blondie broke up in 1982, Burke played and recorded with Sex Pistols guitarist Steve Jones, Blondie’s Gary Valentine and Frank Infante, Tony Sales (Igyy Pop) and Michael Des Barres in Chequered Past. The group’s sole album was released in 1984.

Funk legend Nile Rodgers is among the musicians who have paid tribute to Burke on social media.

“RIP Rest in power brother Clem,” Rodgers posted in reply to the news. “My sincerest condolences go out to your fam and friends. It was an honor to play with you.”

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Producer Butch Walker also expressed his condolences.

“My heart is crushed for this one,” he wrote. “I honestly had no idea. He was the coolest fucking guy in the room even in 2025. One of the best rock ‘n’ roll drummers on the planet, and I was lucky enough to grow up being inspired by him and the rest of you, and later in life, call him a friend and be able to play shows with him behind me on the drums a couple of times. I will shed a tear or two today and be listening to his greatness on my speakers.”

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.

Blondie Drummer Clem Burke Has Died

Clem Burke, Blondie‘s drummer since their first album in 1976, has died. He was 70.

According to a statement released by the band, Burke died “following a private battle with cancer.” “Clem was not just a drummer; he was the heartbeat of Blondie,” they wrote. “His talent, energy and passion for music were unmatched, and his contributions to our sound and success are immeasurable.

“Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm and rock solid work ethic touched everyone who had the privilege of knowing him.”

READ MORE: The Best Album by New Wave’s 15 Biggest Artists

Burke was born on Nov. 24, 1954, in Bayonne, New Jersey. He played in local bands during the late ’60 and early ’70s.

He then joined Blondie in 1975, shortly after Deborah Harry and Chris Stein formed the band in New York City. He played drums on all their albums, starting with 1976’s self-titled release, their 1978 breakthrough Parallel Lines, 1999’s reunion record No Exit and 2017’s Pollinator, their most recent LP.

You can see Blondie’s statement about Burke below.

Blondie broke up after their sixth album, The Hunter, in 1982. Harry launched a solo career before the band resumed in 1999 with a new album.

Who Has Clem Burke Played With?

Bruke spent the ’80s and ’90s playing drums with other bands, including a regular gig with the Romantics. In 1987, he performed with the Ramones as Elvis Ramone.

As a session drummer, he played with Bob Dylan, Eurythmics, Joan Jett, Iggy Pop and Pete Townshend. He also played drums for artists as diverse as Wanda Jackson, Nancy Sinatra and members of the Go-Go’s and Sex Pistols throughout his long career.

He was inducted into the Rock & Roll Hall of Fame in 2006 with the other original members of Blondie.

“His legacy will live on through the tremendous amount of music he created and the countless lives he touched,” the band concluded in its statement.

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Complete List Of Motionless In White Songs From A to Z

Complete List Of Motionless In White Songs From A to Z

Feature Photo: Zombiesloveme, CC BY-SA 4.0 , via Wikimedia Commons

Motionless in White formed in 2004 in Scranton, Pennsylvania, during the high school years of vocalist Chris Cerulli and his original bandmates. They began under different names—first “One Way Ticket,” then “When Breathing Stops”—before settling on Motionless in White on New Year’s Day 2005, borrowing the name from an Eighteen Visions song. Their earliest gigs took place at local fairs and clubs, with the lineup gradually shifting over the first few years. The band’s earliest EP, The Whorror, was released in 2007 through Masquerade Recordings, and it was followed by a more ambitious effort, When Love Met Destruction, in 2009. These independent releases laid the foundation for their sound, a fusion of metalcore and gothic influences, and established their early fanbase.

The band caught the attention of Fearless Records, who signed them and released their first full-length studio album, Creatures, on October 12, 2010. With Chris Cerulli transitioning to full-time lead vocals and the lineup solidifying around him, the band found its voice on this record. Creatures peaked at number 6 on the Billboard Heatseekers chart and marked their debut on the Billboard 200. The song “Abigail” became an early fan favorite, and the album’s dark aesthetic and horror-themed lyrics became central to the band’s identity. A lineup change followed in 2011, with long-term guitarist TJ Bell departing and the band preparing to evolve their sound for the next phase.

Their second studio album, Infamous, was released on November 13, 2012. It marked a significant leap in production and creative ambition. The album introduced more industrial and electronic elements, influenced by acts like Marilyn Manson and Nine Inch Nails. It charted at number 53 on the Billboard 200, bolstered by singles like “Devil’s Night” and “AMERICA.” In the years that followed, they became a regular presence on national tours, including Warped Tour and their own headlining circuits, building a devoted fanbase that appreciated their theatrical presentation and genre-blending sound.

In September 2014, Motionless in White released Reincarnate, their third studio album. This release marked a high point in their Fearless Records era, debuting at number 9 on the Billboard 200. The title track, “Reincarnate,” became one of their biggest hits, and the album as a whole was praised for refining their blend of aggression and melody. That same year, they welcomed guitarist Ricky Olson (aka Ricky Horror) into a more prominent songwriting role. The album also featured guest appearances by Dani Filth (Cradle of Filth) and Maria Brink (In This Moment), adding weight to the band’s gothic metal credibility.

Their fourth album, Graveyard Shift, was released on May 5, 2017, marking their debut with Roadrunner Records. This record expanded their sonic range while maintaining the heavy, theatrical core that defined them. The single “LOUD (Fuck It)” became a standout, as did “Eternally Yours,” which has since become one of their most streamed songs. It was also around this time that bassist Devin “Ghost” Sola departed the band, with Justin Morrow joining in his place. Despite member changes, the band retained its focus and continued to deliver ambitious studio work and visually immersive music videos.

On June 7, 2019, Disguise was released as their fifth studio album. Featuring tracks like “Brand New Numb” and “Disguise,” the album continued their commercial momentum, charting on multiple rock charts and showcasing their balance between heavy riffs and anthemic choruses. It was followed by their sixth studio album, Scoring the End of the World, released on June 10, 2022. This project pushed their musical boundaries even further, including collaborations with Mick Gordon, Caleb Shomo (Beartooth), and Bryan Garris (Knocked Loose). The title track and songs like “Masterpiece” received wide attention, with “Masterpiece” peaking high on Billboard’s Mainstream Rock chart.

Across their career, Motionless in White has developed a deep connection with fans through their exploration of emotional and psychological themes, including isolation, mental health, and self-identity. They’ve also been praised for their inclusive message and for cultivating a loyal following known as the “MIW family.” Chris Cerulli, in particular, has used his platform to speak candidly about issues like depression, body image, and staying true to oneself, resonating deeply with listeners beyond the music itself.

The band’s discography now includes seven studio albums: Creatures (2010), Infamous (2012), Reincarnate (2014), Graveyard Shift (2017), Disguise (2019), Scoring the End of the World (2022), and a seventh album currently in development as of 2024. Their influence and longevity in the metalcore and industrial metal scenes can be traced to their ability to adapt, experiment, and remain fiercely connected to their audience. With a career that spans two decades and a sound that refuses to be confined, Motionless in White continues to shape the sound of modern heavy music.

Complete List Of Motionless In White Songs From A to Z

  1. .Com Pt. IICreatures – 2010
  2. 570Graveyard Shift – 2017
  3. Disguise – 2019
  4. A-M-E-R-I-C-AInfamous – 2012
  5. A-M-E-R-I-C-A (Celldweller Remix)Infamous [Deluxe Edition] – 2012
  6. A-M-E-R-I-C-A (Radio Mix)Infamous [Deluxe Edition] – 2012
  7. Abigail (featuring Nick Brooks of It Dies Today)Creatures – 2010
  8. Another LifeDisguise – 2019
  9. ApocolipsThe Whorror – 2007
  10. ApocolipsWhen Love Met Destruction [Limited Edition] – 2009
  11. B.F.B.T.G.: Corpse Nation (featuring Lindsay Schoolcraft)Scoring the End of the World – 2022
  12. BananamontanaWhen Love Met Destruction [Limited Edition] – 2009
  13. Billy in 4-C Never Saw It ComingWhen Love Met Destruction – 2009
  14. BlackThe Whorror – 2007
  15. Black Damask (The Fog)Infamous – 2012
  16. Brand New NumbDisguise – 2019
  17. Break the CycleReincarnate – 2014
  18. Broadcasting from Beyond the Grave: Death Inc.Disguise – 2019
  19. Burned at Both EndsInfamous – 2012
  20. Burned at Both Ends IIScoring the End of the World – 2022
  21. Carry the TorchReincarnate – 2014
  22. CatharsisDisguise – 2019
  23. Cause of DeathScoring the End of the World – 2022
  24. City LightsCreatures – 2010
  25. Cobwebs (featuring Andre Bravo of In Alcatraz 1962)Creatures – 2010
  26. Contemptress (featuring Maria Brink)Reincarnate – 2014
  27. Count ChoculitisCreatures – 2010
  28. CreaturesCreatures – 2010
  29. Creatures (Celldweller “Beauty” Remix)Creatures [Deluxe Edition] – 2010
  30. Cyberhex (featuring Lindsay Schoolcraft)Scoring the End of the World – 2022
  31. Dark PassengerReincarnate – 2014
  32. Dead as FuckReincarnate – 2014
  33. Death MarchReincarnate – 2014
  34. Destroying EverythingWhen Love Met Destruction – 2009
  35. Devil’s NightInfamous – 2012
  36. DisguiseDisguise – 2019
  37. Dragula (Rob Zombie cover)Creatures [Deluxe Edition] – 2010
  38. Eternally YoursGraveyard Shift – 2017
  39. Eternally Yours (Ricky Horror acoustic version)Graveyard Shift [Japanese CD Edition] – 2017
  40. Everybody Sells CocaineReincarnate – 2014
  41. FatalInfamous [Deluxe Edition] – 2012
  42. Final Dictvm (featuring Tim Sköld)Reincarnate – 2014
  43. Fool’s GoldScoring the End of the World [Deluxe Edition] – 2022
  44. Generation LostReincarnate – 2014
  45. Ghost in the MirrorWhen Love Met Destruction – 2009
  46. HatefuckInfamous – 2012
  47. HeadacheDisguise – 2019
  48. Hollow PointsScoring the End of the World [Deluxe Edition] – 2022
  49. Holding on to SmokeDisguise – 2019
  50. HourglassGraveyard Shift – 2017
  51. If It’s Dead, We’ll Kill It (featuring Brandan Schieppati)Infamous – 2012
  52. Immaculate MisconceptionCreatures – 2010
  53. InfamousInfamous – 2012
  54. Just When You Thought We Couldn’t Get Any More Emo, We Go and Pull a Stunt Like ThisThe Whorror – 2007
  55. LegacyDisguise – 2019
  56. London in TerrorCreatures – 2010
  57. Loud (Fuck It)Graveyard Shift – 2017
  58. Mallevs Maleficarvm (Tim Sköld Remix)Creatures [Deluxe Edition] – 2010
  59. MasterpieceScoring the End of the World – 2022
  60. MeltdownScoring the End of the World – 2022
  61. Necessary Evil (featuring Jonathan Davis)Graveyard Shift – 2017
  62. Not My Type: Dead as Fuck 2Graveyard Shift – 2017
  63. PorcelainScoring the End of the World – 2022
  64. Porcelain: Ricky Motion Picture CollectionScoring the End of the World [Deluxe Edition] – 2022
  65. Puppets (The First Snow)Creatures – 2010
  66. Puppets 2 (The Rain) (featuring Björn Strid)Infamous – 2012
  67. Puppets 3 (The Grand Finale) (featuring Dani Filth)Reincarnate – 2014
  68. Queen for QueenGraveyard Shift – 2017
  69. RatsGraveyard Shift – 2017
  70. Red, White & Boom (featuring Caleb Shomo)Scoring the End of the World – 2022
  71. ReincarnateReincarnate – 2014
  72. Schitzophrenicannibalisticsexfest.comThe Whorror – 2007
  73. Scissorhands (The Last Snow)Creatures – 2010
  74. Scoring the End of the World (featuring Mick Gordon)Scoring the End of the World – 2022
  75. She Never Made It to the Emergency RoomThe Whorror – 2007
  76. She Never Made It to the Emergency RoomWhen Love Met Destruction [Limited Edition] – 2009
  77. Sick from the Melt (featuring Trevor Friedrich of Combichrist)Infamous [Deluxe Edition] – 2012
  78. Sign of LifeScoring the End of the World – 2022
  79. SinematicInfamous – 2012
  80. Sinematic (acoustic version)Reincarnate [Digital Bonus Track] – 2014
  81. Sinematic (Combichrist Remix)Infamous [Deluxe Edition] – 2012
  82. Slaughterhouse (featuring Bryan Garris of Knocked Loose)Scoring the End of the World – 2022
  83. SoftGraveyard Shift – 2017
  84. Somebody Told Me (The Killers cover)Disguise [2021 Special Edition] – 2019
  85. Synthetic LoveInfamous – 2012
  86. The Divine InfectionInfamous – 2012
  87. The LadderGraveyard Shift – 2017
  88. The Seventh CircleWhen Love Met Destruction – 2009
  89. The WhorrorThe Whorror – 2007
  90. Thoughts & PrayersDisguise – 2019
  91. Timebomb (STEOTW mix)Scoring the End of the World [Deluxe Edition] – 2022
  92. To Keep from Getting BurnedWhen Love Met Destruction – 2009
  93. Undead AheadCreatures – 2010
  94. Undead Ahead 2: The Tale of the Midnight RideDisguise – 2019
  95. UnderdogInfamous – 2012
  96. Underdog (Ricky Horror Remix)Infamous [Deluxe Edition] – 2012
  97. UnstoppableReincarnate – 2014
  98. UntouchableGraveyard Shift – 2017
  99. VoicesGraveyard Shift – 2017
  100. Wasp (featuring Dessa Poljak of Silencio)Reincarnate – 2014
  101. We Become the NightScoring the End of the World – 2022
  102. We Only Come Out at NightCreatures – 2010
  103. We Only Come Out at NightWhen Love Met Destruction [Limited Edition] – 2009
  104. We Put the Fun in FuneralThe Whorror – 2007
  105. WerewolfScoring the End of the World – 2022
  106. Whatever You Do… Don’t Push the Red ButtonWhen Love Met Destruction – 2009
  107. When Love Met DestructionWhen Love Met Destruction [Limited Edition] – 2009

Albums and EPs

The Whorror (2007): 7 songs

When Love Met Destruction (2009): 11 songs

Creatures (2010): 15 songs

Infamous (2012): 18 songs

Reincarnate (2014): 14 songs

Graveyard Shift (2017): 13 songs

Disguise (2019): 12 songs

Scoring the End of the World (2022): 17 songs

Check out our fantastic and entertaining Motionless In White articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Complete List Of Motionless In White Band Members

Complete List Of Motionless in White Albums And Discography

Top 10 Motionless In White Songs

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Complete List Of Post Malone Songs From A to Z

Complete List Of Post Malone Songs From A to Z

Feature Photo: The Come Up Show from Canada, CC BY 2.0 , via Wikimedia Commons

Post Malone, born Austin Richard Post on July 4, 1995, in Syracuse, New York, grew up in Grapevine, Texas, after his family relocated when he was a child. His father, who worked as a concessions manager for the Dallas Cowboys and had a background as a disc jockey, introduced him to a wide array of musical genres, including rock, country, and hip-hop. This early exposure profoundly influenced Post’s eclectic musical style. During his high school years, Post began experimenting with music, forming a heavy metal band and later moving on to softer rock and hip-hop. At sixteen, he created his first mixtape, “Young and After Them Riches,” which gained local attention and hinted at his potential as a genre-blending artist. Post eventually moved to Los Angeles to pursue a full-time music career, linking up with other aspiring artists and producers.

Post Malone’s career took off in February 2015 with the release of “White Iverson” on SoundCloud, a track he recorded just two days after writing it. The song quickly garnered millions of plays, capturing the attention of major record labels. Its success led to a recording contract with Republic Records later that year. “White Iverson” became a commercial hit, eventually certified 5× Platinum by the RIAA. Following this breakthrough, Post released his debut studio album Stoney in December 2016. The album featured collaborations with artists like Justin Bieber and Quavo and produced hit singles including “Congratulations” and “Go Flex.” Stoney spent 77 weeks on the Billboard Top R&B/Hip-Hop Albums chart, breaking the previous record held by Michael Jackson’s Thriller.

Building on this momentum, Post Malone released his sophomore album Beerbongs & Bentleys in 2018. This album solidified his position as a mainstream success, debuting at number one on the Billboard 200 and earning a Grammy nomination for Album of the Year. The record included massive hits such as “Rockstar” featuring 21 Savage, “Psycho” featuring Ty Dolla Sign, and “Better Now.” The success of Beerbongs & Bentleys led to numerous accolades, including four American Music Awards and nine Billboard Music Awards. Post’s unique ability to blend hip-hop, pop, and rock elements struck a chord with diverse audiences, making him a defining artist of the late 2010s.

In 2019, Post Malone released his third studio album, Hollywood’s Bleeding, which debuted at number one and remained on the charts for over a year. The album featured collaborations with a wide range of artists, including Ozzy Osbourne, Halsey, and Travis Scott. The single “Circles” became one of his most successful tracks, topping the Billboard Hot 100 for three weeks and earning critical praise for its catchy, genre-crossing appeal. Hollywood’s Bleeding showcased Post’s evolution as an artist, blending more pop and rock influences with his established hip-hop foundation. The album’s success earned him another Grammy nomination and cemented his status as a versatile, boundary-pushing musician.

In 2022, Post Malone released his fourth album, Twelve Carat Toothache, which included hit singles such as “One Right Now” featuring The Weeknd. The album was more introspective, reflecting on fame, heartbreak, and personal struggles. Although it did not match the commercial heights of his previous works, it still demonstrated his commitment to artistic growth and experimentation. In 2023, he followed up with Austin, a self-titled album that featured more personal themes and experimental production choices. The single “Chemical” from the album showcased his willingness to embrace softer, more melodic pop sounds.

Outside of his music, Post Malone is known for his philanthropic efforts and diverse creative ventures. In 2020, he hosted a live-streamed tribute to Nirvana to raise funds for COVID-19 relief, demonstrating his passion for rock music and charitable causes. He has also ventured into the business world, launching a line of Crocs shoes that became wildly popular. Additionally, Post has dabbled in acting, appearing in films like Spenser Confidential. His laid-back, approachable demeanor and willingness to blend genres have made him a beloved figure in the music industry

Complete List Of Post Malone Songs From A to Z

  1. 92 ExplorerBeerbongs & Bentleys – 2018
  2. A Thousand Bad TimesHollywood’s Bleeding – 2019
  3. Ain’t How it EndsF-1 Trillion: Long Bed – 2024
  4. AllergicHollywood’s Bleeding – 2019
  5. Back to TexasF-1 Trillion: Long Bed – 2024
  6. Ball for MeBeerbongs & Bentleys – 2018
  7. Better NowBeerbongs & Bentleys – 2018
  8. Better NowTwelve Carat Toothache (Japan Special Edition) – 2022
  9. Big LieStoney – 2016
  10. Blame It on MeBeerbongs & Bentleys – 2018
  11. Broken Whiskey GlassStoney – 2016
  12. Buyer BewareAustin – 2023
  13. California SoberF-1 Trillion – 2024
  14. Candy PaintBeerbongs & Bentleys – 2018
  15. ChemicalAustin – 2023
  16. CirclesHollywood’s Bleeding – 2019
  17. CirclesTwelve Carat Toothache (Japan Special Edition) – 2022
  18. ColdStoney – 2016
  19. CongratulationsStoney – 2016
  20. CongratulationsBeerbongs & Bentleys (Japanese Edition) – 2018
  21. CongratulationsTwelve Carat Toothache (Japan Special Edition) – 2022
  22. Cooped UpTwelve Carat Toothache – 2022
  23. Dead at the Honky TonkF-1 Trillion: Long Bed – 2024
  24. Deja VuStoney – 2016
  25. Deja VuBeerbongs & Bentleys (Japanese Edition) – 2018
  26. Devil I’ve BeenF-1 Trillion – 2024
  27. Die for MeHollywood’s Bleeding – 2019
  28. Don’t UnderstandAustin – 2023
  29. EnemiesHollywood’s Bleeding – 2019
  30. Enough Is EnoughAustin – 2023
  31. EuthanasiaTwelve Carat Toothache – 2022
  32. Fallin’ in LoveF-1 Trillion: Long Bed – 2024
  33. FeelStoney – 2016
  34. Feeling WhitneyStoney (Deluxe) – 2016
  35. Finer ThingsF-1 Trillion – 2024
  36. Go FlexStoney – 2016
  37. Go to HellF-1 Trillion: Long Bed – 2024
  38. Goes Without SayingF-1 Trillion – 2024
  39. GoodbyesHollywood’s Bleeding – 2019
  40. Green ThumbAustin – 2023
  41. Guy for ThatF-1 Trillion – 2024
  42. HatefulTwelve Carat Toothache (Deluxe) – 2022
  43. Have the HeartF-1 Trillion – 2024
  44. Hey MercedesF-1 Trillion: Long Bed – 2024
  45. Hide My GunF-1 Trillion – 2024
  46. Hit This HardStoney (Deluxe) – 2016
  47. Hold My BreathAustin – 2023
  48. Hollywood’s BleedingHollywood’s Bleeding – 2019
  49. I Cannot Be (A Sadder Song)Twelve Carat Toothache – 2022
  50. I Fall ApartStoney – 2016
  51. I Fall ApartBeerbongs & Bentleys (Japanese Edition) – 2018
  52. I Fall ApartTwelve Carat Toothache (Japan Special Edition) – 2022
  53. I Had Some HelpF-1 Trillion – 2024
  54. I KnowHollywood’s Bleeding – 2019
  55. I Like You (A Happier Song)Twelve Carat Toothache – 2022
  56. I’m Gonna BeHollywood’s Bleeding – 2019
  57. InsaneTwelve Carat Toothache – 2022
  58. InternetHollywood’s Bleeding – 2019
  59. JonestownBeerbongs & Bentleys – 2018
  60. JoyAustin (Bonus Track) – 2023
  61. Killed a ManF-1 Trillion: Long Bed – 2024
  62. LandmineAustin – 2023
  63. Laugh It OffAustin – 2023
  64. LeaveStoney (Deluxe) – 2016
  65. Lemon TreeTwelve Carat Toothache – 2022
  66. LosersF-1 Trillion – 2024
  67. Love/Hate Letter to AlcoholTwelve Carat Toothache – 2022
  68. M-E-X-I-C-OF-1 Trillion – 2024
  69. Missin’ You Like ThisF-1 Trillion – 2024
  70. Money Made Me Do ItStoney (Deluxe) – 2016
  71. Mötley CrewTwelve Carat Toothache (Japan Special Edition) – 2022
  72. MourningAustin – 2023
  73. MyselfHollywood’s Bleeding – 2019
  74. Never Love You AgainF-1 Trillion – 2024
  75. New Recording 12, Jan 3, 2020Twelve Carat Toothache – 2022
  76. No OptionStoney – 2016
  77. NosediveF-1 Trillion – 2024
  78. NovacandyAustin – 2023
  79. On the RoadHollywood’s Bleeding – 2019
  80. One Right NowTwelve Carat Toothache – 2022
  81. OthersideBeerbongs & Bentleys – 2018
  82. Over NowBeerbongs & Bentleys – 2018
  83. OverdriveAustin – 2023
  84. ParanoidBeerbongs & Bentleys – 2018
  85. PatientStoney – 2016
  86. Pour Me a DrinkF-1 Trillion – 2024
  87. PsychoBeerbongs & Bentleys – 2018
  88. PsychoTwelve Carat Toothache (Japan Special Edition) – 2022
  89. ReputationTwelve Carat Toothache – 2022
  90. Rich & SadBeerbongs & Bentleys – 2018
  91. Right About YouF-1 Trillion – 2024
  92. RockstarBeerbongs & Bentleys – 2018
  93. RockstarTwelve Carat Toothache (Japan Special Edition) – 2022
  94. Saint-TropezHollywood’s Bleeding – 2019
  95. Saint-TropezTwelve Carat Toothache (Japan Special Edition) – 2022
  96. Same BitchesBeerbongs & Bentleys – 2018
  97. Sign Me UpAustin – 2023
  98. SocialiteAustin – 2023
  99. Something RealAustin – 2023
  100. SpeedometerAustin – 2023
  101. Spoil My NightBeerbongs & Bentleys – 2018
  102. Staring at the SunHollywood’s Bleeding – 2019
  103. StayBeerbongs & Bentleys – 2018
  104. Sugar WraithBeerbongs & Bentleys – 2018
  105. SunflowerHollywood’s Bleeding – 2019
  106. SunflowerTwelve Carat Toothache (Japan Special Edition) – 2022
  107. Take What You WantHollywood’s Bleeding – 2019
  108. Take What You WantTwelve Carat Toothache (Japan Special Edition) – 2022
  109. Takin’ ShotsBeerbongs & Bentleys – 2018
  110. Texas TeaAustin – 2023
  111. Too Cool to DieAustin – 2023
  112. Too YoungStoney – 2016
  113. Two HeartsF-1 Trillion: Long Bed – 2024
  114. Up ThereStoney – 2016
  115. Waiting for a MiracleTwelve Carat Toothache – 2022
  116. Waiting for NeverTwelve Carat Toothache (Deluxe) – 2022
  117. Wasting AngelsTwelve Carat Toothache – 2022
  118. What Don’t Belong to MeF-1 Trillion – 2024
  119. When I’m AloneTwelve Carat Toothache – 2022
  120. Who Needs YouF-1 Trillion: Long Bed – 2024
  121. White IversonStoney – 2016
  122. WowHollywood’s Bleeding – 2019
  123. WowTwelve Carat Toothache (Japan Special Edition) – 2022
  124. Wrapped Around Your FingerTwelve Carat Toothache – 2022
  125. Wrong OnesF-1 Trillion – 2024
  126. YoursF-1 Trillion – 2024
  127. Yours Truly, Austin PostStoney – 2016
  128. Zack and CodeineBeerbongs & Bentleys – 2018

Albums

Stoney (2016): 18 songs

Beerbongs & Bentleys (2018): 21 songs

Hollywood’s Bleeding (2019): 17 songs

Twelve Carat Toothache (2022): 27 songs

Austin (2023): 18 songs

F-1 Trillion (2024): 27 songs

Check out our fantastic and entertaining Post Malone articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Complete List Of Post Malone Albums And Songs

Top 10 Post Malone Songs

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About The Author

Brian Kachejian

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Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

“I told Jimmy Page: ‘Come on! People want to see Zeppelin back together!’ I won’t say I was responsible, but after that they did play that reunion gig”: Mick Fleetwood’s wild tales of Jimi Hendrix, Keith Richards, Arnold Schwarzenegger and mor

“I told Jimmy Page: ‘Come on! People want to see Zeppelin back together!’ I won’t say I was responsible, but after that they did play that reunion gig”: Mick Fleetwood’s wild tales of Jimi Hendrix, Keith Richards, Arnold Schwarzenegger and more

Mick Fleetwood of Fleetwood Mac posing for a photograph in the 1970s
(Image credit: Pat Johnson/MediaPunch)

No wonder Mick Fleetwood has the best stories – he has the best view. For more than 40 years, the towering drummer has looked down on rock’n’roll landscape from his lofty perch on the Fleetwood Mac drum stool, observing the great, the good, the drunk and the doomed – and frequently hopped off to partake in the festivities. Like many of his vintage, Fleetwood has weathered the personal storms of bankruptcy, divorce and cocaine addiction, but he emerged with his memory and sense of humour intact. In 2008, Classic Rock took the then-61-year-old drummer on journey through the decades to share stories about some of the more memorable people along the way.

Classic Rock divider

Rod Stewart

Rod was a star then and he’s a star now. He turned himself out like nobody else. And although I was by no means the dandy that Rod will always be, I’m sure that’s where I inherited my love of a well-cut suit. We were in Shotgun Express together [in 1966], and we soon learnt that Rod was not about to get his clothes messed up unloading the van. He would invariably pick up one microphone: “Is that alright?”

Our feathers had been ruffled a few times, but we were okay with that, because we realised Rod had to be deluxe when he hit that stage. He would put lemon juice in his hair to make it stick up. And if he’d been stood in the rain in the middle of winter we wouldn’t have had ‘the star’ looking good on stage. He wasn’t just some old gigster, he was always suited to being a star.


John Mayall

The nicest way to put it is that John Mayall ‘let me go’ from the Bluesbreakers [in 1967]. Me and John McVie were the wild men. I realised we were getting too loose and a couple of gigs had been affected, and one of us had to go. John McVie had already been let go four times for disorderly behaviour, but he was always asked back because he was such a great bass player. So I knew my head was on the block.

We were in the back of the van and I had my day sheet with the gigs all written out on it, and I wrote a note about halfway down, next to the tenth gig – ‘Mick fired’ – because I sensed it was coming. And I handed it to John Mayall and asked him: “Is that about right?” Give or take a day or two, it was. But it was in good humour. I forgave him. Me and John McVie were too crazy, it was too much.


Fleetwood Mac posing for a photograph in the late 1960s

Fleetwood Mac in 1969: Mick Fleetwood, right, and Peter Green, centre (Image credit: Chris Walter/Getty Images)

Peter Green

This is a confession from someone who is the biggest advocate of Peter Green’s playing. In 1966 Peter auditioned for Peter B’s Looners, the band I was in with Peter Bardens and Dave Ambrose. He walked in with big sideburns down his cheeks, plugged in his Les Paul and started playing. After he’d left, like an idiot I said: “Well, he doesn’t play very much.”

The cover of Classic Rock magazine issue 126 featuring the Rolling Stones’ Keith Richards

This feature was originally published in Classic Rock magazine issue 160, November 2008 (Image credit: Future)

Luckily my opinion didn’t count for much. Peter Bardens said: “Mick, you’re so wrong. This is going to be one of the greatest guitar players to come out of England.” And within days, I just couldn’t believe how I’d missed the point. It was his tone. I’d never heard anything like it. He was the master of less-is-more.

Because of his illness, people often think of him as tragic. But the Peter I knew and hung out with was incredibly funny. Nobody thought this was someone who indulged in misery. But I think there were parts of Peter’s background that drew him to the blues, and he was carrying a cross for something that was, for the most part, hidden. He was way more sensitive than we could have possibly imagined.

For a while I had terrible problems with wanting him to be okay, but that’s a selfish thing. Peter’s journey took him where he is. You just have to accept it.


Jimi Hendrix

Jimi actually came to one of Fleetwood Mac’s first rehearsals in London, because I’m sure he’d heard about Peter Green. He came down with producer Mike Vernon to the funny little club where we rehearsed, and I remember he was very shy, a lot like Brian Jones in many ways. Shy but suddenly bigger than life. Which is often the way with shy people. Here was this guy who’d been saying ‘yes sir, no sir’ to us, and then you’d see him on stage and he’s eating half a Marshall amplifier.


Rumours-era Fleetwood Mac

I would be remiss if I didn’t say that intra-band relationships are disastrous. Remain friends – not lovers. John and Christine McVie were friends first, and seemed incredibly suited when they got married, but showbiz and working together was a bridge too far. Their break-up was terrible – having to walk on stage and make albums together. Both of them were in pain.

But a lot of passion has always been flying around in Fleetwood Mac. Stevie Nicks and I were great friends, and we fell in love, and we were in a band together. Which, according to my formula, is not the right thing to do. Luckily we’re still incredibly close, and Stevie is now like a sister to me.

Fleetwood Mac – Go Your Own Way (Official Music Video) [HD Remaster] – YouTube Fleetwood Mac - Go Your Own Way (Official Music Video) [HD Remaster] - YouTube

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I won’t see Jimmy for a long time, and then we’ll have a great, heartfelt conversation. It could be about anything. When we played in London last year he came to see us. And I was talking to him from a fan point of view, telling him: “Come on! So many people want to see Led Zeppelin back together!” And he was telling me: “No, man, the rest of the guys don’t want to do it right now” and “I don’t know if I’ll be able to pull it off.” But I told him: “Come on! You gotta do it! If we can do it, you can!” So I wouldn’t say I was responsible for Zeppelin getting back together, but after that they did play that great tribute gig.


Bill Clinton

Bill Clinton used Don’t Stop for his 1993 election campaign. And although we weren’t involved with him politically, Christine said that’s fine, because if I was voting he’d be the one I’d vote for.

I got to know him a little bit. He was bigger than life, our Bill. He was incredibly bright. He did a lot of great things that, sadly, were systematically ripped down by the inheritor. He was everything that people think he was – very knowledgeable. And he obviously loved life and people, and that got him in a bit of trouble down the road. But I think he’s one of the great presidents the US has had.

We actually played at his farewell party on the White House lawn. We were all happy about it apart from John, who enjoyed the experience but he’s a staunch Republican. I seem to remember Bill hovering around at rehearsals, but he never did get to play sax with us.


Arnold Schwarzenegger

I got to know Arnie because of [playing a character in] The Running Man [1987]. His main thing in life is going from one prank to the next. It could be a car not starting, or maybe a camera wouldn’t work and the cameraman wouldn’t know that some vital part had been taken out. We’d watch the cameraman die a thousand deaths, everyone looking at him, like, what the hell is going on?’ when we all knew Arnie had taken the batteries out.

Other times it would be something horribly involved; he’d work on an elaborate prank for three weeks. And I’d get involved in some of them. I’d go into his trailer on the set like it was a military operation, and then you’d be sworn to secrecy as the pranks unfolded. Mostly it was all in good humour, but a couple of things would make you go “Whoa.” Funny guy. But look at his journey. He’s the Governor of California. He’s the Gover-nator!


Fleetwood Mac’s Mick Fleetwood and model Samantha Fox present the 1989 Brit Awards

Mick Fleetwood and co-presenter Sam Fox at the 1989 Brit Awards (Image credit: Dave Hogan/Hulton Archive/Getty Images)

Samantha Fox

The 1989 Brit Awards will be on both our gravestones; Samantha and myself will forever be a pair of idiots who didn’t know how to compere an awards show. Which is actually terribly unfair.

We rehearsed that whole show perfectly, but what we didn’t realise was that on the night, some boy band had picked 400 fans and put them in the front row to spice things up. Well, they ruined it, because they screamed all the time and nobody could hear anything on their walkie-talkies. We’d read the auto-cue perfectly in rehearsals, but suddenly we were like lambs to the slaughter. The timings were changed, they couldn’t get hold of the celebrities, the script fell apart, and nobody could change it because they couldn’t hear what was going on. I basically gave up. We’d read: “Here we go, Ronnie Wood!” and Paul Simon would walk on.

Poor Samantha and myself were hung out to dry. It wasn’t her fault and it certainly wasn’t mine. No, I haven’t worked with her since.


Keith Richards

I used to go down and see The Rolling Stones at Eel Pie Island [south London] when I didn’t know them at all. Then we [The Cheynes] went on tour with them in 1964. And to this day Keith Richards is one of the three people who call me Michael; John McVie and Eric Clapton are the others. I don’t know why, but it’s like [admonitory tone] ‘Michael!’ There’s only one Keith. His lifestyle is his world. I thought I was a heavy drinker but… my God!

The Stones really are my favourite band. My dream has always been that Charlie Watts gets the flu and I get to save the day and play with the Stones for a week. But the call has never come.

Originally published in Classic Rock issue 126, November 2008

Henry Yates has been a freelance journalist since 2002 and written about music for titles including The Guardian, The Telegraph, NME, Classic Rock, Guitarist, Total Guitar and Metal Hammer. He is the author of Walter Trout’s official biography, Rescued From Reality, a music pundit on Times Radio and BBC TV, and an interviewer who has spoken to Brian May, Jimmy Page, Ozzy Osbourne, Ronnie Wood, Dave Grohl, Marilyn Manson, Kiefer Sutherland and many more.