Author: u0zp4y

Malevolence have announced their biggest headline shows to date, in support of their forthcoming Where Only The Truth Is Spoken album.

In a statement announcing the tour, frontman Alex Taylor says, “We are very excited to announce the biggest headline tour of career yet…It’s absolutely insane to us that we are booked in these huge, historic & legendary venues and we need all of your support to prove to the world of metal that we are capable to smash them as a headliner. We put together the sickest support bill we could possibly find, featuring some of the coolest current bands from across the world – with the goal of creating the biggest and baddest Malev show of all time. We can’t wait.”

Malevolence Where Only The Truth Is Spoken tour

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Watch the video for If It’s All The Same To You, featuring Snatch villain Brick Top (Alan Ford), below.

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Led Zeppelin’s most evocative record was one of their best dressed. Designed by Zacron, a former student of Kings Collage of Art who’d known Jimmy Page since the early 60s, Led Zeppelin III came wrapped in a spinning-wheel cover modelled on an old crop-rotation chart and had two Aleister Crowley quotations etched into the inner vinyl groove.

Zacron, born Richard Drew, died in 2012, and a recent sale of items from his estate unearthed some previously unseen original sketches from his work on the album.

The artwork included six previously unseen pages documenting the progress of Zacron’s revolving design, along with his handwritten instructions on how the wheel would function.

The sketches were identified by collector Joseph Robert O’Donnel, who made headlines last month when one of his earlier discoveries, a piece of leftover toast that once “belonged” to The Beatles‘ George Harrison, sold at auction for an undisclosed sum.

After identifying the sketches, O’Donnell reached out to Led Zeppelin collector Brian Knapp, who served as an archival consultant on the recent Becoming Led Zeppelin movie, and the pair came to an agreement on the sale of the sketches. The price of the sale has not been disclosed.

“I couldn’t think of a more fitting home than Brian’s archive for these significant pieces of history,” says O’Donnell. “Zacron’s drawings are legendary, as is Brian’s collection.”

“Zacron was a very important artist, and his friendship and connection with Led Zeppelin are equally significant to the band’s legacy,” adds Knapp. “I am pleased to add these to my collection, which I hope to exhibit at some point in the future.

The word “baby” is one of the most frequently used and beloved terms in the world of music. It has been a cornerstone in countless song titles across genres, symbolizing everything from affection and tenderness to heartache and loss. Its universal appeal has made “baby” an integral part of popular music, capturing emotions that resonate with listeners on a deeply personal level. From iconic rock ballads to soulful R&B classics, songs featuring the word “baby” span decades and genres, each offering its own unique take on love, passion, and relationships.

In this article, we explore ten of the best songs with the word “baby” in the title. Starting with The Ronettes’ “Be My Baby,” we dive into a song that defined the Wall of Sound and inspired generations of musicians, including Brian Wilson, whose own track “Don’t Worry Baby” echoes its influence with a tender, reassuring message. Eddie Money’s “Baby Hold On” offers a powerful rock anthem filled with optimism and energy, contrasting sharply with the bluesy depths of Led Zeppelin’s “I Can’t Quit You Baby,” a song that grapples with emotional turmoil and an inescapable love. Linda Ronstadt’s cover of “Ooh Baby Baby” brings a soulful vulnerability, echoing Smokey Robinson’s original while adding her own heartfelt touch, much like Toby Beau’s soft rock hit “My Angel Baby” captures the innocence and purity of love.

Bob Dylan’s “It’s All Over Now, Baby Blue” showcases his lyrical genius, offering a poignant farewell wrapped in poetic ambiguity, standing in stark contrast to the playful rock ‘n’ roll spirit of The Beatles’ “Baby’s in Black,” which deals with love and mourning in its own unique way. The Supremes’ “Baby Love” brings Motown’s signature sound into the mix, with its infectious rhythm and soaring harmonies, while Grand Funk Railroad’s “Miss My Baby” carries a heavier, more introspective tone, exploring the pain of separation. Finally, Willie Dixon’s “I Can’t Quit You Baby,” famously covered by Led Zeppelin, digs deep into the blues, providing an emotionally raw examination of heartache and longing.

These ten songs, while diverse in style and sentiment, all share a common thread—the power of “baby” to evoke strong, universal emotions. Whether capturing the highs of newfound love or the lows of heartbreak, they stand as timeless examples of how one simple word can carry a world of meaning.

# 10 – Baby Did A Bad Bad Thing – Chris Isaak

“Baby Did a Bad Bad Thing” by Chris Isaak is the first song on this list of the 10 Best Songs with the Word ‘Baby’ in the Title. Released as the opening track of his 1995 album Forever Blue, this sultry and intense song is one of Isaak’s most provocative works. Co-produced by Isaak and Erik Jacobsen, the track blends rock, blues, and seductive undertones, reflecting the dark emotional themes of the album. The song gained significant mainstream attention when it was featured in Stanley Kubrick’s 1999 film Eyes Wide Shut, starring Tom Cruise and Nicole Kidman. Its sensuality and haunting tone perfectly suited the movie’s enigmatic and erotic atmosphere, further cementing the song’s lasting appeal.

The lyrics of “Baby Did a Bad Bad Thing” express the torment of a lover wronged by betrayal, encapsulated in the repeated line “Baby did a bad bad thing.” Isaak’s raw vocal delivery adds depth to the emotional conflict, as he explores feelings of love, pain, and revenge. The song’s dark, bluesy rhythm, driven by a driving beat and gritty guitar riffs, underscores the intensity of the lyrics. Isaak’s voice, alternating between a haunting whisper and a powerful cry, captures the sense of helplessness and frustration as he grapples with the reality of the lover’s betrayal.

The song combines themes of obsession, heartbreak, and sensuality. Lines like “You ever love someone so much you thought your little heart was gonna break in two?” illustrate the depth of the protagonist’s emotional turmoil. The song’s straightforward, repetitive structure mirrors the obsessive nature of the speaker’s thoughts as he fixates on the betrayal. The slow-building tension in the music reflects the escalating emotional intensity, creating an atmosphere of both longing and despair.

Read More: Top 10 Chris Isaak Songs

# 9 – Miss My Baby – Grand Funk Railroad

“Miss My Baby” is a scorching track from Grand Funk Railroad’s 1976 album Good Singin’ Good Playin’, produced by the legendary Frank Zappa. This track, clocking in at over seven minutes, showcases the band’s raw emotional intensity and blues-rock roots, while also reflecting a more personal, heartfelt side of the band’s music. With Mark Farner on lead vocals and guitar, the song explores the longing and loneliness of missing a lover, drawing listeners in with its simple but emotionally charged lyrics. The band had temporarily disbanded before reuniting to create this album with Zappa, marking a pivotal moment in their career, which adds weight to the themes of loss and reunion present in the song.

The lyrical content of “Miss My Baby” speaks directly to the deep emotional pain of separation. Farner sings lines like “But, I miss my baby, I’m lookin’ for a lady, said I miss my baby, I think I’m goin’ crazy” with a sense of desperation and confusion, tapping into the universal experience of missing someone dearly. Musically, the track starts off slow and builds in intensity, with the steady pulse of Don Brewer’s drumming and Mel Schacher’s powerful bass adding a driving force to the narrative of love and longing. The song’s extended instrumental sections, characterized by soulful guitar work, allow the emotion to breathe, giving the listener time to reflect on the deep sense of loss conveyed by the lyrics.

Recorded in 1976 at MCA Records with the production genius of Zappa, the song also reflects the collaborative synergy between the band and their iconic producer. Zappa, though typically known for his avant-garde and complex compositions, helped to bring out a raw and honest sound in Grand Funk Railroad. His guidance in the studio allowed the band to focus on delivering an emotional punch while keeping the arrangements relatively simple, a style that matched the heart-wrenching message of “Miss My Baby.”

Read More: Grand Funk Railroad’s Best Song On Each Of Their Studio Albums

# 8 –  Angel Baby – Toby Beau

“My Angel Baby” by Toby Beau is a soft rock hit from 1978 that reached number one on the U.S. Easy Listening chart and peaked at number 13 on the Billboard Hot 100, making it the band’s most successful song. Written by band members Danny McKenna and Balde Silva, this track was part of their self-titled album Toby Beau. The song also gained traction in Canada, where it reached number 10 on the RPM Top 100 chart. With its gentle melody and heartfelt lyrics, “My Angel Baby” became a quintessential soft rock ballad of the late 1970s, perfectly capturing the era’s focus on smooth, melodic soundscapes.

“My Angel Baby” reflects the emotional turmoil of a love on the verge of ending. The protagonist laments the changes in his relationship, recognizing that his partner may be preparing to leave. Lines like “What’s breaking is my heart, you’ve got leaving on your mind” convey the deep sense of loss and sadness. Despite the pain, the refrain, “But you’re my angel baby, for the rest of the night,” holds onto the fleeting hope of salvaging the relationship, if only for a moment. The lyrics tap into themes of longing, love, and heartbreak, offering a poignant glimpse into the fragility of romantic connections.

The light use of guitar and keyboards, combined with McKenna’s smooth vocals, creates a soothing, melancholic atmosphere. The song’s production, under the RCA label, complements its tender lyrics, making it both a radio-friendly hit and a relatable anthem for listeners experiencing love’s ups and downs. As the third song on this list, “My Angel Baby” stands apart with its gentle melody and introspective lyrics, adding a softer, more contemplative tone to the lineup of ‘baby’-themed songs.

# 7 – Baby’s In Black – The Beatles

“Baby’s in Black” by The Beatles is a melancholic folk rock song from their 1964 album Beatles for Sale in the UK and Beatles ’65 in the U.S. Written by John Lennon and Paul McCartney, the song stands out with its unique blend of folk rock and a waltz-like rhythm, and it features the signature harmonized vocals of Lennon and McCartney. Recorded on August 11, 1964, at EMI Studios in London, and produced by George Martin, this track demonstrates The Beatles’ growing experimentation with darker themes and more complex song structures, departing from the upbeat pop sensibilities of their earlier work.

“Baby’s in Black” tells the story of unrequited love, centering on a narrator who pines for a woman dressed in black, mourning a lost lover. The repeated refrain, “Oh dear, what can I do? Baby’s in black and I’m feeling blue,” highlights the emotional weight of the situation, as the narrator is unable to win her affection while she remains fixated on someone else. The song’s sorrowful tone is further amplified by the minor chord progressions and somber melody, reinforcing the themes of heartbreak and loss.

“Baby’s in Black” is characterized by its mid-tempo 6/8 time signature, which gives it a waltz-like feel. The harmonies between Lennon and McCartney provide an added depth to the song, giving it a haunting quality that distinguishes it from the more upbeat tracks on Beatles for Sale. The stripped-back production, featuring simple instrumentation of guitars, bass, and drums, allows the vocal interplay and poignant lyrics to take center stage. Compared to other songs on this list, such as the upbeat “My Angel Baby” by Toby Beau, “Baby’s in Black” offers a more somber, reflective take on love, showcasing The Beatles’ ability to explore a wide range of emotional landscapes.

As the fourth song on this list, “Baby’s in Black” introduces a darker and more introspective tone, contrasting with the lighter themes of earlier entries. Its blend of folk rock and emotional depth makes it a memorable and important addition to the catalog of ‘baby’-themed songs, further highlighting The Beatles’ evolving songwriting and musical maturity during this period.

Read More: Complete List Of Fan’s Favorite Beatles Songs

# 6 – Baby Love – The Supremes

“Baby Love” by The Supremes is a timeless Motown classic, released in September 1964, and written by the powerhouse team Holland–Dozier–Holland. Featured on their second studio album Where Did Our Love Go, the song became an instant hit, topping the U.S. Billboard Hot 100 for four weeks and reaching number one in the UK as well. This success marked the Supremes as the first Motown act to achieve multiple number-one singles in the U.S., solidifying their status as one of the most successful American pop groups of the 1960s.

The song’s production, overseen by Berry Gordy’s insistence for a chart-topping follow-up to “Where Did Our Love Go,” reuses many of the signature elements of that earlier hit. Diana Ross’s soft and pleading lead vocals, backed by Florence Ballard and Mary Wilson’s “baby-baby” harmonies, are complemented by the vibrant instrumentation of the Funk Brothers, with notable foot-stomping effects from teenager Mike Valvano. The infectious rhythm, upbeat melody, and catchy lyrics made “Baby Love” an anthem of young romance and heartache, capturing the quintessential Motown sound that would define an era.

Read More: Top 10 Supremes Songs

# 5 – It’s All Over Now Baby Blue – Bob Dylan

Bob Dylan’s “It’s All Over Now, Baby Blue,” from his Bringing It All Back Home album, is a quintessential folk rock anthem that marks the end of an era both musically and personally for Dylan. Released on March 22, 1965, and recorded with just acoustic guitar, harmonica, and bass, the song features Dylan’s cryptic, poetic lyrics that bid farewell to the mysterious “Baby Blue.” The song’s minimalist instrumentation contrasts with the depth of its lyrics, which are widely regarded as an allegorical farewell, though interpretations vary about the identity of “Baby Blue.” Some speculate it refers to Dylan’s relationship with Joan Baez, while others see it as a break from his folk roots, signaling his transition toward rock music.

The lyrics are rife with Symbolist influences, creating a vivid tapestry of imagery that captures the essence of change and letting go. From “the orphan with his gun” to “seasick sailors,” Dylan paints a picture of a world in flux, one in which the listener must leave behind the past to embrace something new. The repeated refrain, “And it’s all over now, Baby Blue,” underscores the inevitability of this transformation, conveying a sense of melancholy and finality. Dylan’s use of abstract, surrealistic language gives the song a timeless quality, allowing it to be interpreted in multiple ways.

Critically, “It’s All Over Now, Baby Blue” has been recognized as one of Dylan’s most significant songs, standing out for its lyrical complexity and emotional depth. The track became an influential piece for many artists, with notable covers by Them, Joan Baez, and the Byrds. Them’s 1966 version, in particular, became a garage rock staple and influenced countless bands in the genre, while Beck later sampled it in his 1996 single “Jack-Ass.” As the first song on this list, “It’s All Over Now, Baby Blue” introduces a deeply reflective, poetic tone, setting the stage for other songs featuring the word “baby” by offering a more contemplative, metaphorical interpretation of love, change, and farewell.

Read More: Best Bob Dylan Songs of the 1960’s

# 4 – Baby Hold On – Eddie Money

“Baby Hold On” stands as one of Eddie Money’s most recognizable and enduring songs, released in 1977 as the lead single from his debut album Eddie Money. Co-written by Money and guitarist Jimmy Lyon, the track became a major commercial success, peaking at number eleven on the Billboard Hot 100, number four on the Canadian Hot 100, and reaching number nineteen on the Kent Music Report in Australia. The song’s upbeat, rock-infused sound helped solidify Money’s place in the rock world and marked his debut as a chart-topping artist.

With its catchy, guitar-driven introduction, “Baby Hold On” hooks the listener immediately. The song builds in intensity as Money’s energetic vocal performance conveys the urgency and passion behind the message. The track urges a lover to remain committed despite the uncertainties of life, with lyrics like “Whatever will be, will be / The future is ours to see,” echoing the famous refrain from the song “Que Sera, Sera.” This subtle nod to a well-known cultural reference gives the song a broader appeal while maintaining its original rock edge. The optimistic tone of the lyrics, encouraging perseverance in love, stands in contrast to some of the other “baby” songs on this list that deal with themes of heartbreak or loss.

Read More: Top 10 Eddie Money Songs

# 3 – Ooo Baby Baby – Linda Ronstadt

Linda Ronstadt’s 1978 cover of “Ooo Baby Baby” brought a fresh, soulful energy to a Smokey Robinson and the Miracles classic. Featured on her double-platinum album Living in the USA, Ronstadt’s rendition of the song is notable for its emotional depth and stunning vocal performance. Produced by Peter Asher, the track features a smooth, saxophone-infused arrangement, with a standout solo by David Sanborn that lends a contemporary flair to the original Motown ballad. Released as a single, Ronstadt’s version peaked at number seven on the Billboard Hot 100 and reached number two on the Adult Contemporary chart, demonstrating her ability to transcend genre boundaries and bring soul, pop, and country elements together.

Ronstadt’s ability to take a beloved Motown classic and infuse it with her unique sound made her cover of “Ooo Baby Baby” a timeless piece. The track became one of her signature songs, proving her versatility as a vocalist who could seamlessly move between rock, country, and soul. Moreover, the song’s performance on the charts underscores its wide appeal, as it not only found success on the Hot 100 but also charted on the R&B and Country singles charts. Her performance alongside Smokey Robinson in the Motown 25 special in 1983 further solidified her connection to the song and highlighted its enduring place in popular music.

Read More: Top 10 Linda Ronstadt Songs That Leave You Breathless

# 2 – Tie –  Be My Baby – The Ronnettes / Don’t Worry Baby – The Beach Boys

Released in August 1963, “Be My Baby” by The Ronettes became a defining song of the girl group era and one of the most iconic singles of the 1960s. Written by Phil Spector, Jeff Barry, and Ellie Greenwich, and produced by Spector himself, the track exemplifies his groundbreaking Wall of Sound technique, a lush and layered approach to production that had a lasting influence on pop music. Ronnie Spector’s captivating lead vocal, paired with the dramatic orchestration, makes this song a timeless classic. The song reached number two on the U.S. Billboard Hot 100 and number four in the UK, solidifying The Ronettes as one of the leading acts of their time.

The song’s production is an integral part of its impact. Recorded at Gold Star Studios in Los Angeles with Spector’s de facto house band, the Wrecking Crew, it marked Spector’s first time using a full orchestra to achieve his Wall of Sound. The track’s pulsating rhythm, driven by the unmistakable drum pattern played by Hal Blaine, sets the stage for Ronnie Spector’s unforgettable vocals. Her delivery of the heartfelt lyrics, “Be my, be my baby,” carries a vulnerability and power that resonate with listeners to this day. The harmony-laden backing vocals of Estelle Bennett and Nedra Talley add richness to the track, though Ronnie’s presence is the emotional core of the song.

The lyrics, simple but deeply emotive, are a plea for love and devotion: “I’ll make you happy, baby, just wait and see / For every kiss you give me, I’ll give you three.” These lines emphasize the song’s message of unconditional love and commitment. The chorus, with its iconic repetition of “Be my baby,” captures the intensity of longing and desire, making it a perfect example of the emotionally charged pop songs of the era.

“Be My Baby” became a touchstone for artists across generations, including Brian Wilson of The Beach Boys, who famously cited it as his favorite song and wrote “Don’t Worry Baby” in response. The song’s influence can be heard in countless tracks that followed, particularly in its innovative use of rhythm and orchestration. Its cultural significance has only grown over the years, and in 2006, the Library of Congress added the song to the U.S. National Recording Registry, further cementing its legacy as one of the greatest recordings of all time.

Read More: 10 Ronettes Songs We Love So Much

“Don’t Worry Baby,” released by The Beach Boys in 1964, stands as one of the band’s most beloved and enduring songs. Written by Brian Wilson and Roger Christian, the song appeared on Shut Down Volume 2 and was released as the B-side to the hit single “I Get Around.” However, “Don’t Worry Baby” managed to chart separately, peaking at number 24 on the Billboard Hot 100. The song captures Wilson’s signature California sound with a twist of vulnerability, making it a tender and introspective contrast to the band’s usual surf rock anthems.

The inspiration for the song came from Brian Wilson’s deep admiration for the Ronettes’ “Be My Baby.” The rhythmic structure, instrumentation, and overall arrangement of “Don’t Worry Baby” are heavily influenced by Phil Spector’s Wall of Sound technique. Despite these similarities, “Don’t Worry Baby” sets itself apart with its emotive lyrics and introspective theme. In contrast to the boldness of “Be My Baby,” the song’s lyrics tell the story of a man who’s recklessly agreed to a drag race and is filled with anxiety and regret. His girlfriend reassures him with the titular phrase, offering him emotional support in a way that goes beyond the typical themes of teenage love. The sincerity in her words provides the emotional anchor of the song, turning it into a testament to love’s ability to soothe in times of turmoil.

Musically, the song follows a familiar chord progression that echoes the style of “Be My Baby,” but it introduces subtle shifts in key to reflect the evolving emotions of the narrator. Brian Wilson’s lead vocal is one of the most lauded performances of his career, marked by both its purity and fragility. The harmonies, which include contributions from the entire band, enrich the song’s melancholy yet hopeful tone. While the track may initially seem to be about a drag race, the underlying message is one of trust and reassurance in a relationship, with the driving force of the song being love’s ability to transcend fear.

“Don’t Worry Baby” set the stage for later Beach Boys songs that would explore deeper emotional and introspective themes, marking a departure from the carefree surf songs of their earlier albums. It remains a defining moment in Brian Wilson’s songwriting career and has influenced countless artists across generations. Its enduring legacy, along with its connection to “Be My Baby,” makes it a perfect inclusion for a list focused on songs with the word ‘Baby’ in the title. The song’s universal theme of reassurance, set against a backdrop of youthful anxiety, resonates just as deeply today as it did in 1964.

# 1 – I Can’t Quit You Baby – Led Zeppelin

“I Can’t Quit You Baby” is a quintessential blues song originally written by Willie Dixon and first recorded by Chicago blues legend Otis Rush in 1956. The song’s raw emotion and slow, twelve-bar blues structure became a blues standard, capturing the pain of a man torn by an adulterous relationship he cannot easily end. Rush’s original recording featured passionate vocals and skillful guitar work, accompanied by a stellar lineup of blues musicians, including Willie Dixon on bass and Big Walter Horton on harmonica. The song’s lyrics reflect the deep torment of a man ensnared in a toxic love affair, a theme echoed in its powerful musical delivery. Rush’s version reached number six on the Billboard R&B charts, marking his arrival as a major blues artist.

Led Zeppelin’s 1969 rendition of I Can’t Quit You Baby, featured on their debut album Led Zeppelin, takes Rush’s original and transforms it with the band’s signature hard rock edge. Although the arrangement closely mirrors Rush’s 1966 re-recording, Zeppelin added their own flourishes, with Jimmy Page delivering a searing guitar solo and Robert Plant’s wailing vocals taking center stage. While Zeppelin stayed faithful to the core blues roots, their explosive energy and instrumentation brought a new intensity to the song, blending blues with the burgeoning blues rock genre. Page’s guitar break in the solo, where he plays unaccompanied for four bars, adds an element of tension before the full band crashes back in, emphasizing the emotional highs and lows of the song’s narrative.

The song’s lyrics, shared by both Rush’s original and Zeppelin’s cover, convey a deep sense of longing and frustration. Lines like “I can’t quit you baby, but I’ve got to put you down for a while” capture the struggle of wanting to break free from a relationship but being unable to fully let go. Both Rush and Plant express this emotional complexity through their performances, with Rush’s more restrained delivery contrasting with Plant’s more unrestrained, visceral vocal style. Zeppelin’s interpretation of the song keeps it firmly rooted in the blues while showcasing their distinctive sound, one that would later influence countless rock bands.

Led Zeppelin regularly performed “I Can’t Quit You Baby” live during their early years, with notable performances featured in their BBC Sessions and the Led Zeppelin DVD. However, as their setlist evolved, the song was eventually replaced by “Since I’ve Been Loving You,” another slow blues number with similar emotional weight. In comparison to other songs on this list, like The Beach Boys’ “Don’t Worry Baby,” which offers reassurance and comfort, I Can’t Quit You Baby delves into the darker side of relationships, dealing with betrayal, loss, and emotional conflict.

This song is a cornerstone in both Otis Rush’s and Led Zeppelin’s catalogs. For Rush, it solidified his place in the blues world, and for Zeppelin, it served as a testament to their deep connection to the blues tradition. The continued legacy of “I Can’t Quit You Baby,” with its numerous cover versions and its role as a blues standard, speaks to the enduring appeal of this emotionally charged composition.

Read More: Top 10 Led Zeppelin Love Songs

10 Best Songs With The Word ‘Baby’ In The Title article published on Classic RockHistory.com© 2025

British metal had waited years for a band like Bullet For My Valentine. Starting out as Jeff Killed John at the turn of the millennium, the line-up solidified into vocalist Matt Tuck, drummer Michael ‘Moose’ Thomas, guitarist Michael ‘Padge’ Paget and, last to arrive, bassist Jay James in 2003.

An eponymous five-track EP showed these four boys from the Valleys had something special, and by the time they signed to Visible Noise/Sony and headed to Chapel Studios with producer Colin Richardson in late 2004 to record their first album, The Poison, they knew they were heading for success.

Raised on Metallica, schooled by Machine Head and inspired by Killswitch Engage – a band they’d take out as support when celebrating the 10th anniversary of their debut in 2016 – Bullet For My Valentine bridged traditional and contemporary metal, landing support slots with the likes of Iron Maiden and Guns N’ Roses, and opening the floodgates for Bring Me The Horizon, Architects and more.

Frontman Matt Tuck looks back on this “bananas” era, and the tracks from the album that changed their lives forever.

1. Intro (ft. Apocalyptica)

“As a brand new band working on our debut album, we had no experience of working with other bands. The guy who signed us, Martin [Dodd] had also signed Apocalyptica too, so when we talked about having this big, movie-style dark heavy metal intro with orchestration he suggested working with them rather than just programming something.

I remember recording all the guitar parts and sending them over [to the Apocalpytica guys] and then this brilliant thing comes back. No amendments, no back and forth, they nailed it first time.”

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2. Her Voice Resides

“For a lot of The Poison, I was just focusing on trying to write lyrics. I was excited to be working on an album and really motivated because our dreams were coming true. A lot of these songs didn’t even exist until after we got signed, but a lot of faith was put in us and me as a frontman very early on, when we didn’t even have a lot of songs – just the six we’d already released.

This was our opportunity to get into a studio and work with a producer, so we were under pressure big time. We put our heads together and came up with a bunch of stuff, but songs like Her Voice Resides were basically stories we created that could match the soundtrack we were creating, so there’s no specific topic.”

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3. Four Words (To Choke Upon)

“So we wrote this one towards the end of the Jeff Killed John era and the beginning of Bullet For My Valentine. In my head, I was at a point where I knew we’d get to show people who didn’t believe in me, didn’t believe in the boys and in our dream, they were wrong. We knew we could do something special given the opportunity, so I wrote a song for when that would happen.

That’s where the whole ‘Look at me now’ came from. The whole song was based on those four words – a real middle finger to everyone who’d told us we wouldn’t do anything. A ‘fuck you’ song that came from a place of anger and hate – all the things that make a good heavy metal record. It’s never left our sets – I don’t think we’ve ever played a headline show without that song because its important for us, and means so much to fans.”

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4. Tears Don’t Fall

“We did a demo of Tears Don’t Fall in Newport, about 40 minutes from where we grew up. Jeff [Rose] and Ginge [Martyn Ford] from Dub War and Skindred used to do our demos for us because they had this little studio in Newport so we’d go there to have fun, play some music and write songs. They burned us a little CD of the demo and we listened to it in Padge’s car on the way home and just went ‘Fuck!’ It felt like someone else had written the song, we just couldn’t believe it. It was like, ‘We did that?’ We figured if people got to hear that, then it was game on.

The way it was structured, how it sounded… the whole thing was a really interesting and clever piece of music. We knew we had something special – it was undeniable. There was no metal band in 2004, 2005 who had a song like Tears Don’t Fall – nobody else dared to do that kind of thing. We just jumped in headfirst and it might’ve pissed a lot of people off, but it made us stand out too.

With Part 2 on the Fever album, I just wanted to see if I could recapture some of that feeling. It was a challenge to ourselves almost, ‘If we wrote a second Tears Don’t Fall, how would it sound?’ It’s not as special as the original – nothing ever is when you have a song that big, but I just wanted to pay homage to it and write something that could capture that.”

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5. Suffocating Under Words Of Sorrow (What Can I Do?)

“We wrote Suffocating Under Words Of Sorrow at Chapel Studios. We spent a lot of time there working on the songs for The Poison and Suffocating must’ve come about at like 11 O’clock on a Monday night. We’d all had a few glasses of wine and were sitting around a pool table playing guitars. The song’s riff came up and we composed it all in about an hour. Next day we tracked it and it was all done, super quick, super spontaneous and there was no overthinking.

Some songs can take like a month to write, but others can just burst out onto the page and that’s exactly what we needed at that time. There was such a fearless vibe to us at that point. Songs were just coming out of us every day. We felt unstoppable.

Later we got all these offers to get those songs on videogames, movies and whatever. It was like, ‘What the fuck is going on?’ That whole era of the band is bananas – from our touring schedule, who we toured with, getting songs on John Madden [NFL 06], Need For Speed, Saw 3 soundtracks… it was a mind-blowing time for the band. Something we’ve never really beaten, so far as it all felt. Nothing compares to 2004 – 2006, it was such a wild time for us.”

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6. All These Things I Hate (Revolve Around Me)

“Another big one. I remember writing it on a beat-up 3/4 Spanish guitar in my bedroom. I was strumming the chords and thought it sounded pretty cool, so wrote it on the spot and added some classical guitar parts in. We wanted something big and dynamic, with a bit of shock factor from when that first chorus hits.

Lyrically, I was dating a girl for a long time and she’d gone off to university, so we got separated. That’s kind of what the song is about; being separated from someone you love, and the reason for it being these decisions we’d made that were for our own lives and future, but also hating that fact.”

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7. Room 409

“We wanted something up-tempo and heavy, more of a riff fest. I wasn’t speaking from experience lyrically on this one, thankfully! I wanted something about betrayal, deception and cheating, something that felt like a band called Bullet For My Valentine should write about.

It wasn’t a single or anything, but it stayed in the set for a very long time because of the energy. It was uncompromising and was fun to write, the kind of track where you hope kids are going to want to learn it on guitar.”

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8. The Poison

“Another fictional song. I loved the words ‘the poison’ and figured on another piece of fictional storytelling lyrically, while we had a bunch of riffs set aside for this song.

It was our first venture into tapping – we were finding our feet, really and experimenting with different styles of guitar playing. We wanted something anthemic and uplifting, but also had a bit of schnozz in it. It was a bit more experimental for us, but also its one of the songs I love and am most excited about bringing back. There’s a little break before the last chorus hits and the crowd always do their thing, which is great.”

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9. 10 Years Today

“When I was 14, a guy in our year at school and one of our close friends took his own life. We had a big group of lads aged from like 13 to 16 all into Nirvana and heavy metal, so we’d all hang out. It was a hideous experience to deal with the fallout of that, trying to compartmentalise it emotionally, asking why and how. We were barely into our teens and dealing with this traumatic event with one of our closest friends. Today, we still don’t really know why it happened, so it was really rough.

Thankfully we were resilient and eventually bounced back, but it was the most chaotic and awful event that I’ve ever had in my life, it was in all the papers and people from the tabloids were going to his house and stealing pictures of him, all the bullshit. So on the album, I wanted to talk about it, about him and how I felt. It’s a great song, but does bring back some painful memories.”

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10. Cries In Vain

“Cries In Vain was another Chapel special – a song that didn’t exist until we went in to actually write the album. More late nights with glasses of wine and guitar playing. One of my fondest memories of making The Poison is listening back to that after we’d tracked it; it was so fresh and new with no demo format, so our first experience of it was after Colin had done some mixing.

It felt like a well structured, composed piece of music and really gave us all the feels. It also has one of my favourite pieces of music we’ve composed, which is the dual lead in the middle section. Really cool shit!”

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11. Spit You Out

“We wanted something fierce and a title that was nasty, basically! We were writing continuously and decided we needed an intro where the China cymbal would be riding. There were a lot of bands at the time who’d use that big, epic swish sound, so we wanted to carry that. We wanted heavy riffs, big choruses. Anthemic and heavy – that’s how we liked it!

There’s a section towards the end where the bass comes through and it goes to a live section, which was actually from Download 2004. We ripped the audio from a live DVD they’d given us of our performance. That had been our first Download and was really special for us, so we wanted to commemorate it on the album.”

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12. The End

“There were a lot of ideas we’d got before we’d even written the album, and one of them was to have a big, long song called The End to close it. We wanted to tap into that dark Metallica/Machine Head moment where there’s just clean guitars that really make it feel like you’ve been on a journey.

They’re really hard songs to write! Once we’d committed to it though it all came together pretty quickly, and I remember thinking I wanted to go out in a blaze of glory. Machine Head were one of our favourite bands at the time – still are – so we wanted that kind of thing and I think it puts a full stop on the album perfrectly.”

Bullet For My Valentine tour North America from March 30 and play Download Festival in June. For the full list of upcoming dates, visit their official website.

ZZ Top roared onto the rock and roll scene straight out of Houston, Texas, in 1969, quickly becoming one of America’s most enduring and beloved rock bands. Their story began when guitarist and vocalist Billy Gibbons, fresh from the breakup of his psychedelic group Moving Sidewalks, teamed up with bassist Lanier Greig and drummer Dan Mitchell to form the original lineup. However, it wasn’t long before drummer Frank Beard and bassist-vocalist Dusty Hill joined forces with Gibbons, establishing the classic ZZ Top trio in 1970—a lineup that would remain remarkably stable for over five decades.

From the very beginning, ZZ Top embraced their roots in Texas blues, merging Gibbons’ gritty guitar work with Hill and Beard’s tight rhythm section. The band quickly secured a deal with London Records, releasing their debut album, ZZ Top’s First Album, in 1971. Their sound matured rapidly, leading to breakout commercial success with their third studio release, Tres Hombres (1973). The album featured the infectious hit “La Grange,” a song inspired by the famous Texas brothel, that rapidly climbed radio charts and became one of their defining anthems. ZZ Top’s follow-up record, Fandango! (1975), delivered another classic in “Tush,” further solidifying their reputation as authentic rockers with unmistakable Texas swagger.

By the mid-1970s, ZZ Top’s live performances had become legendary, highlighted by their extravagant Worldwide Texas Tour (1976–1977), complete with a traveling zoo featuring Texas wildlife. After a brief hiatus, the band returned in 1979 sporting a distinctive new look—matching sunglasses and long, iconic beards worn by Gibbons and Hill—which soon became their trademark. Musically, they also began exploring new sonic territory, integrating synthesizers and drum machines beginning with their 1981 release, El Loco.

ZZ Top’s commercial peak arrived with the massive success of Eliminator (1983), an album that catapulted them to international stardom. Driven by unforgettable hits like “Gimme All Your Lovin’,” “Sharp Dressed Man,” and “Legs,” the record sold over 10 million copies, bolstered by groundbreaking music videos in heavy rotation on MTV. The success continued with Afterburner (1985), another multi-platinum album, featuring hits such as “Sleeping Bag” and “Stages.” The Afterburner Tour became the highest-attended and highest-grossing tour of 1986, underscoring ZZ Top’s global reach and widespread appeal.

Throughout their prolific career, ZZ Top has released 15 studio albums, selling over 50 million records worldwide. Their innovative fusion of blues-rock, boogie rhythms, and modern technology earned the band widespread acclaim. They have won three MTV Video Music Awards, and their immense contributions to rock music led to their induction into the Rock and Roll Hall of Fame in 2004. Billy Gibbons’ masterful guitar work has also been widely celebrated; Rolling Stone ranked him 32nd among the greatest guitarists of all time, reflecting the respect he commands among fellow musicians and fans alike.

Tragedy struck the band in 2021 with the passing of longtime bassist Dusty Hill at age 72, marking the end of an incredible 51-year period without a lineup change—the longest-running original lineup in music history. Honoring Hill’s wishes, the band continued with their trusted guitar tech Elwood Francis stepping in on bass duties. More recently, in 2025, drummer Frank Beard announced he would temporarily step away from touring due to health concerns, leaving Gibbons as the only original member on the current tour.

Outside the stage and studio, ZZ Top has been consistently committed to charitable efforts. The band has supported organizations such as Childline, St. Jude Children’s Research Hospital, and the Delta Blues Museum, reflecting their dedication to making a positive impact beyond their music. As they continue touring, ZZ Top’s lasting influence and relentless dedication to their craft have solidified their legacy as true American rock icons—beloved not only for their unforgettable sound and image but also for their enduring authenticity and generous spirit.

Complete List Of ZZ Top Songs From A to Z

1. 2000 Blues – Recycler – 1990
2. (Let Me Be Your) Teddy Bear (Live) – XXX – 1999
3. 36-22-36 – XXX – 1999
4. A Fool for Your Stockings – Degüello – 1979
5. Alley-Gator – Mescalero – 2003
6. Antenna Head – Antenna – 1994
7. Apologies to Pearly (instrumental) – Rio Grande Mud – 1972
8. Arrested for Driving While Blind – Tejas – 1976
9. As Time Goes By – Mescalero (Hidden track) – 2003
10. Asleep in the Desert – Tejas – 1976
11. Avalon Hideaway – Tejas – 1976
12. Bad Girl – Eliminator – 1983
13. Backdoor Love Affair – ZZ Top’s First Album – 1971
14. Backdoor Love Affair – Fandango! (Live) – 1975
15. Backdoor Love Affair No. 2 – Fandango! (Live) – 1975
16. Balinese – Fandango! – 1975
17. Bang Bang – Rhythmeen – 1996
18. Bar-B-Q – Rio Grande Mud – 1972
19. Beatbox – XXX – 1999
20. Bedroom Thang – ZZ Top’s First Album – 1971
21. Beer Drinkers & Hell Raisers – Tres Hombres – 1973
22. Belt Buckle (Live) – XXX – 1999
23. Big Shiny Nine – La Futura – 2012
24. Black Fly – Rhythmeen – 1996
25. Blue Jean Blues – Fandango! – 1975
26. Breakaway – Antenna – 1994
27. Brown Sugar – ZZ Top’s First Album – 1971
28. Buck Nekkid – Mescalero – 2003
29. Burger Man – Recycler – 1990
30. Can’t Stop Rockin’ – Afterburner – 1985
31. Certified Blues – ZZ Top’s First Album – 1971
32. Chartreuse – La Futura – 2012
33. Cheap Sunglasses – Degüello – 1979
34. Cherry Red – Antenna – 1994
35. Chevrolet – Rio Grande Mud – 1972
36. Concrete and Steel – Recycler – 1990
37. Consumption – La Futura – 2012
38. Cover Your Rig – Antenna – 1994
39. Crucifixx-A-Flatt – XXX – 1999
40. Crunchy – Mescalero – 2003
41. Deal Goin’ Down – Antenna – 1994
42. Decision or Collision – Recycler – 1990
43. Delirious – Afterburner – 1985
44. Dipping Low (In the Lap of Luxury) – Afterburner – 1985
45. Dirty Dog – Eliminator – 1983
46. Don’t Tease Me – El Loco – 1981
47. Doubleback – Recycler – 1990
48. Down Brownie – Rio Grande Mud – 1972
49. Dreadmonboogaloo – XXX – 1999
50. Drive by Lover – La Futura (Deluxe/Best Buy) – 2012
51. Dust My Broom – Degüello – 1979
52. Dusted – Mescalero – 2003
53. El Diablo – Tejas – 1976
54. Enjoy and Get It On – Tejas – 1976
55. Esther Be the One – Degüello – 1979
56. Everything – Antenna (European/Japanese) – 1994
57. Fearless Boogie – XXX – 1999
58. Flyin’ High – La Futura – 2012
59. Francine – Rio Grande Mud – 1972
60. Fuzzbox Voodoo – Antenna – 1994
61. Gimme All Your Lovin’ – Eliminator – 1983
62. Girl in a T-Shirt – Antenna – 1994
63. Give It Up – Recycler – 1990
64. Goin’ Down to Mexico – ZZ Top’s First Album – 1971
65. Goin’ So Good – Mescalero – 2003
66. Got Me Under Pressure – Eliminator – 1983
67. Groovy Little Hippie Pad – El Loco – 1981
68. Hairdresser – Rhythmeen – 1996
69. Have a Little Mercy – La Futura – 2012
70. Have You Heard? – Tres Hombres – 1973
71. Heard It on the X – Fandango! – 1975
72. Heard It on the X (Live) – Fandango! (2006 remaster) – 1975
73. Heartache in Blue – La Futura – 2012
74. Heaven, Hell or Houston – El Loco – 1981
75. Hey Mr. Millionaire (Live) – XXX – 1999
76. Hi Fi Mama – Degüello – 1979
77. Hot, Blue and Righteous – Tres Hombres – 1973
78. Hummbucking, Pt. 2 – Rhythmeen – 1996
79. I Don’t Wanna Lose, Lose, You – La Futura – 2012
80. I Got the Message – Afterburner – 1985
81. I Got the Six – Eliminator – 1983
82. I Gotsta Get Paid – La Futura – 2012
83. I Need You Tonight – Eliminator – 1983
84. I Thank You – Degüello – 1979
85. I Wanna Drive You Home – El Loco – 1981
86. I’m Bad, I’m Nationwide – Degüello – 1979
87. If I Could Only Flag Her Down – Eliminator – 1983
88. Isn’t Love Amazing – Rhythmeen (Japan) – 1996
89. It’s Only Love – Tejas – 1976
90. It’s So Hard – El Loco – 1981
91. It’s Too Easy Mañana – La Futura – 2012
92. Jailhouse Rock (Live) – Fandango! – 1975
93. Jailhouse Rock (Live) – Fandango! (2006 remaster) – 1975
94. Jesus Just Left Chicago – Tres Hombres – 1973
95. Jesus Just Left Chicago (live) – Tres Hombres (2006 remaster) – 1973
96. Just Got Back from Baby’s – ZZ Top’s First Album – 1971
97. Just Got Paid – Rio Grande Mud – 1972
98. Ko Ko Blue – Rio Grande Mud – 1972
99. La Grange – Tres Hombres – 1973
100. La Grange (live) – Tres Hombres (2006 remaster) – 1973
101. Legs – Eliminator – 1983
102. Leila – El Loco – 1981
103. Liquor – Mescalero – 2003
104. Live Intro by Ross Mitchell – XXX – 1999
105. Lizard Life – Antenna – 1994
106. Loaded – Rhythmeen – 1996
107. Long Distance Boogie – Fandango! (Live) – 1975
108. Lovething – Recycler – 1990
109. Lowdown in the Street – Degüello – 1979
110. Made into a Movie – XXX – 1999
111. Manic Mechanic – Degüello – 1979
112. Master of Sparks – Tres Hombres – 1973
113. Me So Stupid – Mescalero – 2003
114. Mellow Down Easy – Fandango! (Live) – 1975
115. Mescalero – Mescalero – 2003
116. Mexican Blackbird – Fandango! – 1975
117. Move Me on Down the Line – Tres Hombres – 1973
118. Mushmouth Shoutin’ – Rio Grande Mud – 1972
119. My Head’s in Mississippi – Recycler – 1990
120. My Mind Is Gone – Rhythmeen – 1996
121. Nasty Dogs and Funky Kings – Fandango! – 1975
122. Neighbor, Neighbor – ZZ Top’s First Album – 1971
123. Ninja Shack – XXX (Japanese edition) – 1999
124. Old Man – ZZ Top’s First Album – 1971
125. Over You – La Futura – 2012
126. Pan Am Highway Blues – Tejas – 1976
127. Party on the Patio – El Loco – 1981
128. PCH – Antenna – 1994
129. Pearl Necklace – El Loco – 1981
130. Penthouse Eyes – Recycler – 1990
131. Piece – Mescalero – 2003
132. Pincushion – Antenna – 1994
133. Planet of Women – Afterburner – 1985
134. Poke Chop Sandwich – XXX – 1999
135. Precious and Grace – Tres Hombres – 1973
136. Prettyhead – Rhythmeen – 1996
137. Punk Ass Boyfriend – Mescalero – 2003
138. Que Lastima – Mescalero – 2003
139. Rhythmeen – Rhythmeen – 1996
140. Rough Boy – Afterburner – 1985
141. Sanctify – Mescalero (Japanese release) – 2003
142. Sharp Dressed Man – Eliminator – 1983
143. She Loves My Automobile – Degüello – 1979
144. She’s a Heartbreaker – Tejas – 1976
145. She’s Just Killing Me – Rhythmeen – 1996
146. Shiek – Tres Hombres – 1973
147. Sinpusher (Live) – XXX – 1999
148. Sleeping Bag – Afterburner – 1985
149. Snappy Kakkie – Tejas – 1976
150. (Somebody Else Been) Shaking Your Tree – ZZ Top’s First Album – 1971
151. Squank – ZZ Top’s First Album – 1971
152. Stackin’ Paper – Mescalero – 2003
153. Stages – Afterburner – 1985
154. Sure Got Cold After the Rain Fell – Rio Grande Mud – 1972
155. Tell It – Recycler – 1990
156. Ten Dollar Man – Tejas – 1976
157. Ten Foot Pole – El Loco – 1981
158. Threshold of a Breakdown – La Futura (Deluxe/Best Buy) – 2012
159. Thug – Eliminator – 1983
160. Thunderbird (Live) – Fandango! – 1975
161. Tramp – Mescalero – 2003
162. Trippin’ – XXX – 1999
163. Tube Snake Boogie – El Loco – 1981
164. Tush – Fandango! – 1975
165. Tush (Live) – Fandango! (2006 remaster) – 1975
166. TV Dinners – Eliminator – 1983
167. Two Ways to Play – Mescalero – 2003
168. Velcro Fly – Afterburner – 1985
169. Vincent Price Blues – Rhythmeen – 1996
170. Waitin’ for the Bus – Tres Hombres – 1973
171. Waitin’ for the Bus (live) – Tres Hombres (2006 remaster) – 1973
172. What It Is Kid – Mescalero – 2003
173. What Would You Do? – Mescalero – 2003
174. What’s Up with That – Rhythmeen – 1996
175. Whiskey’n Mama – Rio Grande Mud – 1972
176. Woke Up with Wood – Afterburner – 1985
177. World of Swirl – Antenna – 1994
178. Zipper Job – Rhythmeen – 1996

Albums

ZZ Top’s First Album (1971): 10 songs

Rio Grande Mud (1972): 10 songs

Tres Hombres (1973): 13 songs

Fandango! (1975): 15 songs

Tejas (1976): 10 songs

Degüello (1979): 10 songs

El Loco (1981): 10 songs

Eliminator (1983): 11 songs

Afterburner (1985): 10 songs

Recycler (1990): 10 songs

Antenna (1994): 12 songs

Rhythmeen (1996): 13 songs

XXX (1999): 14 songs

Mescalero (2003): 18 songs

La Futura (2012): 12 songs

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

10 Best Covers Of ZZ Top Songs

Complete List Of ZZ Top Albums And Discography

Top 10 ZZ Top Songs

Our 10 Favorite ZZ Top Albums

Complete List Of ZZ Top Band Members

Complete List Of ZZ Top’s Billy Gibbons Solo Albums And Songs

Top 10 ZZ Top Album Covers

ZZ Top Follows Other Recent Rock Stars In Selling Their Catalogs

ZZ Top’s Bassist Dusty Hill Dies At 72

ZZ Top Drummer Frank Beard to Miss Upcoming Tour Due to Health Issue

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

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Complete List Of ZZ Top Songs From A to Z article published on ClassicRockHistory.com© 2025

When German prog rockers RPWL released their album Crime Scene back in 2023 singer and keyboard player Yogi Lang was grilled as to what exactly floats his prog boat…

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Where’s home?
I live in Freising, a small town north of Munich, close to the airport.

Your earliest memory of prog?
When I was 10 my older cousin recorded some cassettes for me, and on one there was a catchy tune I thought about a lot. It was Dogs from Pink Floyd’s Animals.

What’s the first prog album you bought?
Kraftwerk’s Die Mensch-Maschine, released in English as The Man-Machine, from a big record store here in Munich.

And the last?
Quite some time ago, it was the SACD of Peter Gabriel’s Up.

First prog gig?
Saga, 1982, in Munich. I was 15 years old and annoyed my mother until she took me. It was fantastic! I was amazed by all these synthesisers onstage.

And the latest?It was Genesis on their Calling All Stations Tour [in 1998]. I loved Ray Wilson’s voice.

The best prog show you ever saw?
Pink Floyd on their Momentary Lapse Of Reason Tour in 1987. It was so cool to see them perform. This show was like finally reading the end of a novel – their music was a faithful companion throughout my younger days.

What’s your newest prog discovery?
After Jeff Beck died I rediscovered There And Back,
a vinyl album I bought a long time ago. I had forgotten how good it is – extraordinary musical class surrounds that album.

Guilty musical pleasure?
Don’t know if this is a guilty pleasure, but I’m a real big fan of the US band The Residents. Honestly, I’m a fan of everything they did!

Favourite prog venue?
Night Of The Prog Festival at the wonderful Loreley [Freilichtbühne]. It’s a real historic place to be in Germany, and is a real pleasure. I saw Manfred Mann’s Earth Band there in the 1980s, and playing at the same place still feels
a bit spooky.

Your prog hero?
Manfred Mann [below]. He was my keyboard hero when I started doing music.

Outside of music, what are you into?
I’m interested in what’s going on in the world. Knowledge is a real good medicine in our modern world filled with populists and conspiracy theorists.

Ever had a prog-related date?
Haha! No!

What is the most important piece of prog music?
I think it’d be Supper’s Ready from Genesis.

Recommend us a good read?
If you want to drift through a wise mind, Siddhartha by Hermann Hesse is a real pleasure.

Which prog album gets you in a good mood?
King Crimson’s Discipline. The sounds on it were so new
and unconventional. It always makes me smile.

What’s your favourite prog album cover?
The Dark Side Of The Moon.

And what are you up to at the moment?
Our new album, Crime Scene, is out now, and after touring with the new material there will be some time for producing other bands again. And, of course, we’re also planning new solo records. It never gets boring!