Feature Photo: Marcel Antonisse (ANEFO), CC0, via Wikimedia Commons
Our 10 most Rocking J. Geils Band songs present a showcase of the band’s most ferocious killer rock and roll performances on vinyl and in concert for pretty much the entire decade of the 1970s. Nothing on this list was released past 1978. That doesn’t mean that we didn’t enjoy the band’s success in the early eighties. We just wanted to highlight a lot of their earlier music, especially their live rock and roll performances that captured a loyal following that has never left. This article is not just a showcase of their live performances, as we do have some studio recordings on here, too. The one commonality between both is the songs rock hard. It doesn’t mean that they rock fast. Some are mid-tempo rockers, and some of them are slow blues tunes, but they all rock hard. If you don’t understand what that means, I can’t explain it to ya. Just listen to the music below.
# 10 – First I Look At That Purse – The J. Geils Band
The J. Geils Band turns it the other way around with this rocking song based on looking for a woman based on money and nothing else. It’s not an original J. Geils Band song, but boy, do they do a rip-roaring cover on this one. Smokey Robinson and Bobby Rogers wrote the song for the band The Contours, who had a top 100 hit with the song back in 1965. The J.Geils Band released it on their self-titled 1970 debut album.
# 9 – Detroit Breakdown (Live) – Blow Your Face Out
One of the issues we had with picking the most rocking J. Geils Band songs for this list was whether or not to use the studio versions or the smoking live versions which usually took their songs to a whole new level of rock and roll brilliance. We decided to jump back and forth. Here is the first live song on this list from their killer live album Blow Your Face Out. This was the band’s second live album, which was released in 1976.
# 8 – Floyd’s Hotel – The Morning After
All legendary rock and roll bands have one thing in common: “The Blues.” You can’t rock and make it real if you can’t play the blues. There is no way around it. This great rocking blues-infused J. Geils Band song was released on the group’s album The Morning After. It was the band’s second studio album. The song was written by Seth Justman and Peter Wold
# 7 – Serves You Right To Suffer – Live Full House
Listen to the wasy Peter Wolf introduces this song on the live album. You can tell somebody did him wrong, probably more than one, just like the rest of us have all experienced. Just because this one has a slow blues groove doesn’t mean it can’t rock hard. Listen to that guitar solo. Holy Wham Jammer smokes! This great John Lee Hooker song was released on the band’s first live album entitled Live Full House. It was released in 1972.
# 6 – One Last Kiss – Sanctuary
This mid-temp rocker by the band may just be one of the group’s most overlooked songs, lost a bit among all the new wave that was happening at the time. It’s just such a great song, and there was no way we would leave this one off this list. Love that Phil Spector drum break between verses. The song was released on the band’s Sanctuary album. It was released in 1978. Peter Wolf and Seth Justman composed the song.
# 5 – I Do – Monkey Island
Monkey Island is one of those J.Geils Band albums that kind of fell through the cracks. In fact they changed the name of the band to just Geils for this record. Despite the name change, I always really enjoyed this album, especially the sound quality of the record. “I Do” is a real party-type song and, of course, is an amazing song to play live. Nonetheless, I just love the sound of this one in the studio. Everything is just so clear and balanced right, so action-packed and full of soul.
# 4 – Chimes – LiveBlow Your Face Out
I get chills when I listen to this song. The sound of that opening organ as the band breaks in just blows my face out every time. It’s as simple as that. This is pure rock and roll, baby! Of course, we went with the dynamic live version of this one. If you have never heard it before, don’t go anywhere; listen to it all the way through, as it gets very intense!
# 3 – Looking for a Love – Live Full House
We really tried to present some studio versions of these songs, but their live albums are just so good that we just couldn’t help but go to the live version of these classic tunes. If you have someone in your family who’s just learning how to play a guitar, drums, keyboards, or whatever, and you want to teach them how to play live music, how to put rock and roll soul into performances, and what it’s all about, put on one of these J Geils Band live albums.
# 2 – Whammer Jamer – Live Full House
The live renditions contiune with one of the most explosive rock and roll instrumentals in classic rock history. “Whammer Jammer” was originally released on The Morning After album. The live version will knock off your rock and roll shoes and bow tie.
# 1 – (Ain’t Nothing But A) House Party – Live Full House
Was there any doubt that this powerhouse rock and roll party song would fall in any other spot but number one? I am going to need this one today because I’m watching the Jets game, and I already know, as a Jets fan, how it’s going to turn out.
Check out more J. Geils Band articles on ClassicRockHistory.com Just click on any of the links below……
Feature Photo: Rs3, CC BY-SA 3.0 , via Wikimedia Commons
Supertramp, formed in 1969 in London, England, is a progressive rock band known for blending sophisticated arrangements with pop sensibilities. Over the years, the group released 11 studio albums, with Breakfast in America (1979) becoming their most successful, selling over 20 million copies worldwide. Supertramp achieved critical and commercial success with hits like “The Logical Song,” “Take the Long Way Home,” and “Dreamer.” The band’s dynamic sound was shaped by its rotating lineup, which included many talented musicians. Supertramp has been honored with Grammy Awards and other accolades, marking their influence in the music industry. Despite several breakups and reformations, their legacy endures through their recordings and live performances.
Rick Davies
Rick Davies is the founding member of Supertramp and the only musician to appear on all of the band’s releases. Joining in 1969 as a vocalist, keyboardist, and harmonica player, he became the driving force behind the band’s sound. Davies played a pivotal role in crafting albums such as Crime of the Century (1974), Breakfast in America (1979), and …Famous Last Words… (1982), contributing to hits like “Goodbye Stranger” and “Bloody Well Right.” His blues-influenced piano style and rich baritone vocals defined much of Supertramp’s musical identity.
Outside of Supertramp, Davies pursued a solo career briefly and worked on various production projects. His leadership brought the band back together in 1996 for the album Some Things Never Change and subsequent tours. Davies’ dedication to the group remained steadfast until the band ceased touring after 2011.
Roger Hodgson
Roger Hodgson joined Supertramp in 1969, co-founding the band with Rick Davies. As a vocalist, guitarist, and multi-instrumentalist, Hodgson contributed significantly to the band’s early and most iconic works, including Crime of the Century, Even in the Quietest Moments… (1977), and Breakfast in America. His high-pitched vocals and introspective songwriting gave life to classics like “Give a Little Bit,” “The Logical Song,” and “Take the Long Way Home.” Hodgson’s work often contrasted with Davies’, providing a unique duality that propelled the band’s success.
Hodgson left Supertramp in 1983 to focus on his solo career, releasing albums such as In the Eye of the Storm (1984) and Open the Door (2000). He continued performing Supertramp classics in his live shows, solidifying his status as a respected figure in progressive rock.
Richard Palmer
Richard Palmer was Supertramp’s original guitarist and lyricist, joining the band in 1969. His tenure was brief but impactful, contributing to their debut album, Supertramp (1970). Palmer’s distinctive guitar work and lyrics helped define the band’s initial sound, particularly on tracks like “Nothing to Show” and “Words Unspoken.”
After leaving Supertramp in 1971, Palmer pursued a career as a songwriter and joined King Crimson’s lyricist team under the pseudonym Richard Palmer-James. His collaboration with King Crimson on albums like Larks’ Tongues in Aspic (1973) remains a highlight of his post-Supertramp career.
Keith Baker
Keith Baker served as Supertramp’s drummer in its earliest formation from 1969 to 1970 but did not appear on any of their recordings. His departure occurred before the band entered the studio for their debut album.
After leaving Supertramp, Baker joined Uriah Heep for their second album, Salisbury (1971), contributing to its heavy progressive sound. Though his time with Supertramp was short, Baker’s work with Uriah Heep earned him recognition in the rock genre.
Robert Millar
Robert Millar was a founding member of Supertramp, joining the band in 1970 as their drummer and percussionist. He also contributed harmonica to their music. Millar played on the band’s debut album, Supertramp (1970), which showcased the group’s early progressive rock sound. However, he left the band in 1971 before Supertramp found commercial success. Tragically, Millar passed away in 2024, leaving behind a legacy tied to the band’s formative years.
Dave Winthrop
Dave Winthrop joined Supertramp in 1970 as their saxophonist and woodwind player, adding a distinctive melodic element to their sound. He also provided backing vocals during his tenure. Winthrop contributed to the band’s second album, Indelibly Stamped (1971), which marked a stylistic shift towards a more straightforward rock sound. He departed the group in 1973, just before Supertramp achieved its breakthrough.
Kevin Currie
Kevin Currie became Supertramp’s drummer and percussionist in 1971, stepping in after Robert Millar’s departure. He played on Indelibly Stamped (1971), contributing to the album’s rawer, more rock-oriented sound. Currie left the band in 1973, as Supertramp began reshaping its lineup in preparation for their classic era.
Frank Farrell
Frank Farrell joined Supertramp in 1971 as a bassist, adding backing vocals and occasional piano and accordion to the band’s sound. His tenure with the group was brief, but he played an essential role during a transitional period for the band. Farrell left Supertramp in 1972, shortly before the lineup solidified around their classic era. Beyond his work with Supertramp, Farrell contributed to various projects as a session musician before his passing in 1997.
Dougie Thomson
Dougie Thomson joined Supertramp in 1972 as the band’s bassist, staying with the group during their most successful years. His basslines formed a crucial part of the band’s rhythm section on every album from Crime of the Century (1974) through Live ’88 (1988), including the iconic tracks on Breakfast in America (1979). Thomson also appeared on the posthumously released live album Is Everybody Listening? (2001). After leaving Supertramp in 1988, Thomson moved on to work in the music business outside of performing.
Bob Siebenberg
Bob Siebenberg became Supertramp’s drummer in 1973, just before the band released Crime of the Century (1974). His powerful drumming style defined the group’s sound on every subsequent album, from their breakthrough Breakfast in America to their later works such as Free as a Bird (1987). Siebenberg rejoined the band for their later reunions from 1996 to 2002 and again from 2010 to 2011, maintaining his role as a steady rhythmic force.
John Helliwell
John Helliwell joined Supertramp in 1973 as their saxophonist and woodwind player, contributing clarinet, brass, keyboards, and occasional backing vocals. Helliwell’s distinctive saxophone playing became a hallmark of the band’s signature sound, especially on songs like “The Logical Song” and “Breakfast in America.” He remained with Supertramp throughout their heyday and returned for reunions in the 1990s and 2000s, solidifying his place as one of the band’s most enduring members.
Carl Verheyen
Carl Verheyen joined Supertramp in 1996 as their guitarist, bringing his intricate and versatile style to the group. He contributed to albums such as Some Things Never Change (1997), It Was the Best of Times (1999), and Slow Motion (2002). Verheyen also toured with the band during their 1985–86 tours before becoming an official member. His work with Supertramp showcases his adeptness in both studio and live performances, adding layers of depth to their later works.
Lee Thornburg
Lee Thornburg joined Supertramp in 1996, bringing his talent as a trumpeter and trombonist along with his vocal harmonies. Before becoming a formal member, Thornburg contributed as a session musician during the recording of Free as a Bird (1987). His official involvement spanned from 1996 to 2002 and again from 2010 to 2011, during which he appeared on albums such as Some Things Never Change (1997), It Was the Best of Times (1999), and Slow Motion (2002). Thornburg also toured extensively with the band, adding depth to their horn arrangements and live sound.
Cliff Hugo
Cliff Hugo served as Supertramp’s bassist from 1996 to 2002 and again from 2010 to 2011. He contributed to Some Things Never Change (1997), It Was the Best of Times (1999), and Slow Motion (2002), where his steady basslines enriched the band’s later works. Hugo’s skillful playing supported both studio recordings and live performances, particularly during the 70–10 Tour in 2010.
Tom Walsh
Tom Walsh joined Supertramp briefly in 1996 as a percussionist and backing vocalist. His contributions are featured on the album Some Things Never Change (1997), where his percussive additions enhanced the band’s rhythm section. Though his tenure was short, Walsh played a key role in the band’s studio sessions during this period.
Mark Hart
Mark Hart became a permanent member of Supertramp in 1996, following his earlier work with the band as a touring musician from 1985 to 1988. Hart’s versatile skills on keyboards, guitar, and vocals are evident on all Supertramp releases from Free as a Bird (1987) onwards, excluding Is Everybody Listening? (2001) and the 70–10 Tour (2010). His ability to seamlessly blend into the band’s sound contributed to their evolving musical identity during his tenure.
Jesse Siebenberg
Jesse Siebenberg joined Supertramp in 1997, following in his father Bob Siebenberg’s footsteps. He played percussion, keyboards, guitar, and provided vocals, showcasing his multi-instrumental talents. Jesse’s contributions are highlighted on It Was the Best of Times (1999) and Slow Motion (2002). He also participated in the 70–10 Tour (2010), where his dynamic presence added to the band’s live energy.
Gabe Dixon
Gabe Dixon joined Supertramp in 2010, playing keyboards, percussion, and providing vocals during the 70–10 Tour. Though his time with the band was brief, Dixon brought a fresh perspective to their live performances, enhancing the soundscape with his musicianship.
Cassie Miller
Cassie Miller joined Supertramp as a backing vocalist, adding harmonies and depth to the band’s live performances during later tours. Her contributions to their concerts complemented the band’s sound, enriching the vocal arrangements for live audiences.
Scott Page
Scott Page joined Supertramp in 1983, bringing his expertise as a saxophonist, woodwind player, guitarist, and backing vocalist. His first major contribution came with The Story So Far… (1983/1990), and he was an integral part of the recording and live tours for Brother Where You Bound (1985) and Free as a Bird (1987). Page’s dynamic saxophone performances added depth to the band’s later works, and his guitar and backing vocals contributed to the layered soundscapes of these albums. After his tenure with Supertramp, he went on to perform with iconic acts like Pink Floyd, further solidifying his legacy in rock music.
Fred Mandel
Fred Mandel joined Supertramp briefly in 1983 as a session musician, contributing keyboards, guitar, and backing vocals. His work is featured on The Story So Far (1983/1990) and later revisited during the production of Some Things Never Change (1997). Mandel’s experience with other renowned artists, such as Queen and Alice Cooper, brought a unique flair to his contributions during his short tenure with the band.
Marty Walsh
Marty Walsh became a member of Supertramp in 1984, playing guitar and providing backing vocals. His contributions were essential to Brother Where You Bound (1985), where his precise guitar work shone on the album’s more progressive and ambitious tracks. He also played on Free as a Bird (1987) and the live album Live ’88 (1988), solidifying his place as a key member during this period. Walsh later pursued a career as a music educator, sharing his expertise with a new generation of musicians.
Brad Cole
Brad Cole joined Supertramp in 1985 and returned in 1987 to play saxophone and keyboards. While his contributions were primarily live performances, his work is documented on Live ’88 (1988). Cole’s versatility added a fresh element to Supertramp’s live shows, enhancing their performances with his multi-instrumental talents.
Steve Reid
Steve Reid joined Supertramp in 1987 as a percussionist. His work is featured on the studio album Free as a Bird (1987) and the live release Live ’88 (1988). Reid’s contributions added rhythmic complexity and texture to the band’s recordings and live performances during his brief tenure. His percussion work was particularly notable during the band’s exploration of more experimental sounds on Free as a Bird.
Check out our additional articles on the band Supertramp
Silver Tiger Media caught up with Opeth guitarist Fredrik Åkesson to discuss the making of the band’s new album, The Last Will And Testament. Following is an excerpt from the chat, which can be viewed below.
Åkesson discusses the return of growling vocals on the new record:
“‘§7’, that was the first track that was completed, and when I heard it in its entirety – with the vocals, with the growls coming back and everything – I was, ‘Wow, this is gonna be heavy, man. This is really cool.’ That element has been with us all the time because we play a lot of those tracks live, and I noticed that Mikael (Åkerfeldt) seemed to think it’s fun again to do it, that he was commenting on his own ability in that element of his singing. Like, ‘Wow, that was really guttural this night,’ and stuff like that. I could tell just the vibe of him that he was enjoying it again. That’s very important, that if we bring the element back, it shouldn’t be there as a gimmick; it has to be a reason for it. We knew, of course, there was gonna be a lot of talk about it, but also it suits these songs and it’s also suits the concept. So it’s not just about, yeah, a gimmick thing. And it also makes sense after doing four albums without it. And it’s always been a big part element of the band also. But I think it’s in a different way.”
Opeth’s 14th studio album, The Last Will And Testament, was officially released on November 22 via Reigning Phoenix Music / Moderbolaget. The album lands at #26 on BraveWords’ BravePicks 2024 Top 30, currently counting down here.
Opeth’s fourteenth album was written by Mikael Åkerfeldt, with lyrics conferred with Klara Rönnqvist Fors (The Heard, ex-Crucified Barbara). The Last Will And Testament was co-produced by Åkerfeldt and Stefan Boman (Ghost, The Hellacopters), engineered by Boman, Joe Jones (Killing Joke, Robert Plant), and Opeth, with Boman, Åkerfeldt, and the rest of Opeth mixing at Atlantis and Hammerthorpe Studios in Stockholm. The strings on The Last Will And Testament were arranged by Åkerfeldt and returning prog friend Dave Stewart (Egg, Khan) and conducted by Stewart at Angel Studios in London. Not one to miss a beat, visual artist Travis Smith returns to the fold, crafting his 11th cover, a haunting “photograph” reminiscent of Stanley Kubrick’s infamous “Overlook Hotel” photograph. Miles Showell (ABBA, Queen) also revisits mastering and vinyl lacquer cutting at Abbey Road Studios in London.
Åkerfeldt rolls out the red carpet for storied flautist and Jethro Tull main man Ian Anderson. Not only do Anderson’s signature notes fly on “§4” and “§7”, he narrates on “§1”, “§2”, “§4”, and “§7”. Joining Anderson, Europe’s Joey Tempest lends a backing vocal hand on “§2”, while Åkerfeldt’s youngest daughter, Mirjam Åkerfeldt, is the disembodied voice in “§1”.
The Last Will A Testament is gripping from start to finish, jaw-dropping inside and out, representing some of Opeth’s finest material to date. Just as Opeth welcomed many into its distressed arms over the years, the Swedes again deliver on the promise that great music always tells a compelling story—this time with growls.
The Last Will And Testament is available worldwide via Moderbolaget / Reigning Phoenix Music. Order here.
Album cover by Travis Smith.
The Last Will And Testament tracklisting:
“§1” “§2” “§3” “§4” “§5” “§6” “§7” “A Story Never Told”
“§4” lyric video:
“§3”:
“§1” (Radio Edit) lyric video:
Track by track video:
After conquering North America this past October, Opeth will embark on a headlining tour throughout Europe and the UK starting February 9 of next year. The full itinerary can be found below. Tickets here.
Tour dates (w/ Grand Magus):
February 9 – Helsinki, Finland – Ice Hall 11 – Stockholm, Sweden – Cirkus 12 – Oslo, Norway – Sentrum Scene 14 – Copenhagen, Denmark – DR Koncerthuset 15 – Hamburg, Germany – Docks 17 – Cologne, Germany – Palladium 18 – Berlin, Germany – Tempodrom 19 – Munich, Germany – Muffathalle 21 – Paris, France – L’Olympia 22 – Amsterdam, Netherlands – AFAS Live 23 – Brussels, Belgium – Ancienne Belgique 25 – Bristol, UK – Bristol Beacon 26 – London, UK – Roundhouse 28 – Birmingham, UK – Symphony Hall
March 1 – Manchester, UK – Albert Hall 2 – Glasgow, UK – Barrowland
Rock Duck Radio producer Mark Christopher Garrett has shared the Savatahe song “Stare Into The Sun” featuring Jon Oliva on vocals. Written by Oliva and the late Paul O’Neill for Savatage’s 1994 album, Handful Of Rain, the song originally featured current Savatage vocalist Zak Stevens.
Handful of Rain was released in August 1994, and is the band’s first record without founding guitarist Criss Oliva, who was killed in a car accident in 1993. He contributed to writing the songs “Taunting Cobras” and “Nothing’s Going On” before his death.
The legendary Savatage (Johnny Lee Middleton – bass, Chris Caffery – guitars, Al Pitrelli – guitars, Jeff Plate – drums, and Zak Stevens – vocals) have announced tour dates across Europe for summer 2025, with a mix of festival appearances and headline shows.
Says Zak Stevens: “As you can imagine, there are so many special things about these shows that are racing through my mind. We get to play a series of headline shows for the first time in over twenty years that will put us right back in front of all of the unbelievable fans who have given us so many unforgettable memories over the last three decades. Here’s our chance to directly give back to everyone who’s been there supporting us all these years! All the great festival shows are going to be off-the-charts amazing. It’s even hard to imagine the scale of excitement that’s going to take place with those shows.”
Savatage mastermind Jon Oliva expressed his disappointment at not being able to join the band for the shows, but shared his excitement, stating: “I am very excited for the guys to be doing some shows. Unfortunately, due to health issues, I will not be able to join the guys for this run. Hopefully, this is just temporary. I will continue working in the studio on new music for the future. These shows will be awesome and I will be working with them to get it all ready for you. I know everyone is going to love it!!! Me and the guys are very excited and ready to kick ass! So from me, thank you all for the support for all these years and we can’t wait to rock you!”
For further details, including ticket/festival links, head to Savatage.com. Find a video trailer below.
South American dates:
April 19 – São Paulo, Brazil – Monsters Of Rock 21 – São Paulo, Brazil – Espaço Unimed (Headline Date) 23 – Santiago, Chile – Masters Of Rock
European dates:
June 13 – Leeuwarden, Netherlands – Into The Grave 14 – Oberhausen, Germany – Turbinenhalle (Headline Date) 16 – London, UK – Shepherds Bush Empire (Headline Date) 18 – Zurich, Switzerland – Komplex 457 (Headline Date) 19 – Munich, Germany – Tonhalle (Headline Date) 22 – Dessel, Belgium – Grapop Metal Meeting 24 – Milan, Italy – Alcatraz (Headline Date) 26 – Barcelona, Spain – Rock Fest 28 – Thessaloniki, Greece – Rockwave
“We were pot-smoking hippies and Rick Wakeman was a pub guy. The angle twisted and we went off in a new direction”: The epic story of Yes and the three albums that changed the course of music
(Image credit: Gijsbert Hanekroot/Redferns)
Along with King Crimson, Genesis and ELP, Yes were one of the founding fathers of progressive rock thanks to the trio of groundbreaking albums they released between 1970 and 1972 – The Yes Album, Fragile and Close To The Edge. In 2009, late bassist Chris Squire and longtime guitarist Steve Howe looked back on two years that changed music forever.
The Summer of Love was over. The 60s were fizzling out, the hippie dream fading like a cheap T-shirt. If the new decade needed some symbolism, then 1970 had the deaths of Jimi Hendrix and Janis Joplin within three weeks of one another. After Woodstock came Altamont. In a time that was all about the vibes – the new vibes were heavy, the new vibes were bad.
Yet between 1970 and 1972 came a golden age – perhaps the golden age – of rock music in Britain. Led Zeppelin recorded Led Zeppelin III and IV; Black Sabbath made Black Sabbath, Paranoid, Master Of Reality and Vol 4; Deep Purple cut In Rock, Fireball and Machine Head; The Rolling Stones released Sticky Fingers and Let It Bleed; Free recorded Fire And Water, Highway and Free At Last; Genesis made Trespass, Nursery Cryme and Foxtrot; Emerson Lake & Palmer recorded ELP, Tarkus and Pictures At An Exhibition; Jethro Tull managed Benefit, Aqualung and Thick As A Brick.
“Things moved at a different pace then,” says Yes’s Chris Squire, some 40 years on. “The ‘tour, album, tour, album’ thing was much shorter. In those days it was a tour of England, the States, a run down to Japan and Australia and you were ready to do another one. Now it takes forever.”
As the 1970s opened, Chris Squire and Yes, the band he’d formed with Jon Anderson in 1968, were on the brink of a tasty little run of their own. In that same golden period they recorded and released genre-defining albums The Yes Album, Fragile and Close To The Edge.
“We also managed to fit in a couple of line-up changes and couple of tours of America, too,” Squire chuckles. “All in all we were quite busy, I suppose.”
Squire had survived a psychedelic dalliance of his own, playing in a band called Mabel Greer’s Toyshop, where he first met Jon Anderson and guitarist Peter Banks. He’d also been in a flower-power outfit, The Syn, around the same time that Anderson had sung on a couple of singles for Parlophone under the shameful pseudonym Hans Christian.
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Yes’s in 1971: (clockwise from left) Bill Bruford, Chris Squire, Steve Howe, Jon Anderson, Rick Wakeman (Image credit: Charlie Gillett/Redferns)
Yes were a less druggy, more serious proposition from the start. Squire, Anderson and Banks found a gifted drummer named Bill Bruford and keyboard player Tony Kaye and teased out a couple of formative albums called Yes and Time And A Word, made up of band originals and covers.
This feature originally appeared in Classic Rock issue 138 (October 2009) (Image credit: Future)
“When we were doing Time And A Word, Peter Banks was not very happy that Jon and I were very keen on using orchestration,” Squire recalls. “I suppose that caused a bit of a rift and that’s why… it was definitely a musical difference we had going. We parted ways.
“I frequented the UFO club and I’d seen Steve Howe playing in a band called Tomorrow there and at whatever the Reading Festival was back then; the Richmond Festival, I think. I’d seen him play at the Speakeasy in a much smaller environment with his own band. He was definitely number one on my list. I thought he was a blazingly good guitar player. He did take a bit of persuading [to join Yes].”
Steve Howe had been on the edges of getting somewhere. Tomorrow had a minor hit with My White Bicycle, later covered by Nazareth, and he’d rejected approaches from The Nice and Jethro Tull while in his own band, Bodast.
“Even though I was only in my early 20s, I’d been through a few ups and downs and I’d just been in a group where most probably the musicians weren’t as strong as me,” Howe remembers. “I was looking for a group where we were all equal in terms of capabilities. There had to be something right about this group, because besides living on the breadline, my music wasn’t getting a chance. It was very much about the internal chemistry. I believed that you had to have that to get things going. I felt that this was the time for me. I was getting noticed, and I wanted to do something that would pull this together.”
Howe took a guitar and a few effects pedals down to Yes’s rehearsal room in Barnes, West London, a small basement space in a house owned by their manager.
“I didn’t know Yes, “ he admits. “I’d seen them written about but I didn’t know what they were about. And although I can’t underestimate how good it was to hear Jon sing or Chris play the bass, or Tony Kaye, who was very funky on the organ, it was Bill who made me realise: ‘Hang on, this guy over there, how does he play that?’ The group was one I thought I could be part of, because everyone shared a very broad appreciation of music.”
Within weeks, Howe and the rest of Yes were out of London and ‘getting it together in the country’, living in an old farmhouse in Devon, home to Langley Studios. The idea was that they’d write an album’s worth of material and get to know each other.
“I roomed with Bill and maybe that’s why Bill and I are quite close, because we kind of had to share things and get along with each other,” Howe says. “The concept was to be a reasonably organised professional musician. I don’t think Yes had any other criteria. It was a bit like an orchestra: ‘Here you are, you play this instrument.’ One of the first things I played them was The Clap, and they said: ‘Great. Put that on the album.’ That got me really committed. I threw in everything I had. And I had quite a lot of instrumental sections, I had the middle of Yours Is No Disgrace, I had Wurm.”
“I suppose we were all on a similar, pot-smoking wavelength,” Squire considers. “That side of it was covered, really. We got on quite well. The arguments we had were over music, at that time.”
Yet, as Squire hints, the character of the group was emerging.
“We didn’t have the baggage of all that stuff we eventually accumulated over 10, 20, 30 years,” agrees Howe. “We weren’t overly living in each other’s pockets. We worked in Devon to create The Yes Album. Then we started doing gigs – and we couldn’t wait to get away from each other at times. It’s a fiery sort of creature. You need to go away and cool down. I don’t think we anticipated any big problems in those first few years, because it was all about the music then.”
The Devon sessions produced a blueprint for the future of Yes. Howe worked his guitar lines together with compositions by Squire and Anderson to form long, themed pieces. The Yes Album would feature three nine-minute songs: Yours Is No Disgrace, Starship Trooper and Perpetual Change.
There then followed what was an odd few months, when, as they prepared to record the new material, Yes also released Time And A Word, which had been completed with guitarist Peter Banks, before Howe joined, but nonetheless with Howe in the photo on the sleeve. It was a halfway house of a record, already superseded by the time it came out. The Yes Album followed just eight months later.
“There is an odd story about that too, which is kind of a stroke of luck, “ says Squire. “When The Yes Album was released, they had this postal strike. Back in those days, Fred Bloggs who owned the local record shop used to mail in to the record retailer how many of this they’d sold, how many of that. On Monday they used to open the envelopes, and the chart would come out on Tuesday. When there was a postal strike there was no way of getting this information, so they decided to take the whole of the British charts from Richard Branson’s new Virgin record store in Oxford Street. Our manager, Brian Lane, was straight down there, I’m assuming buying a whole load of records. So we went to No.4 in the Virgin store, therefore we were No.4 in the national charts. And when the postal strike was over, because we were No.4 in the charts, all the provincial stores ordered the record. I’m not saying it was dodgy, I’m just saying it was very fortunate there was a postal strike.”
Yes’s Steve Howe, Rick Wakeman and Jon Anderson recording Fragile in 1971 (Image credit: Michael Putland/Getty Images)
The Yes Album was a Top 30 hit in America, the band followed it out there, and the new life of Yes began.
“There was a sort of personal upheaval about the time I joined Yes and started to rise to success,” says Steve Howe. “A relationship just broke up, and it was a very painful one. It was partly because I did start a new life. It wasn’t that I wanted to sacrifice it, but I’d always sensed that when you joined a band you pushed some of your life away to deal with it. The moment Yes really started to get big, there was a painful but necessary change in my life. Other people came into it and I started a fresh one. My wife Jan, who I’m happily still with, she started with me then and she saw it all happen.”
“It was very exciting to go to Sunset Boulevard and play at the Whisky, stuff like that,” Squire says. “I could feel the energy of what was going on too.”
Within weeks of returning to the UK Yes were headed for the studio again. But the speed was beginning to open further divides in the band.
Squire: “I don’t know exactly what it was, but there was a lack of communication between Steve and Tony Kaye. It looked like that for the band to move on we needed to change one or the other – and Steve was proving himself to be a very valuable part of the organisation. I’d spotted Rick Wakeman. I suppose you can say I head-hunted him. It wasn’t easy, it took a lot of persuasion, but eventually he agreed.”
Wakeman would become a force majeure, both for the music and for the band. His willingness to embrace orchestration, his classical training and session man’s speed acted like rocket fuel on Yes’s music. His character added some torque, too.
“To put it blatantly, we were pretty much pot-smoking hippies and Rick was a pub guy,” says Squire. “Some of the magic comes when you knit someone in who isn’t like the last person. The angle twists and we go off in a new direction.
“We suddenly found that, because of the demand, we’ve got to get another album out and we’ve got to get it done in a couple of months. And in actual fact, from day one to the end of mixing we did Fragile in six weeks. We knew that we didn’t have enough organised pieces to fill an album, so we went: ‘Tell you what. Let’s do our solo efforts and use them as links between the band tracks.’”
Fragile was Yes’s first truly great record, a landmark of progressive rock. Short on time, long on inspiration, each band member spliced a short solo piece between three epic songs: Roundabout, South Side Of The Sky and Heart Of The Sunrise. Deeply ambitious, strangely quirky, gloriously indulgent, the songs summed up what the new genre was about: fiercely committed musicianship and challenging music. Anderson’s opaque lyrics and high, plaintive singing contrasted with the rasping toughness of the Squire/Bruford rhythm section and the virtuoso flourishes of Wakeman and Howe. It was a heady brew, of and for its time.
“We were learning and perfecting what we’d started doing on Starship Trooper, ” says Squire. “Heart Of The Sunrise almost fills out Yes’s blueprint – doing pieces that were longer, the style of us having a song with movements. It has a very fast instrumental and a melody and some quirky instrumental parts, then the song again.”
“I think we believed we were incredibly commercial as well,” says Steve Howe. “I’m saying this slightly tongue in cheek, but we sort of thought, obviously the artistic endeavour and development was so good that it was going to be an enormous hit. And then it was!”
Yes returned to America as headliners, sold out Madison Square Garden and set themselves on a path that would lead them to the commutes on Concorde, the private jets, the garages full of cars.
“I had four cars,” says Howe. “Trevor Horn said to me: ‘They never work, do they? You never know which one’s got petrol in, which one’s been serviced.’ He went back to one car and so did I.”
“We rolled with the times,” Howe remembers: “I could see that Bill and I were good moderates early on. We liked to have fun too, but we were stable people. The 10 years of me nurturing and trying to do the right thing for Yes, and all the success we had, was hugely rewarding, but there seemed no end to it. We were pushed around a bit. We created a scenario where we barely had time to live.”
With a formula established, Close To The Edge, recorded between April and June 1972, was in the shops by September that year, little more than nine months after the release of Fragile.
“We weren’t writing pop songs,” says Steve Howe. “When we did Roundabout, that was big, but in Jon’s and my mind we hadn’t got to the biggest. When we started writing Close To The Edge we started talking bigger, bigger. A whole different mood. We started getting new age, really; we got kind of floaty and gloomy, and those bits make the other bits sound even more powerful.”
Yes onstage in 1972 (Image credit: Gijsbert Hanekroot/Redferns)
The album featured just three songs: on vinyl the title track consumed side one, while And You And I slugged it out with Siberian Khatru on side two. Like Fragile, the album was esoteric in feel, cut through with Anderson’s strange words and the band’s rich, evocative prog rock.
“Jon had a way of taking my simplistic lyrics like, ‘Close to the edge/down by the river’ – meaning the Thames – and making them sound like something else,” Howe explains. “So sometimes people would criticise the lyrics and they were mine. He did write the majority of the lyrics, and he had a little bit of new age, new world concept all flowing together, a bit like the great artists. Dali was always throwing together obscure things, and Jon was throwing together the most obscure words. Sometimes perilously. But in a way, he didn’t think so much of meaning but the way they would sound.”
“The song Close To The Edge we did rehearse and play from beginning to end before we went into the studio,” Squire remembers. “Although we’d record in sections, we knew where the end was going to be. We had a game-plan. And that was really the last time we were ever able to do that. By the time we got to Tales From Topographic Oceans [1973] we didn’t have a sense of the ending, and that created another set of problems.”
As Squire suggests, Yes’s period of genuine excess was about to begin. A live triple album, Yessongs, preceded the perturbing and impenetrable Tales From Topographic Oceans.
“The private jets started in ’74, I think,” Howe says. “I was on the cover of Melody Maker about six times in the 70s, purely because I was the guitarist in Yes. Your life does become different then, and a lot of the arguments and so on were not about music any more. But the period up to Close To The Edge, times were different and we were part of a generation of groups who had albums as hits, rather than singles. If you look back at an album and it’s 20 years old and still selling copies, then you’re not doing much wrong.”
Originally published in Classic Rock issue 138, October 2009
Jon Hotten is an English author and journalist. He is best known for the books Muscle: A Writer’s Trip Through a Sport with No Boundaries and The Years of the Locust. In June 2015 he published a novel, My Life And The Beautiful Music (Cape), based on his time in LA in the late 80s reporting on the heavy metal scene. He was a contributor to Kerrang! magazine from 1987–92 and currently contributes to Classic Rock. Hotten is the author of the popular cricket blog, The Old Batsman, and since February 2013 is a frequent contributor to The Cordon cricket blog at Cricinfo. His most recent book, Bat, Ball & Field, was published in 2022.
Well Oiled by The Quireboys is a testament to the band’s enduring ability to channel raw energy and classic rock influences into a polished yet authentic album. Released in 2004, this record showcased their signature blend of blues-infused rock and roll with a fresh vitality that reaffirmed their place in the rock music scene.
Produced by Nick Mailing and recorded at Jacobs Studios in Surrey, Well Oiled features Spike on vocals, Guy Griffin on guitars, Nigel Mogg on bass, Keith Weir on keyboards, and Pip Mailing on drums. The album retains the timeless Quireboys charm, with soulful lyrics and infectious melodies anchored by Spike’s unmistakable raspy vocals and Griffin’s dynamic guitar riffs.
Critics praised the album for its consistent quality, noting tracks like “Good to See You,” which kicks off the record with a raucous energy, and “The Finer Stuff,” a slower, reflective piece that highlights the band’s range. Songs like “Too Familiar” and “Black Mariah” exude a swagger that underscores their reputation as torchbearers of classic rock. The band’s ability to balance grit and groove is evident throughout the album.
Feature Photo: Kenny Sun, CC BY 2.0 , via Wikimedia Commons
Known for their gritty blues-rock sound, The Black Keys began as a lo-fi, garage rock project but quickly evolved into one of the most influential rock bands of the 21st century. Their early albums, such as The Big Come Up (2002) and Thickfreakness (2003), laid the foundation for their success, and they gained significant recognition with Rubber Factory (2004). Over the years, the band has released multiple platinum-selling albums, earned Grammy Awards, and become known for their raw, blues-inspired music that blends elements of rock, blues, and garage.
The band’s breakthrough came with the release of Brothers (2010), which featured the hit single “Tighten Up” and won multiple Grammy Awards. Their following album, El Camino (2011), propelled them to even greater success with songs like “Lonely Boy” and “Gold on the Ceiling.” With a signature style that blends fuzzy guitar riffs, catchy hooks, and Auerbach’s soulful vocals, The Black Keys have enjoyed commercial success, critical acclaim, and a loyal fan base. The band’s lineup has seen some changes over the years, but Auerbach and Carney have remained the constant driving force behind the music.
Here is an overview of the current and former members of The Black Keys:
Dan Auerbach
Dan Auerbach is the lead vocalist, guitarist, bassist, and keyboardist of The Black Keys. He co-founded the band in 2001 with Patrick Carney. Auerbach’s deep, soulful voice and distinctive guitar playing became the hallmark of the band’s sound. He is also known for his production skills, contributing to the raw and stripped-down sound of the band’s early albums. Auerbach’s guitar work, particularly his use of fuzz and blues-inspired riffs, has been a key component of The Black Keys’ identity. His contributions to albums like Rubber Factory (2004), Brothers (2010), and El Camino (2011) were critical in helping the band gain recognition and establish themselves as one of the leading forces in modern rock music.
Outside of his work with The Black Keys, Auerbach has had a successful solo career, releasing albums such as Keep It Hid (2009) and Waiting on a Song (2017), which further showcase his abilities as both a singer and a producer. Auerbach has also collaborated with numerous artists, including producing for acts like Lana Del Rey, Dr. John, and Ray LaMontagne. His work has solidified his place as a highly respected figure in the music industry, known for his versatile musical talents and his ability to craft timeless sounds across various genres.
Patrick Carney
Patrick Carney is the drummer, keyboardist, guitarist, and percussionist of The Black Keys. Like Auerbach, Carney was a founding member of the band and has been integral to their sound from the very beginning. His minimalist drumming style, combined with his deep sense of rhythm, has been a defining feature of The Black Keys’ music. Carney’s playing, characterized by its raw, forceful energy, helped shape the lo-fi garage rock aesthetic that defined the band’s early albums, like The Big Come Up (2002) and Thickfreakness (2003). On albums like Rubber Factory (2004) and Brothers (2010), Carney’s drumming added intensity and depth to the music, giving it a steady foundation while allowing Auerbach’s guitar work to shine.
Outside of The Black Keys, Carney has worked as a producer and collaborator with several other artists, further demonstrating his musical versatility. He produced albums for artists like The Shins and worked with other bands in various capacities. Carney’s contributions to The Black Keys and the broader music industry have earned him recognition as one of the most influential drummers in modern rock.
Andy Gabbard
Andy Gabbard joined The Black Keys as a touring guitarist and backing vocalist in 2019. Gabbard brought his impressive guitar skills and harmonies to the band’s live performances, adding a new layer of depth to their already dynamic sound. His contributions, particularly his guitar work, helped to fill out the band’s live show, providing additional textures and supporting Auerbach’s lead guitar. His work alongside Auerbach on stage has been instrumental in helping the band transition to a more expansive live sound. Though primarily known for his live performances, Gabbard’s musicianship has added a unique flavor to the band’s shows.
Before joining The Black Keys, Gabbard was involved in various other musical projects, including his role in the band Buffalo Killers, where he played guitar and contributed to the band’s blend of garage rock and folk influences. His background in performing and recording has made him a valuable addition to the live lineup of The Black Keys.
Zach Gabbard
Zach Gabbard, brother of Andy, joined The Black Keys in 2019 as the bassist and backing vocalist. Gabbard’s bass playing brought a solid backbone to the band’s live sound, complementing Carney’s rhythm section while allowing the guitar-driven melodies to take center stage. Zach’s contributions on stage, particularly his backing vocals, have also added more depth and richness to The Black Keys’ live performances. Though relatively new to the band, Gabbard’s ability to adapt to the band’s style has made him an important part of their current touring lineup.
Before joining The Black Keys, Gabbard also played in Buffalo Killers with his brother, further developing his skills as a bassist and performer in the rock genre. His experience in live settings has made him an excellent addition to the touring lineup, adding energy and cohesiveness to the band’s live shows.
Ray Jacildo
Ray Jacildo joined The Black Keys in 2021 as a touring keyboardist, percussionist, and backing vocalist. Jacildo’s contributions to the band have helped broaden their sonic range, with his keyboard and percussion work adding texture and depth to their live performances. He has played an important role in enhancing the band’s dynamic sound, particularly in their more recent live sets. Jacildo’s keyboard work complements Auerbach’s guitar, adding layers of atmosphere and depth to songs that are more stripped-down on the recorded albums.
Before joining The Black Keys, Jacildo had experience as a musician in various other projects. His work as a keyboardist and percussionist, along with his experience on stage, made him a perfect fit for The Black Keys’ evolving live performances.
Chris St. Hilaire
Chris St. Hilaire became a member of The Black Keys’ live touring lineup in 2022, contributing percussion and backing vocals. St. Hilaire’s percussion work added further energy and groove to the band’s already powerful live shows. His playing helps drive the band’s rhythm section, complementing Carney’s drums while adding extra layers of dynamic percussion to songs. His contributions to the band’s live performances have made him an important addition to the band’s on-stage presence.
St. Hilaire is also known for his work as a session musician and in other live settings, where he has brought his percussion skills to a variety of different musical genres. His experience and versatility as a percussionist continue to enhance the live experience of The Black Keys.
Leon Michels
Leon Michels joined The Black Keys in 2010 as a touring member, contributing keyboards and percussion to the band’s live shows. Michels’ addition to the band helped to expand their sonic palette, adding a richer layer of atmospheric sound to their already potent live performances. His keyboard work complemented Auerbach’s guitar, bringing a deeper texture to the band’s tracks, while his percussion contributions added rhythmic complexity to their songs. Michels’ time with the band was instrumental in enhancing the energy and breadth of their live sound during the 2010s.
Outside of his work with The Black Keys, Michels is well known for his work as a producer, multi-instrumentalist, and co-founder of the group El Michels Affair, which blends soul, funk, and instrumental music. He has also collaborated with various artists across genres, including producing for Lee Fields & The Expressions. His career outside the band has solidified his place as an influential figure in modern soul and funk music.
Nick Movshon
Nick Movshon joined The Black Keys in 2010 as the band’s bass guitarist for their live shows. Movshon’s bass playing brought a solid, rhythmic foundation to the band’s performances, allowing the band to explore new sonic landscapes without sacrificing the raw energy that their fans expected. His contributions were particularly noticeable during the Brothers (2010) and El Camino (2011) tours, where his bass lines provided the essential drive for the band’s more expansive, dynamic sound. Movshon played a key role in shaping the live versions of the band’s songs during his time with them.
Before his time with The Black Keys, Movshon was involved in various musical projects and collaborations. He has worked with groups like The Arcs (another project led by Dan Auerbach) and has built a reputation as a skilled bass player in both the studio and live settings.
Gus Seyffert
Gus Seyffert joined The Black Keys in 2010, initially as a touring bassist and backing vocalist. He played a critical role in filling out the sound during the band’s performances, adding depth with his bass lines and harmonies. Seyffert’s contributions to the Brothers (2010) and El Camino (2011) tours were essential in creating a fuller live experience for the audience. His ability to blend seamlessly with the band’s dynamic sound made him a vital part of their touring lineup. Seyffert remained with the band as a bassist until 2013, before moving on to other musical endeavors.
In addition to his work with The Black Keys, Seyffert has had a successful career outside the band, working as a session musician and contributing to a variety of projects. He has worked with artists such as Norah Jones, Beck, and many others, establishing himself as a versatile bassist in the music industry.
John Clement Wood
John Clement Wood joined The Black Keys in 2010, contributing keyboards, backing vocals, guitar, and percussion to the band’s performances. His multi-instrumental talents enriched the band’s live shows, adding another layer of depth to their already complex and textured sound. Wood’s time with the band was particularly notable during the tours for Brothers (2010) and El Camino (2011), where his contributions helped the band transition smoothly between songs with his seamless integration of various instruments. His versatility in both vocal harmonies and instrumentation made him an important asset to the band’s live lineup.
Before joining The Black Keys, Wood worked on a variety of musical projects as a session musician and producer. He brought a wealth of experience to his role in the band, which allowed him to quickly adapt to their sound and contribute meaningfully during his time with them.
Richard Swift
Richard Swift joined The Black Keys as a bassist and backing vocalist in 2014. Swift was known for his soulful bass playing and harmonies, which added a unique dynamic to the band’s sound. His contributions were particularly valuable on the Turn Blue (2014) album, where his bass lines complemented the band’s shift toward a more psychedelic and atmospheric sound. Swift’s warm, melodic bass playing provided a grounding element to the band’s expansive sonic palette. Tragically, Swift passed away in 2018, but his contributions to The Black Keys during his time with the band have left a lasting impact on their sound.
Outside of The Black Keys, Swift was also known for his solo career, having released several critically acclaimed albums. He was a respected figure in the indie rock and soul scenes and had collaborated with artists such as The Shins and Phil and the Osophers. Swift’s legacy in music continues to resonate, especially through his work with The Black Keys.
Steve Marion
Steve Marion, also known for his work with Delicate Steve, briefly joined The Black Keys in 2019 as a touring guitarist. Marion’s guitar work added another layer of complexity to the band’s live shows, providing support for Auerbach’s lead guitar and helping flesh out the band’s live arrangements. Though his time with the band was short, his contributions were felt during the 2019 performances.
Marion’s musical career outside of The Black Keys has been marked by his unique solo work and his involvement in Delicate Steve, a project that blends instrumental rock with a variety of other genres, including funk and world music. His work with Delicate Steve has garnered attention for its creativity and innovative approach to guitar-driven music.
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In the clip below, guitarist Scott Ian talks Metal Hammer through the five tracks that have defined the band’s career so far.
Scott’s second choice: “Madhouse’, reason being that record (Spreading The Disease) came out in 1986, that was our first music video, and we shot it in an insane asylum in Staten Island, New York. It hadn’t been used in decades but you could film stuff there. We had a whole bunch of our friends dressed up as patients that would have been living in that hospital. It was submitted to MTV, which was going to be a bit of a long shot in 1986 for a band named Anthrax that played the music we played. MTV came back to us and very politely said ‘We will never air this, you are banned from MTV because we feel that you are making fun of the mentally impaired.’ We wore it as a badge of honour.”
Anthrax recently wrapped up their 2024 European Tour with Kreator, and special guests Testament. On December 11th they played at Spodek in Katowice, Poland. Fan-filmed video of the entire show can be viewed below.
Setlist:
“A.I.R.” “Got the Time” (Joe Jackson) “Caught in a Mosh” “Fight ‘Em ‘Til You Can’t” “Madhouse” “Metal Thrashing Mad” “Be All, End All” “I Am the Law” “Medusa” “Antisocial” (Trust) “Indians” “Efilnikufesin (N.F.L.)”
Drumeo has shared a new video accompanied by the following message:
“Watch as Nic Collins and Brandon Toews build Phil Collins’ iconic concert tom kit. Will Phil approve of how they set up the kit? Why did he choose this specific drum kit configuration? Tune in to find out—and see Phil play this kit for the first time in over a decade.”
Drumeo recently shared a very special, in-depth two-hour documentary on Collins’ career. Check it out below.
Drumeo: “‘I’m not a singer that plays a bit of drums; I’m more of a drummer that sings a bit.” This famous Phil Collins quote perfectly captures the essence of a man celebrated by millions as a pop legend. But ask Phil himself, and he’ll tell you: ‘I’m a drummer.’
On March 26, 2022, after an extraordinary 50-year career of touring and recording, Phil Collins announced his retirement. Later that year, we had the incredible honor of inviting Phil and his son, Nic Collins, to the breathtaking Château de l’Aile in Vevey, Switzerland. From October 18-21, 2022, Phil shared his story like never before in a series of brand-new interviews.
For the first time on film, Phil takes us on a journey through his life and career from a drumming perspective—from his early days behind the kit to his groundbreaking work with Genesis and his celebrated solo career, from his time with the jazz-fusion group Brand X to composing for Disney’s Tarzan, forming his own big band, and ultimately passing the torch to Nic during the final Genesis and Phil Collins tours.
This is Phil’s story, told in his own words.
This documentary offers a rare and personal glimpse into the life and legacy of a true drumming icon. Phil’s story is one of passion, perseverance, and sacrifice—a testament to the power of giving everything you have for what you love. We are deeply grateful to Phil for trusting Drumeo to share his remarkable story.”
“There’s an unlimited amount of bad things happening in the world, real and imagined. It’s not hard for us to come up with stuff”: The story of Cannibal Corpse’s Gallery Of Suicide, the album that helped keep 90s death metal alive
(Image credit: Naki/Redferns)
Cannibal Corpse’s sixth album, 1998’s Gallery Of Suicide, found the death metal mainstays ploughing the same bloodied, gore-filled furrow while the rest of the world focussed its attention on nu metal. In 2009, frontman George ‘Corpsegrinder’ Fisher and bassist Alex Webster looked back on the album that helped keep death metal alive in the ’90s.
Metal moves in cycles, just like everything else. If you don’t believe us, just listen to George ‘Corpsegrinder’ Fisher, the frontman of Cannibal Corpse, the goriest death metal band there’s ever been.
“In 1997, black metal had risen and everyone had a death metal band!” says Corpsegrinder, “Some of them weren’t so good…”
Cannibal Corpse were one of the most successful death metal acts in the world for a couple of years at this point, despite – or perhaps because of – the horrifically graphic nature of their songs. Their fifth album, Vile, appeared in 1996 and was the first to feature Corpsegrinder, who had left his old band Monstrosity to replace CC’s first singer, Chris Barnes. Making history by landing on the bottom end of America’s Billboard chart, Vile made it clear that the new lineup meant business.
Many metalheads were fixated on the new wave of black metal emanating from Scandinavia, the UK and the US. Just as grunge had killed glam back in 1991, a new movement of corpsepainted bands was making the death metal scene look tedious, or worse, obsolete. Only the best would survive.
CC’s solution was to record an album that would take the legacy of Vile, make it darker and more atmospheric and prove that death metal still had balls. It helped that the band had finally come into their own as musicians.
“By this point, we’d got a grip of our instruments and we’d hit our stride,” bassist Alex Webster recalls. “Every album sounded tight, and by the time George joined the band we were tuning lower too.”
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Required to play faster, deeper and tighter than ever before, CC hit a stroke of luck when one of their guitarists, Rob Barrett, departed after Vile and was replaced by Pat O’Brien, a supremely technical player – just what they needed in order to re-stake their claim.
(Image credit: Naki/Redferns)
“It’s a crazy coincidence,” recalls Corpsegrinder, “because Pat added technique to the band that we didn’t have before. We’re not super-technical, but we were definitely heading in that direction.”
(Image credit: Future)
“When Rob left, we’d written about three songs for the new album,” Alex adds. “We carried on writing and took a couple of months before we chose another guitar player. This was one change that we didn’t have to make in a hurry, for once! He left around February 1997, and we didn’t do any recording until October that year.”
Nowadays, when a band need a new guitar player they just send out a few emails, stick a post on MySpace and the applications roll in, but back then it was entirely different.
“None of us had computers,” laughs Alex. “1997 was still way before the internet age. None of us had computers until about five years ago! We didn’t have cellphones, so there wasn’t really a way to get the word out – it just spread in the old-school way of people hearing about it from this person or that person.”
From the off, Pat – then with melodic metallers Nevermore, a world away from the blood-freezing violence of Cannibal Corpse – was the obvious contender to take over from Rob.
“I’d met Pat before he came down to audition, because we hung out when I was still in Monstrosity,” remembers Corpsegrinder. “He was cool. He keeps to himself.”
In fact, Pat came with many approvals.
“Our soundman said that he knew him and that we should meet him because he was cool and into death metal,” says Alex. “Also Steve Tucker, who was in Morbid Angel at the time, had played with Pat and recommended him, so there’s another person who was pushing Pat in our direction, and we ended up reaching out to him. Once he came down to Florida, it was clear that he was going to be the best guy.”
Alex adds that Pat, who is one of those huge, silent geezers that you should really never irritate, is naturally reserved.
“I’d probably have been disconcerted by his seeming lack of enthusiasm, if I hadn’t been warned by a few people that that’s just how Pat is – he’s not going to be jumping around getting excited about things!”
Despite his reserved outward appearance, Pat was keen to get to work, and came to the first sessions for what would become Gallery Of Suicide with a fully formed song, Stabbed In The Throat. The track meshed instantly with those contributed by the rest of the band, such as Blood Drenched Execution, Dismembered And Molested and Every Bone Broken, making Gallery… an hour-long symphony of cruelty. So where did Cannibal get their ideas for these frankly terrifying songs?
“Just by watching the news you can find plenty of inspiration – and then on top of that you’ve got all the great horror movies and novels out there,” Alex explains. “There’s an unlimited amount of bad things happening in the world, real and imagined, so it’s not too hard for us to come up with stuff.”
Once the songs were written, Cannibal moved down to the famous Morrisound studio in Tampa. Corpsegrinder remembers this time with a chuckle, saying, “I lived in a house with Paul [Mazurkiewicz, drummer] and another friend of mine, and it was a crazy time. We were slobs and just partying!”
When recording time came around, however, the fun and games stopped: Cannibal were there to demonstrate the fearsome skills of their new lineup, and went into the studio sessions with all weapons drawn. Producer Jim Morris had a shock coming to him, recalls Corpsegrinder, whose vocal delivery was astounding.
“Jim did a great job. I talked with him about some of the lyrics and he was dying with laughter! One time, he was laughing while I was recording – so I said, ‘Dude, did I mess up?’ and he said, ‘No, no – how are you doing this? What the fuck are you doing? These lyrics are out of control…’ There’s some fast shit on there!”
Cannibal Corpse’s George ‘Corpsegrinder’ Fisher (Image credit: Naki/Redferns)
The songs were laid down one by one, with all-time classics such as I Will Kill You and Centuries Of Torment joining Cannibal classics like 1993’s Hammer Smashed Face. Several of the songs, notably the title track and From Skin To Liquid, which deals with the subject of human decomposition, contained atmospheric sections that contrasted with the warp-speed blast- and-roar that fans had come to expect.
“Gallery… is one of the most experimental albums we’ve done,” Corpsegrinder explains. “The title track itself is a little bit different: some parts are almost black metal-ish with blastbeats. It wasn’t on purpose – it just turned out that way.”
Although Cannibal Corpse hadn’t intended their album to appeal to black metal fans, that sector of the head- banging community heard the darker, more thoughtful side of Gallery Of Suicide and liked it. In addition, both death and black metal bands were seen for the first time on the same bills at about this time.
“We played on some smart tour packages, like with Marduk and Dark Funeral,” says Alex. “Black and death metal come from the exact same roots, from mid-80s stuff like Sodom, Kreator, Celtic Frost and Possessed, so there was no reason why they couldn’t tour together, and that worked out really well.”
The final step was the artwork. As with most CC covers, Gallery Of Suicide boasted a highly explicit cover, designed by the band’s long-time sleeve artist Vincent Locke. It depicts a grim dungeon in which a group of characters are hanging, shooting and disembowelling themselves.
“People go in there and commit suicide, and if you’re unfortunate enough to be curious to see what this gallery is about, or crazy enough, you can go inside,” George explains.
A toned-down cover with less gore was also commissioned from Vincent for the benefit of high-street stores.
“I love the censored cover as much as the uncensored one,” Alex claims. “It’s really dark and eerie-looking.” After years of commissioning covers that are a combination of horror and high art, Alex is relaxed about the subject of censorship.
Cannibal Corpse | I Will Kill You | Live in Sydney – YouTube
“Some day, every major world leader is going to have grown up with heavy metal or hip-hop, and it’s not gonna pack the same kind of fear for them, and so eventually the whole censorship problem will extinguish itself. But for the time being, it’s still around.”
After 11 years, how does Gallery Of Suicide sound to the band?
“Actually I listened to it not long ago because we wanted to hear some of the old tracks, and I think it’s really good,” says Alex. “It’s one of the darkest albums we ever did: there’s dark melodies, dark lyrics… I mean, all our albums are dark, with songs about murder and so on, but there’s something extra-dark about that one!”
And if you’re wondering whether Cannibal Corpse managed to beat the decline of death metal to reclaim their position at the top of America’s extreme metal scene, the answer is obvious. Looking back, it seems that the death metal movement needed to rid itself of a few lesser bands to keep moving forward.
“A genre of music can only be a brand new thing for a couple of years,” says Alex, “and then it becomes established, which is what had happened with death metal by that point. We were lucky enough to have fans who stayed with us, so with the whole dip in death metal, we didn’t see it the same way that other bands did.”
“Death metal never went anywhere,” Corpsegrinder concludes, with immense satisfaction. “Deicide, Immolation, Mortician, Morbid Angel and us – we were all still out there touring. We knew the fans still cared.”
We still do, Corpsegrinder, we still do.
Originally published in Metal Hammer issue 198, October 2009
Joel McIver is a British author. The best-known of his 25 books to date is the bestselling Justice For All: The Truth About Metallica, first published in 2004 and appearing in nine languages since then. McIver’s other works include biographies of Black Sabbath, Slayer, Ice Cube and Queens Of The Stone Age. His writing also appears in newspapers and magazines such as The Guardian, Metal Hammer, Classic Rock and Rolling Stone, and he is a regular guest on music-related BBC and commercial radio.
