Author: u0zp4y

Paramount has toyed with making a new Naked Gun movie for many years. Liam Neeson was the only man brave enough to actually do it.

In the film he plays Lt. Frank Drebin Jr. (already a very funny name), the son of the original Drebin, played by Leslie Nielsen in three hilarious Naked Gun films from the 1990s. Based on the first trailer for the new reboot/sequel, the new crew has maintained the same tone of the previous films, spoofing cop movies and silly Hollywood cliches in general. And that O.J. Simpson joke … wow. That you need to see for yourself. (If you’re not familiar with the original movies, Simpson appeared in all three of them as Drevin’s partner, Nordberg.)

You can watch the trailer below:

READ MORE: How Silly Can You Get? The Making of Top Secret!

The poster for the film also pays homage to the first Naked Gun trilogy in general and almost exactly copies the pose that Leslie Niesen had in one of the posters for The Naked Gun 2 1/2: The Smell of Fear.

Paramount

The new Naked Gun was directed by Akiva Schaffer, one-third of the Lonely Island, and perhaps most importantly in this context, the director of the recent Chip ’n’ Dale: Rescue Rangers movie, which was itself basically a spoof of legacyquel culture. He’s the right guy to do something like this. And Neeson is another smart choice; a guy who can do comedy (see his vocal work in The LEGO Movie) and has made so many deadly serious action movies over the last 15 years, that he has a persona he can make fun of in this context.

Here is the new Naked Gun‘s official synopsis:

Only one man has the particular set of skills… to lead Police Squad and save the world! Lt. Frank Drebin Jr. (Liam Neeson) follows in his father’s footsteps in THE NAKED GUN, directed by Akiva Schaffer (Saturday Night Live, Popstar: Never Stop Never Stopping) and from producer Seth MacFarlane (Ted, Family Guy). Joining the case are cast Pamela Anderson, Paul Walter Hauser, CCH Pounder, Kevin Durand, Cody Rhodes, Liza Koshy, Eddie Yu, with Danny Huston.

The Naked Gun is scheduled to open in theaters on August 1 of this year.

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With less than twelve hours remaining in their Best ’80s Album March Madness battle, Guns N’ Roses and Van Halen are locked in an incredibly close race.

After nearly 10,000 reader ballots have been cast, just 61 votes separate 1984 and Appetite for Destruction.

So we asked four of our writers to weigh in on which album gets their support in this race, before giving you one last chance to register your own vote below.

You can vote once per hour now through tonight, April 3 at 11:59PM ET. The winner goes on to the finals, where they will compete against either AC/DC‘s Back in Black or U2‘s The Joshua Tree.

Bryan Rolli: I love both of these albums to death, but Appetite for Destruction is the only one tattooed on my body. To roar out of the gate with such a paradigm-shifting album is one of the rarest feats in music (one that Van Halen also achieved with their 1978 debut). After nearly a decade of increasingly bloated and contrived glam metal dominating the Sunset Strip, Guns N’ Roses made rock ‘n’ roll sound dangerous again with Appetite. Their hybrid of blues-rock, punk, glam and a tinge of metal sounded raw, unrepentantly depraved and impossibly catchy. The album is a primer in hard rock guitar playing and economical hook writing. Axl Rose’s shapeshifting vocals are nothing short of revelatory: He sounds like a twisted beggar, a thuggish street brawler, a decadent party host and a lovesick poet all at once. For my money, Appetite for Destruction is a perfect album with a perfect title. Guns N’ Roses sound hungry and fearless in a way that can’t be faked or replicated, resulting in a lightning-in-a-bottle moment that defined their career and the decade.

Michael Gallucci: Appetite for Destruction – While 1984 opened a few new doors for, specifically, Van Halen, Appetite for Destruction shifted the way, generally, hard-rock records sounded by the end of the decade. 1984 today sounds very much a product of its time; Appetite, though, can still be heard in any number of modern records.

Matt Wardlaw: Appetite for Destruction. An album that bridged punk, hard rock and hair metal, with the kind of danger you don’t see in rock ‘n’ roll albums anymore. “Out Ta Get Me,” for example, sounds like nothing GNR ever did since, and it has an edge built into it. Appetite is also the band’s most cohesive record — the one where they were all on the same page about where their music should go, and weren’t trying too hard to be artistic and theatrical.

At the same time, the record was diverse, with the snarling metal edge of “Welcome to the Jungle” and the pretty melodic core of “Sweet Child O’ Mine” showing off GNR’s range. Axl and Slash especially were so locked in on this album, really carrying on the Toxic Twins legacy of Steven Tyler and Joe Perry. While I appreciate Van Halen’s 1984, I think Appetite is the better record.

Matthew Wilkening: Even though these albums came out just three years apart, and during the middle third of the decade, they feel like the bookends of the ’80s hard rock story. Although they were operating at a higher level than the bands they influenced, the keyboards of the chart-topping “Jump” and the humorous hit videos of Van Halen’s 1984 kicked open the door to fame for Motley Crue‘s “Home Sweet Home” and a massive wave of other hair metal bands.

Although they weren’t above using some of the trappings of the genre at first, Guns N’ Roses brought a sense of authenticity and danger back to rock with Appetite for Destruction, rendering much of hair metal’s pomp and excess instantly uncool years before Nirvana’s Nevermind and grunge arrived to finish the job.

But while Appetite for Destruction may have had the bigger impact on rock history as a whole, 1984 had the bigger impact on the ’80s, which is the decade in question here.

Lynyrd Skynyrd has confirmed Celebrating 50 Years: Live at the Ryman, commemorating their star-studded last show with stalwart guitarist Gary Rossington from 2022 in Nashville. The album is due on June 27. Pre-ordering is already underway.

“We are so grateful to the devoted fans for their support throughout the years of transitions and losses,” Lynyrd Skynyrd frontman Johnny Van Zant said in an official statement. “Last year, we lost the great Mr. Gary Rossington. We unknowingly were able to have captured his final performance with us. It’s bittersweet but what a special place to have had his final performance, the mothership of music – the Ryman Auditorium!”

Celebrating 50 Years: Live at the Ryman features new renditions of 15 classic Lynyrd Skynyrd songs, along with a special documentary bonus track. Rossington joined the band for “That Smell” and remained on stage until the concluding encore of “Freebird.” See a complete track listing below, along with a special duet on “Tuesday’s Gone” with Jelly Roll.

READ MORE: Top 10 Gary Rossington Songs

Other guests included Marcus King on “Saturday Night Special,” John Osborne of the Brothers Osborne on “Workin’ for MCA,” Brent Smith of Shinedown on “Simple Man” and Donnie Van Zant of 38 Special on “Red White and Blue.” Donnie Van Zant is the brother of original Lynyrd Skynyrd frontman Ronnie Van Zant and his successor, Johnny.

“It was a very special night with incredibly talented guests as we honored the iconic musicality of Skynyrd,” Johnny Van Zant added. “We are so grateful to the Ryman and to all of those who have worked so hard to make this project become a reality. This will forever be a keepsake in our hearts, and we are so happy to be able to share it with our Skynyrd Nation.”

Ronnie Van Zant was a passenger on the fateful 1977 plane crash that decimated Lynyrd Skynyrd. Rossington later reassembled the band with Johnny Van Zant and others in the late ’80s. By the time Lynyrd Skynyrd arrived at the Ryman, however, Rossington had been battling health issues for many years. He died in early 2023, leaving long-time collaborator Rickey Medlocke to move forward.

Lynyrd Skynyrd, ‘Celebrating 50 Years: Live at the Ryman’
“What’s Your Name”
“Workin’ for MCA” (with John Osborne)
“You Got That Right”
“I Know a Little”
“Down South Jukin'”
“That Smell”
“Cry for the Bad Man”
“Saturday Night Special” (with Marcus King)
“Tuesday’s Gone” (with Jelly Roll)
“Red White and Blue (Love It or Leave)” (with Donnie Van Zant)
“Simple Man” (with Brent Smith)
“Gimme Three Steps”
“Call Me the Breeze”
“Sweet Home Alabama”
Encore:
“Free Bird”
Bonus Track:
“Celebrating 50 Years of Lynyrd Skynyrd Documentary”

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Wet Leg have announced details of their second album Moisturizer , set for release via Domino on July 11.

The Isle of Wight five-piece, fronted by Rhian Teasdale and Hester Chambers, describe the follow-up to their self-titled 2022 debut album as “fun and freaky and fabulous” and claim it’s “punchier, prettier and more perverted where it counts”.

A press statement from the band’s record label says that Moisturizer, produced by Speedy Wunderground head honcho Dan Carey, is “an album of manic love songs and well-timed kiss-offs, delivered by a clan of the UK’s most beloved oddballs.”

The first taste of Moisturizer comes with in the form of new single catch these fists, which the good people at Domino describe as “dance-punk par excellence”, and which we’re told was inspired by an interaction with a belligerent man.

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Furthermore, we’re informed that Moisturizer contains “love songs of every stripe: stressed-out, gooey-eyed, gratuitously horny, blissed out, obsessive and mysterious”, and that the record is “unapologetically bolder, stronger and raunchier” than anything the group have released in the past.

By all accounts, the ’80s were an ultra-competitive decade for rock bands, but our list of 5 Hair Metal Songs Featuring Big-Name Guest Performers shows that they could occasionally play nice.

As hair metal — or glam metal, or pop-metal, or whatever you want to call it — became the predominant rock subgenre conquering the airwaves, artists and producers alike found that they could multiply their winnings with some timely collaborations.

Some of these guest features allowed rockers to meet their heroes or pay back favors done for them earlier in their careers. Others were planned so that bands could ingratiate themselves with their peers and further monetize their relationship.

Read on to learn more about 5 Hair Metal Songs Featuring Big-Name Guest Performers.

Alice Cooper, “Only My Heart Talkin'” featuring Steven Tyler

With producer and song doctor Desmond Child at the helm, Alice Cooper‘s 1989 comeback album Trash became a star-studded affair. Almost every track features a big-name collaborator, including four-fifths of Aerosmith (sans Brad Whitford), Jon Bon Jovi and Richie Sambora, Kip Winger, Steve Lukather and more. It’s hard to pick just one, but we’ll single out “Only My Heart Talkin’,” the splashy power ballad featuring Steven Tyler that could have easily replaced “Angel” on Aerosmith’s Permanent Vacation.

Want more? In the guitar department, Joe Perry and Sambora bring their signature styles to “House of Fire” and “Hell Is Living Without You,” respectively.

The collaborations continued on Cooper’s next album, Hey Stoopid. Its title track features a searing guitar solo from Slash and backing vocals from Ozzy Osbourne, while standout single “Feed My Frankenstein” features bass from Nikki Sixx and a dual-guitar solo from Steve Vai and Joe Satriani.

Michael Monroe, “Dead, Jail or Rock ‘n’ Roll” featuring Axl Rose

Guns N’ Roses were avowed fans of Hanoi Rocks, so it made perfect sense for Axl Rose to guest on frontman Michael Monroe‘s 1989 solo album Not Fakin’ It. Rose’s banshee wail can be heard briefly on lead single “Dead, Jail or Rock ‘n’ Roll” and title track (and Nazareth cover) “Not Fakin’ It.”

“We were both Nazareth fans,” Monroe explained to Classic Rock in 2023. “It was no surprise to me that he liked them, as I could hear the influence of Dan McCafferty in his singing style. However, he wasn’t familiar with the song ‘Not Fakin’ It,’ which was a Nazareth cover on my album, so knowing that it was a Nazareth song made him like the album even more.”

Monroe later repaid the favor by playing harmonica on Guns N’ Roses’ Use Your Illusion track “Bad Obsession” and singing on their cover of the Dead Boys’ “Ain’t It Fun.” The latter appeared on “The Spaghetti Incident?,” which also featured Guns’ rendition of Nazareth’s “Hair of the Dog.”

Motley Crue, “Slice of Your Pie” featuring Steven Tyler

Motley Crue and Aerosmith both recorded their 1989 albums — Dr. Feelgood and Pump, respectively — at Vancouver’s Little Mountain Sound Studios around the same time, so it was probably easy for Steven Tyler to pop by a session and add some signature vocalizing to the intro of Motley Crue’s “Slice of Your Pie.” The Aerosmith frontman also contributes backing vocals on “Same Ol’ Situation” and “Sticky Sweet” alongside Bryan Adams and Jack Blades.

Other guest performances on the star-studded Dr. Feelgood include Cheap Trick‘s Robin Zander and Rick Nielsen, who sing backup on “She Goes Down,” and Skid Row’s collective backing vocals on “Time for Change.”

Ratt, “Heads I Win, Tails You Lose” Featuring Jon Bon Jovi

Ratt gave Bon Jovi an early career break when they booked the fledgling rockers as their support act on their 1985 tour. Several years later, Jon Bon Jovi returned the favor by singing backup on “Heads I Win, Tails You Lose” off Ratt’s 1990 album Detonator. The LP was co-produced and co-written by Desmond Child, the veteran songwriter who collaborated on Bon Jovi’s Slippery When Wet and New Jersey albums, along with several other blockbuster titles from the era.

“He came in there, yodeled and that was cool, man,” Ratt frontman Stephen Pearcy told Mitch Lafon in 2021. “He threw us a bone for making them so fucking huge.”

Warrant, “Cherry Pie” Featuring C.C. DeVille

Poison and Warrant were two of the biggest and horniest rock bands on the Sunset Strip at the dawn of the ’90s, so a collaboration between them was perfect brand synergy. Warrant frontman Jani Lane invited Poison guitarist C.C. DeVille to cut a solo on the band’s “Cherry Pie” in the hopes of currying their favor and securing a support slot on their tour.

The networking paid off, but Cherry Pie producer Beau Hill wasn’t thrilled with the process. “Sitting in the studio with C.C. was the most painful experience of my life,” Hill said in Richard Bienstock and Tom Beaujour’s 2021 book Nothin’ but a Good Time. “C.C., on a good day, would never come up to my standards of something that I would want to put my name on and release to the public. But I bent over backwards to accommodate the greater good, if you will.”

Despite Hill’s objections, “Cherry Pie” became a Top 10 hit, and DeVille’s chaotic solo complements the song’s outrageous attitude.

Lou Gramm has revealed how Foreigner’s 2024 induction into the Rock & Roll Hall of Fame helped him drop his long standing animosity towards his former band.

In a conversation with Billboard, Gramm described the Hall of Fame event as ”life-changing,” before elaborating on how it impacted his perspective.

“Ever since (the induction) it felt like, personally, I had to find a way to let go of some of the things I’ve been holding onto for years — and, like the song says, let it be,” the singer explained. “It’s a hackneyed sentiment, but it’s true — life’s too short… And a lot of the things that are blown up and made big deals about are easy enough to get over and humble yourself and reach out a little bit, ’cause what you’ve been mad about for the past 20 years is not a monumental thing.”

Gramm’s issues with Foreigner have largely stemmed from his disputes with band founder Mick Jones. The two enjoyed a fruitful creative relationship during their time together, yet also clashed over songwriting credits and direction for the band. Gramm left Foreigner for good in 2003, though he has sporadically made guest appearances with the group.

READ MORE: Lou Gramm Was ‘Crushed’ by Credit Split on Foreigner Hit

Jones, whose health has declined due to Parkinson’s disease, was unable to attend the Rock & Roll Hall of Fame induction.

“I hope he was watching the show,” Gramm acknowledged. “It was a great experience and…a real honor for what all of us, and especially Mick, have accomplished. Our creative partnership was really excellent. I think we were all very proud.”

Lou Gramm Is ‘Good Now’ With Kelly Hansen

Following Gramm’s 2003 departure, Foreigner added singer Kelly Hansen, who has served as frontman for more than 20 years now. Though Gramm has long held a level of resentment towards his replacement, both men performed during the induction ceremony. Once again, the event seems to have quelled bad blood.

“We didn’t have a very good relationship before,” Gramm admitted regarding Hansen. “But it’s good now.”

“I’m glad he feels that way,” Hansen noted to Billboard in a separate interview. “Hopefully we’re gonna be having a lot of the original guys come on stage here and coming out for our 50th anniversary, which is next year. That’s kind of full circle. We like that energy, and I think everyone understands how fortunate we all are to have been part of this legacy and enjoy the commonality of this legacy.”

READ MORE: Top 10 Foreigner Songs

Gramm recently made a surprise appearance with Foreigner during their March 15 performance in Clearwater, Florida. Shortly afterward, the band announced that the singer would join them for an eight-date run through Mexico and South America beginning April 28 (Hansen will not take part due to “residency issues”). Gramm expressed hope that his work with Foreigner will continue once these shows are done.

“I don’t think there’s any contrivance or people questioning the reason why I would be up there with that band,” the singer noted. “[The modern lineup of Foreigner] is something Mick wanted to do after we parted company, and he did a great job and they’ve done a great job over the last two decades of keeping the name up there and flying the flag. They deserve a lot of credit.”

Kid Rock visited the White House today to continue his campaign against corruption in the ticketing industry, speaking out as President Trump signed an Executive Order addressing the subject.

You can see dozens of pictures of Trump and the star-spangled suit-wearing Rock below.

“Anyone who has bought a concert ticket in the last decade, maybe 20 years, no matter what, knows it is a conundrum,” Rock said of the bots and algorithms used to quickly snap up the best tickets for popular concerts, noting that both fans and artists are hurt by this extra layer of profit-taking. “[T]hey get all the good tickets to your favorite shows you want to go to, and then they are relisted immediately sometimes for a 4[00], 500 percent markup.”

Read More: Kid Rock Offers an Olive Branch to Kamala Harris Supporters

After Trump was elected for a second term last November, his longtime supporter Rock visited with then-incoming Attorney General Pam Bondi and left the meeting promising to “open a can of whoop ass on the bots, scalpers, venues, ticketing companies, managers and artists alike who rip off and deceive the public with the horse shit that has gone on for decades and only gotten worse.”

The Executive Order Trump signed today is not a new law. It is simply, as the American Civil Liberties Union explains, “a written directive, signed by the president, that orders the government to take specific actions to ensure ‘the [existing] laws be faithfully executed.'”

As Deadline explains, today’s Executive Order simply directs the Federal Trade Commission to work with the Attorney General to make sure existing laws are enforced.

“Ultimately, I think this is a great first step,” Rock declared in the Oval Office. “I would love down the road if there’d be some legislation that could actually put a cap on the resale of tickets.”

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This list brings together ten memorable tracks where “everything” takes center stage, each offering a distinct perspective within the genre.

Jethro Tull’s “A Time for Everything?” blends progressive rock with folk influences, highlighting the band’s signature approach to introspective storytelling. Bread’s “Everything I Own” resonates as a heartfelt ballad of love and loss, showcasing David Gates’ smooth, emotive vocal style. Cyndi Lauper’s “Money Changes Everything” delivers a sharp new wave edge, reflecting on how relationships shift when finances come into play. Bryan Adams’ “(Everything I Do) I Do It for You” epitomizes the power ballad, blending earnest lyricism with a sweeping rock arrangement. Sammy Hagar’s “I’ve Done Everything for You” pulses with rock bravado, channeling frustration into a high-energy performance.

Stevie Wonder’s “Uptight (Everything’s Alright)” marks a turning point in his career, fusing soul and pop into an infectious groove. The Mojos’ “Everything’s Alright” bursts with Merseybeat vibrancy, driven by its upbeat tempo and catchy hooks. Mountain’s rendition of “Everything Is Broken” reinvents Bob Dylan’s original with gritty, hard rock intensity. The Kinks’ “She’s Got Everything” captures the band’s early rock sound, brimming with raw energy and charm. Finally, Nina Simone’s “Everything Must Change” is a poignant meditation on life’s inevitabilities, delivered with her unparalleled depth and vocal warmth.

# 10 – A Time for Everything – Jethro Tull

Jethro Tull’s “A Time for Everything?” from the album Benefit (1970) was recorded between September 1969 and February 1970 at Morgan Studios in London. The track features Ian Anderson on vocals, flute, and acoustic guitar; Martin Barre on electric guitar; Glenn Cornick on bass guitar; Clive Bunker on drums; and John Evan on piano. The album was produced by Ian Anderson and Terry Ellis. Benefit reached number three on the UK Albums Chart and number eleven on the Billboard 200.

Read More: An Interview With Ian Anderson Of Jethro Tull

# 9 – Money Changes Everything  – Cyndi Lauper

At number nine, we turn to Lauper’s great rocker “Money Changes Everything.” This has always been my favorite Cyndi Lauper song. It’s got such a great punk rock vibe.Cyndi Lauper’s “Money Changes Everything” was recorded in 1983 and released as part of her debut album She’s So Unusual. The song, originally written by Tom Gray and first recorded by The Brains in 1978, was produced by Rick Chertoff and recorded at Record Plant Studios in New York City.

The lineup for this track included Cyndi Lauper on vocals, featured soon to be Hooters’ Rob Hyman on keyboards and Eric Bazilian on guitar, with Anton Fig on drums, and William Wittman on bass. Released as the fifth single from the album in 1984, “Money Changes Everything” charted at number 27 on the Billboard Hot 100.

Read More: Top 10 Cyndi Lauper Songs

# 8  – (Everything I Do) I Do It For You – Bryan Adams

Bryan Adams’ “(Everything I Do) I Do It for You” was recorded in 1991 at the Battery Studios in London and released as part of the album Waking Up the Neighbours. The song was co-written by Bryan Adams, Michael Kamen, and Robert John “Mutt” Lange, with production handled by Adams and Lange. Musicians on the track include Bryan Adams on vocals and guitar, Keith Scott on guitar, Dave Taylor on bass, Mickey Curry on drums, and Larry Klein on keyboards.

Originally featured on the soundtrack of the film Robin Hood: Prince of Thieves, the song became a global hit, topping the charts in 30 countries, including a record-breaking 16 consecutive weeks at number one on the UK Singles Chart and seven weeks at number one on the Billboard Hot 100 in the United States. The song’s sweeping ballad style, driven by Adams’ emotional vocals and the song’s orchestral arrangement, made it one of the most successful singles of all time and earned a Grammy Award for Best Song Written Specifically for a Motion Picture or Television.

Read More: Complete List Of Bryan Adams Songs From A to Z

# 7 – I’ve Done Everything For You – Sammy Hagar

I’m sorry, Rick. You did a great job, and of course, the song was a smash hit, but we are going to go with Sammy’s version. Sammy Hagar’s “I’ve Done Everything for You” was recorded in 1978 and released on his live album All Night Long in 1979. The track was written by Hagar himself and produced by John Carter. Recorded during Hagar’s 1978 tour, the live version features Hagar on vocals and guitar, Bill Church on bass, Alan Fitzgerald on keyboards, Gary Pihl on guitar, and David Lauser on drums. The song later gained significant popularity when covered by Rick Springfield in 1981, reaching number eight on the Billboard Hot 100.

Read More: Complete List Of Sammy Hagar Songs From A to Z

# 6 – Uptight (Everything’s Alright) – Stevie Wonder

Stevie Wonder’s “Uptight (Everything’s Alright)” was recorded in 1965 at Hitsville U.S.A. (Studio A) in Detroit, Michigan, and released as a single by Motown’s Tamla label in November 1965. The song was co-written by Stevie Wonder, Sylvia Moy, and Henry Cosby, with production handled by Moy and Cosby. The track features Wonder on lead vocals and harmonica, accompanied by the Funk Brothers, Motown’s legendary house band, who provided the instrumental backing. “Uptight (Everything’s Alright)” marked a turning point in Wonder’s career, becoming his first major hit since his early success with “Fingertips.”

The song’s upbeat, driving rhythm and Wonder’s exuberant vocal performance captured audiences, propelling it to number three on the Billboard Hot 100 and number one on the Billboard R&B Singles chart. Critically acclaimed for its vibrant energy and the maturity of Wonder’s vocal delivery, the song established him as a prominent voice in the Motown stable and set the stage for his evolution as a songwriter and performer.

Read More: 10 Best Rock Covers Of Stevie Wonder Songs

# 5 – Everything’s Alright – The Mojos

The Mojos’ “Everything’s Alright” was recorded in 1964 and released as a single on Decca Records. The song was written by the band’s lead vocalist, Stuart James, and was produced by Tony Hatch. The Mojos, a Merseybeat group from Liverpool, featured Stuart James on vocals, Terry O’Toole on keyboards, Keith Karlson on bass, Nicky Crouch on guitar, and Aynsley Dunbar on drums. “Everything’s Alright” became the band’s most successful single, reaching number nine on the UK Singles Chart.

The song’s high-energy beat and catchy melody made it a quintessential example of the Merseybeat sound, characterized by its upbeat rhythm and infectious chorus. Despite the band’s short-lived chart success, “Everything’s Alright” remains their most memorable track, capturing the raw spirit of British rock during the early 1960s.

Read More: 1964’s Best Rock Albums

# 4 – Everything Is Broken – Mountain

Mountain’s cover of “Everything Is Broken” was recorded in 2007 and released as part of the album Masters of War. The song, originally written and recorded by Bob Dylan in 1989, was reinterpreted by Mountain as part of their tribute to Dylan’s work. The album was produced by Leslie West and Corky Laing and recorded at various studios, including Levon Helm Studios in Woodstock, New York.

The lineup for this track featured Leslie West on guitar and vocals, Corky Laing on drums, and Richie Scarlet on bass. Known for its gritty, hard rock sound, Mountain’s version of “Everything Is Broken” delivers a heavier, more distorted take compared to Dylan’s blues-rock original, maintaining the song’s sense of disillusionment while infusing it with the band’s signature style. Though not released as a single, the track contributed to the album’s critical reception, with Masters of War noted for its raw and powerful interpretations of Dylan’s protest songs.

Read More: Top 10 Mountain Songs

# 3 – Everything Must Change – Nina Simone

If this one doesn’t hit you hard, then you’re just not listening. Nina Simone’s “Everything Must Change” was recorded in 1978 as part of her album Baltimore, produced by Creed Taylor and recorded at CTI Records in New York City. The song, written by Benard Ighner, features Simone on vocals and piano, with arrangements that blend jazz, soul, and pop elements. The album’s musicians include Eric Gale on guitar, Gary King on bass, Steve Gadd on drums, and David Matthews as the arranger and conductor. “Everything Must Change” stands out for its melancholic yet hopeful tone, reflecting on the inevitability of change and life’s cyclical nature.

Read More: Top 10 Nina Simone Songs

# 2 – She’s Got Everything – The Kinks

Don’t you just love that guitar sound and iconic chord changes that The Kinks were so famous for. The Kinks’ “She’s Got Everything” was recorded in February 1966 at Pye Studios in London and was produced by Shel Talmy. Written by Ray Davies, the song features the classic Kinks lineup with Ray Davies on vocals and rhythm guitar, Dave Davies on lead guitar and backing vocals, Pete Quaife on bass, and Mick Avory on drums. Initially recorded during the sessions for the album Face to Face, the track was not released until 1968 as the B-side to the single “Days.”

Read More: Dave Davies of The Kinks: The ClassicRockHistory.com Interview

# 1 – Everything I Own – Bread

We had no choice but to close that list out with this tear-jerker by Bread.  “Everything I Own” was recorded in 1972 and released as part of the album Baby I’m-a Want You. The song was written by David Gates, who also performed lead vocals and played guitar, piano, and bass. The band’s lineup for the track included James Griffin on guitar and vocals, Robb Royer on bass and guitar, and Mike Botts on drums. The album was produced by David Gates and recorded at Elektra Sound Recorders in Los Angeles. Upon its release, “Everything I Own” became a significant hit, reaching number five on the Billboard Hot 100 chart in the United States and number 32 on the UK Singles Chart. The song’s soft rock balladry and emotional lyrics resonated widely, solidifying Bread’s reputation for crafting melodic and heartfelt songs during the early 1970s.

Read More: The Top 10 Songs From The Group Bread

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