German thrash metal band, Final Depravity, have issued the following unexpected update:
“Today, on our 17th anniversary as a band, we have an important announcement to share with you: A few months ago, our vocalist Benjamin Krzis decided to part ways with Final Depravity. While we are sad to see him go, we fully respect his decision and want to wish him nothing but success and happiness in whatever the future holds for him.”
“Benjamin has been an essential part of Final Depravity, and over the years, he became not just a bandmate, but also a close friend. His talent, dedication, and energy have left a lasting impact on the band, and he will be deeply missed both on stage and off.”
“As a result of his departure, the studio work for our third album was put on hold a few months ago. This has caused delays, but rest assured, the wait will be worth it. We’re hard at work, and there will be exciting news about the album very soon. Stay tuned!”
Here’s what Benjamin has to say about his departure: “After an amazing time as the singer of Final Depravity, I’ve decided to leave the band. We’re parting ways on the best of terms and will remain close friends. I look back on many fantastic moments with great joy and forward to our friendship continuing in the future. It wasn’t an easy decision, but with one child and another on the way, my time is simply limited. I want to thank the guys for all the experiences we shared and everything I’ve learned from them, and I wish them nothing but the best moving forward – both musically and personally.”
BraveWords scribe and celebrated author Martin Popoff will issue his new book, Guns N’ Roses At 40, on June 3, 2025.
Published by Motorbooks, this 192-page hardcover is now available to pre-order at this location.
Celebrate four exhilarating and rebellious decades of Guns N’ Roses with this lushly illustrated journey through the band’s biggest moments.
Formed on Los Angeles’ famed Sunset Strip in 1985, Guns N’ Roses worked their way up from the club scene in less than three years to become a best-selling recording act and a top tour draw. Along the way, there was no shortage of controversy to accompany the accolades. In Guns N’ Roses At 40, prolific rock biographer Martin Popoff curates 40 key touchstones in GN’R’s career, charting their formation and early history, key concert appearances, groundbreaking releases, notable collaborations, business challenges, personal difficulties, band quarrels, and more. This beautifully produced tribute features:
Sturdy hardcover format
Stunning photography, both on and off the stage
Images of band memorabilia
Gatefold Guns N’ Roses timeline
Complete studio discography
Popoff covers it all:
A history of the band’s scruffy early days on Hollywood’s Sunset Strip club scene
Backgrounds of founding members Axl Rose, Duff McKagan, Slash, Izzy Stradlin, and Steven Adler
Rundowns of the key studio albums and the processes behind them
Analyses of the infamous incidents and controversies that seemed to follow the band
The departures (and sometimes the returns) of key members
First-person interviews with bassists Duff McKagan and Tommy Stinson
In examining 40 key pivot points in GN’R’s now-forty-year history, Guns N’ Roses at 40 provides a concise documentary-like view of the band that as much as any other helped drive a spike through the heart of hair metal. Combine this unique perspective with a gorgeous package and you have an indispensable addition to the collection of every fan.
Feature Photo: Randy Miramontez / Shutterstock.com
Hollywood has long been a muse for songwriters, conjuring images of dazzling dreams, starry-eyed ambition, and the gritty realities hidden behind the glitz. In rock and roll, the word “Hollywood” has served as a canvas for storytelling, a metaphor for larger truths, and a snapshot of a city both adored and misunderstood. From soulful odes to biting critiques, these songs reveal how the idea of Hollywood resonates across genres, decades, and perspectives.
Thin Lizzy captured the darker side of ambition with the sharp-edged realism of “Hollywood (Down On Your Luck),” while Billy Joel’s “Say Goodbye to Hollywood” reflected a deeply personal farewell to the city’s shimmering promise. Bob Seger’s “Hollywood Nights” celebrated the electrifying highs and lows of a whirlwind romance in the Hollywood Hills, and Kool & The Gang’s “Hollywood Swinging” painted a carefree, funk-driven picture of the city’s vibrant energy.
The Runaways’ “Hollywood” channeled the rebellious defiance of youth chasing stardom, and Supertramp’s “Gone Hollywood” juxtaposed the glamor of success with the isolation it often brings. Steely Dan’s “West of Hollywood” offered a cerebral take on existential longing, contrasting with 10cc’s theatrical critique of fame in “Somewhere In Hollywood.” Boz Scaggs’ “Hollywood” delved into the tension between achievement and artifice, while The Pretenders’ “Hollywood Perfume” added a darkly introspective perspective on the fleeting nature of fame.
Together, these songs showcase the many ways that Hollywood has been used as a symbol, a setting, and a state of mind in rock and roll.
# 10 – Hollywood – Boz Scaggs
Well, it doesn’t get any more simple than a one-word title. And why not start with one from one of our favorite musical artists of all time. Boz Scaggs’ “Hollywood” captures the intoxicating allure and hidden pressures of fame, blending smooth grooves with a nuanced narrative. The song comes from his 1977 album Down Two Then Left, recorded at Davlen Sound Studios and Hollywood Sound Recorders in Los Angeles, California. Under the production of Joseph Wissert, Scaggs collaborated with a stellar roster of musicians, including Jeff Porcaro on drums, David Hungate on bass, Ray Parker Jr. and Steve Lukather on guitar, and Greg Phillinganes on keyboards. These accomplished artists contributed to the richly textured sound that defines the track, marrying the gloss of the West Coast aesthetic with Scaggs’ distinctive vocal style.
“Hollywood” explores the rise of a star in the entertainment capital, its lyrics brimming with imagery that reflects both glamour and cynicism. Lines such as “I see your name in lights, I see them standing in line” evoke the dazzling allure of success, while “Camera, action, do it again” reveals the relentless cycle of performance and public expectation. The song balances celebration and critique, painting a multidimensional picture of Hollywood’s allure and demands. This thematic interplay creates a compelling narrative that stands out within the album’s sophisticated exploration of relationships and ambition.
The critical reception of Down Two Then Left highlights Scaggs’ ability to craft polished yet introspective music. Although it didn’t achieve the blockbuster success of its predecessor, Silk Degrees, the album peaked at No. 11 on the Billboard 200, with “Hollywood” praised for its wit and evocative sound. The song’s lush production and vivid storytelling make it a quintessential reflection of its era while remaining timeless in its insights. As one of the most engaging tracks with “Hollywood” in the title, it solidifies Scaggs’ legacy as a masterful chronicler of the human experience wrapped in musical sophistication.
“Hollywood Perfume,” from The Pretenders’ 1994 album Last of the Independents, offers a vivid and haunting exploration of love, longing, and the intoxicating allure of Hollywood’s darker side. Recorded at multiple studios, including The Townhouse and The Church in London, the song was produced by Stephen Street and Chrissie Hynde, with Hynde’s evocative vocals driving its emotional core. The album features a lineup that includes Hynde, Adam Seymour on guitar, Andy Hobson on bass, and Martin Chambers on drums, alongside various session musicians. The meticulous production and polished instrumentation create a lush backdrop that amplifies the song’s themes of disillusionment and yearning.
Lyrically, “Hollywood Perfume” is steeped in cinematic imagery, using the titular scent as a metaphor for the seductive yet destructive allure of fame and desire. Lines like “I feel like a fugitive escaped from my life / Seeking refuge in the sensual heat” convey a sense of escape and entrapment, while references to “neon sex and doom” underscore the tension between glamour and decay. Hynde’s lyrical prowess is matched by the sultry instrumentation, which weaves together a hypnotic melody and a pulsing rhythm, capturing the surreal allure of Hollywood’s late-night mystique. Compared to Boz Scaggs’ “Hollywood,” which emphasizes the ascension of a star within the entertainment industry, “Hollywood Perfume” delves into the internal struggles of an individual lost amidst the city’s superficiality.
Critically, Last of the Independents marked a strong comeback for The Pretenders, with singles like “I’ll Stand By You” garnering significant attention. While “Hollywood Perfume” was not released as a single, it stands out as one of the album’s most atmospheric and introspective tracks. The album reached No. 30 on the Billboard 200, showcasing The Pretenders’ enduring ability to craft poignant and resonant music. The song’s introspection and layered storytelling parallel the emotional depth found in “Hollywood” by Boz Scaggs, as both tracks expose the dualities of life under the bright lights of fame and ambition.
In “Hollywood Perfume,” The Pretenders artfully blend reflective lyrics, evocative imagery, and rich production to create a track that lingers long after it ends. Its exploration of the human condition through the lens of Hollywood’s seductive veneer cements its place as a compelling entry in this list, further proving the band’s ability to balance raw emotion with masterful craftsmanship.
“Somewhere In Hollywood,” was released on 10cc’s 1974 album Sheet Music. The album was recorded at Strawberry Studios in Stockport, England, and produced by the band’s members—Lol Creme, Kevin Godley, Eric Stewart, and Graham Gouldman—whose collective ingenuity crafted its innovative sound. With all four members contributing vocals and instrumental versatility, the track exemplifies 10cc’s ability to combine intricate arrangements with biting social commentary. The lush orchestration and theatrical delivery elevate the song to a level of cinematic storytelling rarely seen in popular music.
The lyrics of “Somewhere In Hollywood” weave a surreal narrative that critiques the shallow glamour of Tinseltown. Lines like “A star with the stature of a Harlow / Who’s doomed and groomed to enrapture” evoke the fleeting nature of fame, while the refrain “Lights, action, sound—Roll ’em!” highlights the relentless machine-like quality of the industry. The song’s vivid imagery recalls the sharp lyrical wit of “Hollywood Perfume” by The Pretenders, another entry on this list, but where The Pretenders focus on personal experiences, 10cc broadens the scope to lampoon the entire Hollywood system. The track’s complex structure, blending shifts in tempo with lush string arrangements, mirrors the chaotic and layered reality it critiques.
Critics have praised Sheet Music as one of 10cc’s finest works, with “Somewhere In Hollywood” often singled out as a centerpiece for its ambitious storytelling and musical sophistication. The album reached No. 9 on the UK Albums Chart, marking a commercial and artistic breakthrough for the band. This track, in particular, showcases Kevin Godley’s theatrical lead vocals, complemented by Lol Creme’s intricate arrangements. Together, they create a haunting yet satirical mood that resonates with the disillusionment depicted in Boz Scaggs’ “Hollywood,” though with a more sardonic edge.
In “Somewhere In Hollywood,” 10cc achieves a masterful blend of biting humor and genuine pathos, encapsulating the allure and tragedy of fame in a way that remains timeless. Its layered instrumentation, sharp lyricism, and cinematic feel make it a compelling entry in this article, further cementing 10cc’s reputation as one of the most inventive bands of their era.
Steely Dan’s “West of Hollywood,” the sprawling and introspective closing track from their 2000 album Two Against Nature, offers a richly layered exploration of unfulfilled desires and existential disillusionment. The song was recorded between 1997 and 1999 at River Sound in New York City and Studio LaCoCo in Kauai, Hawaii. Produced by Donald Fagen and Walter Becker, Two Against Nature marked the band’s long-awaited return to the studio after a twenty-year hiatus, blending their signature jazz-rock fusion with intricate storytelling. The album features an impressive array of musicians, including Jon Herington on guitar, Chris Potter on tenor saxophone, and Keith Carlock on drums, whose contributions lend the track its vibrant yet introspective energy.
Lyrically, “West of Hollywood” paints a surreal narrative of lost connection and emotional detachment, encapsulated by lines like “Look in my eyes / Don’t you see the core is frozen?” The repeated refrain, “I’m way deep into nothing special,” underscores the protagonist’s disillusionment while juxtaposing the mystique of Hollywood’s westward sprawl. The lyrics unfold like a fragmented memory, weaving together themes of fleeting pleasure, regret, and the tyranny of unmet expectations. In its narrative depth and layered instrumentation, the song shares thematic kinship with 10cc’s “Somewhere In Hollywood,” another track on this list that critiques the illusions of fame and glamour, albeit with Steely Dan’s distinctive sardonic tone.
Critically, “West of Hollywood” epitomizes the sophisticated craftsmanship that defines Two Against Nature, an album that earned Steely Dan four Grammy Awards, including Album of the Year. The interplay between Donald Fagen’s cool, detached vocals and Chris Potter’s fiery saxophone solo brings the song’s introspection to life, serving as a fitting culmination to the album’s reflective tone. Compared to Boz Scaggs’ “Hollywood,” which captures the allure and rise of stardom, “West of Hollywood” focuses instead on the emotional void left in the wake of dreams deferred.
In “West of Hollywood,” Steely Dan masterfully weaves intricate melodies, incisive lyrics, and evocative musicianship into a haunting portrait of existential malaise. Its contemplative nature and rich production make it a compelling entry in this list, reaffirming the band’s status as purveyors of both musical innovation and profound storytelling.
“Gone Hollywood” opens Breakfast in America, the 1979 masterpiece by Supertramp, with a sharp critique of disillusionment and resilience amidst the glitter of Los Angeles. Recorded between May and December 1978 at The Village Recorder in Los Angeles, California, the album was produced by Peter Henderson alongside the band. The song features Rick Davies on lead vocals and keyboards, Roger Hodgson on backing vocals and guitars, John Helliwell on woodwinds, Dougie Thomson on bass, and Bob Siebenberg on drums. The meticulous production and lush arrangements set the tone for an album that would go on to become a cultural landmark, topping the Billboard 200 chart and winning two Grammy Awards.
Lyrically, “Gone Hollywood” tells the story of a dreamer disillusioned by the harsh realities of pursuing fame in the entertainment capital. Lines such as “It’s just heartbreaking / I should have known that it would let me down” reflect the protagonist’s initial dismay, while later verses, including “Now I ride in a big fine car / I’m the talk of the boulevard,” reveal a hard-earned triumph. This dichotomy of struggle and eventual success mirrors the themes explored in Boz Scaggs’ “Hollywood,” which also grapples with the allure and challenges of fame. However, where Scaggs’ song revels in the ascension of stardom, Supertramp’s track juxtaposes the highs and lows with biting realism.
Critically, Breakfast in America was both a commercial juggernaut and a critical darling, praised for its ambitious storytelling and polished sound. “Gone Hollywood” serves as an ideal opening track, drawing listeners into a narrative that resonates with anyone who has confronted the gap between expectation and reality. The song’s plaintive saxophone lines, courtesy of John Helliwell, add a touch of melancholy that contrasts with its driving rhythm, amplifying its emotional depth. In comparison to “West of Hollywood” by Steely Dan, another song on this list, “Gone Hollywood” leans more on raw emotional storytelling than cerebral introspection, yet both capture the complexities of navigating the promise and pitfalls of Los Angeles.
Supertramp’s “Gone Hollywood” delivers a powerful combination of introspection, ambition, and optimism. Its layered instrumentation, sharp lyrics, and masterful production make it a cornerstone of Breakfast in America and a significant entry in this list of songs capturing the multifaceted essence of Hollywood.
“Hollywood Swinging,” released in 1974, stands as one of Kool & The Gang’s most iconic tracks, capturing the exuberance and style of Hollywood through a funky lens. Featured on the album Wild and Peaceful, the song was recorded at Media Sound Studios in New York City and produced by Kool & The Gang with Gene Redd. The group’s classic lineup—Robert “Kool” Bell on bass, Ronald Bell on keyboards and saxophone, George Brown on drums, Robert Mickens on trumpet, Dennis Thomas on alto saxophone, Charles Smith on guitar, and Rick Westfield on keyboards—delivers a tight, infectious groove that helped solidify their place in the pantheon of funk music.
Lyrically, “Hollywood Swinging” is a celebratory ode to the glamour and allure of Los Angeles. Lines like “The city of the stars, movies, women, and cars” encapsulate the song’s carefree celebration of the Hollywood lifestyle, while the repeated refrain, “Hey, hey, hey, what ya got to say?” creates a call-and-response dynamic that energizes the track. The lyrics also reflect the dream of success and self-expression, with the narrator reminiscing about seeing Kool & The Gang live and aspiring to make it in the music scene. The song’s exuberant tone contrasts with the disillusionment found in Supertramp’s “Gone Hollywood,” illustrating how different artists interpret the complexities of Hollywood in distinct ways.
“Hollywood Swinging” became a major hit, reaching No. 6 on the Billboard Hot 100 and No. 1 on the Hot Soul Singles chart. Critics have consistently praised the track for its irresistible rhythm and timeless groove, with its influence extending beyond the 1970s. It has been sampled in numerous songs, including Will Smith’s “Miami” and Mase’s “Feel So Good,” proving its enduring cultural relevance. In comparison to “Hollywood Perfume” by The Pretenders, which explores the darker, more introspective side of the Hollywood experience, Kool & The Gang’s track revels in the city’s celebratory and carefree aspects, making it a perfect entry in this list.
“Hollywood Swinging” remains a quintessential funk anthem, encapsulating the vibrancy and promise of Hollywood with its dynamic instrumentation and jubilant lyrics. Its enduring popularity and cultural impact solidify its place among the greatest songs with “Hollywood” in the title, offering a lighthearted yet profound perspective on the allure of the entertainment capital.
“Hollywood,” featured on The Runaways’ 1977 album Queens of Noise, is a bold and energetic anthem that captures the spirit of chasing fame under the bright lights of Los Angeles. Recorded in 1976 and produced by Kim Fowley and Earle Mankey, the track showcases the band’s blend of hard rock and punk influences, with its gritty yet melodic sound. The lineup on the album includes Cherie Currie on lead vocals, Joan Jett on rhythm guitar and backing vocals, Lita Ford on lead guitar, Jackie Fox on bass, and Sandy West on drums, each contributing to the band’s raw, unapologetic energy.
The lyrics of “Hollywood” reflect the allure and ambition of aspiring to stardom, with lines like “Each night alone I dream / That I’m a rebel roller queen” embodying the youthful determination to break through in the entertainment capital. The repeated refrain, “Hollywood, it feels so good,” emphasizes the dreamlike allure of the city while hinting at the challenges beneath the surface. Compared to the upbeat celebration of success in Kool & The Gang’s “Hollywood Swinging,” this track captures the hunger and striving of someone still fighting to reach the top, adding a layer of grit to its narrative.
Critically, Queens of Noise marked an evolution in The Runaways’ sound, balancing their raw punk roots with a more polished production. While the album received mixed reviews at the time, it has since been recognized as a pivotal moment in the band’s career, cementing their influence on the punk and hard rock scenes. “Hollywood” stands out for its catchy chorus, driving rhythm, and dynamic guitar work from Lita Ford, which underscores the rebellious spirit of the track. In comparison to Supertramp’s “Gone Hollywood,” which explores the disillusionment of fame, The Runaways’ song is brimming with the fiery optimism of those determined to make their mark.
“Hollywood (Down On Your Luck)” by Thin Lizzy delivers a gritty portrayal of ambition, struggle, and disillusionment in the heart of the entertainment capital. Released in 1981 on the album Renegade, the song was recorded at Compass Point Studios in Nassau, Bahamas, and mixed at Good Earth Studios in London. Produced by Chris Tsangarides and band leader Phil Lynott, the track features Lynott on bass and lead vocals, Scott Gorham and Snowy White on guitars, and Brian Downey on drums. This lineup brings a powerful blend of melodic rock and sharp storytelling that underscores the song’s themes of chasing dreams in a world rife with challenges.
Lyrically, the song paints a stark picture of life in Hollywood, contrasting its glamorized image with the harsh realities faced by those striving for success. Lines like “Nobody gives a break / When you’re down on your luck” reveal the cutthroat nature of the industry, while the refrain “Lady Chance, she won’t dance” speaks to the fickleness of fortune. In comparison to Kool & The Gang’s “Hollywood Swinging,” which celebrates the vibrant lifestyle of the city, Thin Lizzy’s track emphasizes the relentless grind and the emotional toll of chasing dreams that often seem just out of reach. The track’s driving rhythm and dynamic guitar interplay amplify its sense of urgency and determination, mirroring the struggle depicted in the lyrics.
Critics often highlight Renegade as an album that showcased Thin Lizzy’s ability to blend hard rock with introspective themes, even as the band faced internal challenges. While the album did not achieve the commercial success of earlier works like Jailbreak, “Hollywood (Down On Your Luck)” stands out for its vivid storytelling and memorable riffs. Its narrative of perseverance aligns with the themes found in Supertramp’s “Gone Hollywood,” though Lynott’s lyrics lean more heavily on the pressures of survival in a city that promises so much yet delivers so selectively.
“Hollywood Nights” by Bob Seger is a rousing ode to the allure and heartbreak of Los Angeles, captured with vivid storytelling and relentless energy. Released in 1978 on Stranger in Town, the song was recorded at Criteria Studios in Miami, Florida, and Muscle Shoals Sound Studio in Sheffield, Alabama. Produced by Bob Seger and Punch Andrews, the track features Seger on vocals, along with members of the Silver Bullet Band and the Muscle Shoals Rhythm Section. The dynamic instrumentation, including Drew Abbott’s searing guitar work and Chris Campbell’s driving bassline, anchors the song’s high-octane narrative.
Lyrically, “Hollywood Nights” chronicles the story of a Midwestern boy who finds himself seduced and ultimately left adrift in the dazzling world of Hollywood. Lines like “She stood there bright as the sun on that California coast” paint a cinematic picture of initial infatuation, while “He spent all night staring down at the lights of L.A. / Wondering if he could ever go home” captures the bitter aftermath of the whirlwind romance. The song’s themes of longing and displacement echo the sentiments found in Thin Lizzy’s “Hollywood (Down On Your Luck),” though Seger’s tale is more focused on personal relationships than societal struggles. The driving rhythm and passionate delivery amplify the emotional highs and lows, creating an immersive listening experience.
Critically and commercially, “Hollywood Nights” cemented its place in Seger’s catalog as a fan favorite. The single peaked at No. 12 on the Billboard Hot 100 and contributed to the success of Stranger in Town, which reached No. 4 on the Billboard 200 and achieved multi-platinum status. Its energetic tempo and anthemic chorus stand in contrast to the slower, funk-driven groove of Kool & The Gang’s “Hollywood Swinging,” highlighting the diverse ways artists have approached the theme of Hollywood. Seger’s raw, heartfelt vocals lend authenticity to the story, making it a compelling addition to this list.
“Hollywood Nights” is a masterful blend of rock intensity and evocative storytelling, capturing the allure and pitfalls of the Hollywood dream. Its relentless drive, paired with its richly detailed narrative, ensures its enduring appeal and solidifies its place as one of the most electrifying tracks on this list. Seger’s ability to weave a tale that is both personal and universal makes “Hollywood Nights” a quintessential exploration of ambition, love, and the mystique of Los Angeles.
Billy Joel’s “Say Goodbye to Hollywood” stands as a poignant tribute to change and farewell, capturing the transience of relationships and the inevitable march of time. Released in 1976 on his album Turnstiles, the song was recorded at Ultrasonic Studios in Hempstead, New York, under the production of Joel himself. Featuring the first collaboration with the group that would later become his regular backing band, including Liberty DeVitto on drums, Doug Stegmeyer on bass, and Richie Cannata on saxophone, the track showcases Joel’s growing confidence as both a songwriter and bandleader.
Lyrically, “Say Goodbye to Hollywood” is inspired by Joel’s move back to New York from Los Angeles, with lines like “Life is a series of hellos and goodbyes” reflecting the emotional weight of leaving behind a chapter of his life. The song’s title and thematic content evoke a wistfulness similar to the regret and resilience in Thin Lizzy’s “Hollywood (Down On Your Luck),” though Joel’s focus leans more introspective and personal. Musically, the track pays homage to Phil Spector’s Wall of Sound, with Liberty DeVitto’s booming drumbeat reminiscent of Ronnie Spector’s “Be My Baby,” adding a nostalgic layer that underscores the song’s themes of memory and departure.
Critically, “Say Goodbye to Hollywood” has been praised for its lyrical depth and sophisticated arrangement. While not initially a chart-topping single, the live version from Joel’s 1981 Songs in the Attic album gained greater recognition, showcasing the track’s enduring appeal and Joel’s dynamic performance style. Compared to Bob Seger’s “Hollywood Nights,” which highlights the exhilaration and heartbreak of the Hollywood experience, Joel’s track is more reflective, capturing the bittersweet process of moving on from a place that no longer feels like home.
“Say Goodbye to Hollywood” exemplifies Billy Joel’s gift for storytelling, blending heartfelt lyrics, soaring melodies, and masterful production to create a song that resonates with listeners. Its place in this list is well-earned, as it provides a deeply personal and universal perspective on the highs and lows of saying goodbye, making it an essential entry in this exploration of Hollywood-inspired songs.
To mark the release of the remixed, remastered and extended Queen 1 boxset, the band have released the fifth episode in their Queen The Greatest Special series.
A message states: “In this exclusive episode of Queen The Greatest, Brian May reveals how the iconic cover image for Queen’s debut album, and the extraordinary collage on the back, were created. It’s one of the earliest examples of how the band paid just as much attention to the look of Queen, as well as the sound.”
Watch the first four Queen The Greatest Special episodes below:
Episode 1:
Episode 2:
Episode 3:
Episode 4:
The 6CD + 1 LP Queen I box set (out now) contains 63 tracks with 43 brand new mixes, comprising the original album with its intended running order restored, intimate fly-on-the-wall audio of Queen in the studio, demos, rare live tracks, and previously unheard recordings from Queen’s first ever live performance in London, August 1970. Absent from the 1973 release, the song “Mad the Swine” has been reinstated to its original place in the running order. A 108-page book containing handwritten lyrics and memorabilia accompanies the release.
“This is not just a remaster,” writes Brian May in the CD sleeve insert notes, “this is a brand new 2024 rebuild of the entire Queen debut album, which, with the benefit of hindsight, we have re-titled QUEEN I.”
May continues, “All the performances are exactly as they originally appeared in 1973, but every instrument has been revisited to produce the ‘live’ ambient sounds we would have liked to use originally. The result is “Queen“ as it would have sounded with today’s knowledge and technology – a first.”
“Queen I is the debut album we always dreamed of bringing to you.”
Go to Queen’s official website for further details on the release.
Nightwish have released the official full “making of” documentary on their new album, Yesterwynde, released back in September via Nuclear Blast.
A message states: “From early demo playback sessions in hotel rooms all across the world during the Human. :||: Nature. world tour to the remote rehearsal sessions in a cabin in Röskö, from Floor Jansen delivering stunning vocal performances at her home studio to the orchestral recordings at Abbey Road Studios in London – this 45-minutes documentary directed by Ville Lipiäinen details the long way of transforming the ideas, stories and songs of Tuomas into Yesterwynde!”
Nightwish recently announced that Yesterwynde will receive it’s symphonic world premiere by the Tampere Philharmonic Orchestra. A third performance has been added on Saturday, August 30, 2025.
Yesterday, the band revealed: “Due to high demand, we’ve just released a third Nightwish Yesterwynde Orchestral concert for Saturday, August 30, 2025. Ticket sales start tomorrow on Friday, December 20, at 9 AM (Finnish time). Grab your tickets quickly before they’re gone (with the wynde)! Nightwish’s Yesterwynde album will have its orchestral world premiere at Tampere Hall, Finland in August 2025. The music will be performed by the Tampere Philharmonic Orchestra, the Tampere Opera Choir, and a children’s choir.”
Consult the post below for ticket details:
Yesterwynde is available in a number of different vinyl variants, as a jewelcase, digipak, earbook and as part of a deluxe vinyl box set. Order the album here.
Yesterwynde tracklisting:
“Yesterwynde” “An Ocean Of Strange Islands” “The Antikythera Mechanism” “The Day Of…” “Perfume Of The Timeless” “Sway” “The Children Of ‘Ata” “Something Whispered Follow Me” “Spider Silk” “Hiraeth” “The Weave” “Lanternlight”
“Lanternlight” video:
“An Ocean Of Strange Islands” lyric video:
“Perfume Of The Timeless” video:
“The Day Of…”
Lineup:
Floor Jansen – Vocals Tuomas Holopainen – Keys Emppu Vuorinen – Guitars Jukka Koskinen – Basses Troy Donockley – Uilleann Pipes, Low Whistles, Acoustic & Electric Guitars, Bouzouki, Bodhrán, Aerophone, Vocals Kai Hahto – Drums & Percussion
Fatdan Productions in association with Zero 3 Productions and AMA Music Agency presents the World premiere of Moonlight – The Philip Lynott Enigma, live at Vicar Street Dublin on April 2, 3, and 9, 2025.
With the first three dates sold out, three extra dates have been added due to phenomenal demand. The new dates are June 20, 21 and 22, 2025. Tickets on sale now, here.
It’s time to go beyond the headlines to tell one of the most important Irish music stories of the last 50 years. “Moonlight” is an expansive rock / theatre production that explores the early life of Philip Lynott who rose from the streets of Dublin to influence and inspire a generation of musicians around the world.
This is an honour production created by John Merrigan & Danielle Morgan and is a deeper portrait of a true poet who deserves a place alongside Oscar Wilde and Brendan Behan in the pantheon of great Irish writers. Peter M. Smith under the direction of Jason Figgis plays Lynott, supported by a stellar cast and live band that rocks out the Thin Lizzy hits and all new original music. An unforgettable and moving experience in the city where it all started.
Synopsis by John Merrigan & Danielle Morgan:
“A dreamer is one who can only find his way by moonlight, his punishment (and his reward) is that he sees the dawn before the rest of the world.” Oscar Wilde, The Artist as Critic
Philip Lynott would have been 75 years old on August 20th, 2024 had he won his battle with fame and fortune. He was a true innovator as a songwriter and showman who paved the way for a whole generation of musicians and bands around the world. He was complex, driven to overcome huge challenges as a young man and he was truly a poet at heart. We believe he deserves to be recognized in the pantheon of great Dublin writers, alongside Oscar Wilde, Brendan Behan and others.
“Moonlight” is a major new rock / theatre production about Lynott’s early years and the first phase of Thin Lizzy, covering the period in the late 1960’s and early ’70s when Dublin and London were dynamic melting pots of musical innovation. It’s compelling and expansive, not a juke-box piece, complete with the Thin Lizzy hits, and new original music performed by a live band on stage.
We explore his character in depth and authentically – it’s time to move beyond the headlines and cliches. This is an honour piece, telling the less well-known side of Lynott’s story – honestly and powerfully.
A stellar cast, director and creatives have been assembled, with Peter M. Smith in the lead role, and featuring a cameo performance by Eric Bell, co-founder of Thin Lizzy. In the research, we have had numerous meetings and discussions with Lynott’s contemporaries – people who were “in the room” at key moments of the story who have generously shared their time and encouragement.
Quote from Peter M. Smith: “When offered the chance to play the role of Philip Lynott, I was truly honoured as an actor, as a proud Dubliner, and as a Thin Lizzy fanatic. Too much has been said about the rockstar lifestyle – it is a tired subject. This production seeks to honour Philip Lynott for what he was – a literary great and consummate artist.”
2025 will not only mark the 45th anniversary of German iconic metal institution, Grave Digger, but the release of their 23rd studio album, Bone Collector, slated for release on January 17 via ROAR!
Founded in 1980 in Gladbeck, they set out to conquer the world; who would have thought that 45 years later Grave Digger would be one of the most important, consistent and influential metal bands from Germany. With the release of their ground-breaking debut Heavy Metal Breakdown in 1984, an unprecedented career began that will find its logical continuation more than four decades later with the band’s much-waited new masterpiece Bone Collector, an album that sees the band going back to their old school roots.
After Grave Digger already shared some first promising album appetizers, “Kingdom Of Skulls and “Killing Is My Pleasure”, today, the band awe fans with an unholy pre-Christmas gift and premieres a music video for their latest single “The Devil’s Serenade”.
Frontman Chris Boltendahl comments: “We are proud to present the brand new Grave Digger video ‘The Devil’s Serenade’! This groovy anthem is a real banger that captures the essence of heavy metal and 80s stadium rock in every riff and every line. We went all out to write a song that is equally infectious, banging and takes you on a little journey through the band’s history.
“The clip is a perfect mix of gripping atmosphere and pure energy – a feast for all those who have metal in their blood! We are thrilled with the result and can’t wait to bring this anthem to the stage with you. Turn it up loud and be ready to rock the hell out with us!”
“The Devil’s Serenade” is out now and streaming on all digital services here. Watch the video below:
Produced, mixed and mastered by Chris Boltendahl, optically set in scene by Brazilian artist Wanderley Perna, Bone Collector marks a work of art that heralds a new Grave Digger era.
“Here it is at last, our new studio album, true to the motto: #gravediggeroldschool. With Tobi Kersting in the band, we have focused on the essentials of our sound again after many years with numerous concept albums: Concise straightforward metal songs that burn themselves into your brain stems after the first listen. Bone Collector doesn’t sound like off-the-shelf stuff, but highly energetic, fresh and you’ll notice that we had a lot of fun with the songs. We’re looking forward to your reaction, the release of the album in January and 45 years of Grave Digger live with you,” Boltendahl recently said.
Bone Collector will be released as a CD digipak, picture vinyl, colored marbled vinyl, RPM exclusive splatter vinyl and digitally. At the RPM & ROAR Mailorder Shop, the limited splatter vinyl and the digipak are also available as a bundle with the exclusive “Old School” shirt. Pre-order here.
Bone Collector tracklisting:
“Bone Collector” “The Rich The Poor The Dying” “Kingdom Of Skulls” “The Devil’s Serenade” “Killing Is My Pleasure” “Mirror Of Hate” “Riders Of Doom” “Made Of Madness” “Graveyard Kings” “Forever Evil & Buried Alive” “Whispers Of The Damned”
Fallen Angel has announced the February 21 release of a new Slayer 6CD box set, Blood Spills – Live On Air. Available for pre-order at the Plastic Head Megastore (also listed at Amazon), a description of the set follows:
Superb 6CD set from one of the most influential Metal bands of all time!
Formed in 1981 by guitarists Kerry King and Jeff Hanneman, drummer Dave Lombardo, and bassist and vocalist Tom Araya, Slayer’s fast and aggressive musical style made them one of the “big four” bands of thrash metal, alongside Metallica, Megadeth, and Anthrax. Slayer reached a huge audience and has sold more than 5 million albums in the USA alone. The band has received five Grammy Award nominations, winning one in 2007. This superb 6CD set contains live performances from Slayer recorded at various times during their 40-year career, all of which were recorded for live radio broadcast ensuring excellent sound quality throughout.
Features the tracks “Angel Of Death”, “Raining Blood”, “Seasons In The Abyss”, “Disciple”, “War Ensemble”, “Mandatory Suicide”, “Hell Awaits”, “Chemical Warfare”, “Die By The Sword” and many more.
Tracklisting:
Disc 1: “Bitter Peace” “Deaths Head” “War Ensemble” “Evil Has No Boundaries” “Hell Awaits” “Born Of Fire” “Stain Of Mind” “Postmortem” “Raining Blood” “Dittohead” “Die By The Sword”
Disc 2: “In The Name Of God” “Criminally Insane” “Chemical Warfare” “Dead Skin Mask” “Seasons In The Abyss” “Mandatory Suicide” “Angel Of Death” “South Of Heaven”
Disc 3: “Repentless” “Disciple” “Postmortem” “Hate Worldwide” “War Ensemble” “When The Stillness Comes” “Mandatory Suicide” “Fight Till Death” “Dead Skin Mask” “Seasons In The Abyss” “Hell Awaits” “South Of Heaven” “Raining Blood” “Black Magic”
Disc 4: “Chemical Warfare” “Angel Of Death” “Die By The Sword” “Praise Of Death” “Necrophiliac” “Necrophobic” “Captor Of Sin” “Black Magic” “Reborn” “Postmortem” “Epidemic” “Hell Awaits”
Disc 5: “Raining Blood” / “Killing Fields” “War Ensemble” “At Dawn They Sleep” “Spirit In Black” “Die By The Sword” “Divine Intervention” “Dittohead” “Captor Of Sin” “South Of Heaven” “Sex Murder Art”
Disc 6: “Dead Skin Mask” “Seasons In The Abyss” “Mind Control” “Mandatory Suicide” “Angel Of Death” “Hell Awaits” “Chemical Warfare” “213”
We’ve come a long way with the whole punk-pop thing. In the UK in the 80s, punk-pop was what we called Mega City Four and the Senseless Things – a buncha thrill-seeking nutjobs who loved a catchy chorus.
Then we let the Americans have a go.
They were great at it! There were yer Green Days and Rancids, plus all the Replacements/Husker Du influenced lot, bringing country influences or Stonesy rock or power pop. It was a good time: no-nonsense riffing, mad drumming, great tunes, no fat.
Those guys met some heavy metal dudes and they made grunge! Bonus!
Somewhere along the line, though, punk pop became a bunch of insufferable whiny frat boys who – it turned out – had more interest in sexually-harassing teenage girls than they did a working knowledge of the Ramones, Buzzcocks, Undertones, Descendents etc.
Which was, like, contrary to the job description.
So punk-pop was toxic for a while. Bands like Busted and McFly made a family-friendly version, neutered and smiley, the soundtrack to kids TV shows: energetic fluff.
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So I haven’t been paying much attention for a while. Turns out it’s the perfect time to check-in. Michigan band Liquid Mike’s fifth album in three years, Paul Bunyan’s Slingshot, is one of the greatest albums of the year.
Liquid Mike takes it back to the 90s, with songs about small-town life – the universal themes that have plagued 20-somethings for centuries, like buying drugs and goofing like a dick because there’s no jobs and what’s the point anyway now that the girl you had a crush on fucked off to college.
Each song is a snapshot of American life ( “Summertime 2009/We were playing the choking game/There was nothing else to do.” “Talk or screw/We can’t think of anything that’s new” “I got older but act the same” etc) and the songs are fast(ish) and riffy and over before you get bored with them – which means you NEVER get bored with them!
It’s a mix of killer melodies, disillusionment, heartbreak and nihilism that’s as timeless as Nirvana and reminds me of the Lemonheads’ It’s A Shame About Ray (and might be as good as Lovey, which is high praise).
Mike himself is a postman who is also in an AC/DC tribute band. I wish him all the success in the world and also, at the same time, maybe, no success at all so that he continues to make records like this.
That’s mean, I know, but on the other hand, I don’t think it made Evan Dando very happy.
Paul Bunyan’s Slingshot is available to buy and stream from their Bandcamp page
When REO Speedwagon entered a public period of turmoil earlier this year, no one could save it. Not even Irving Azoff, known in the music industry as one of the legendary heavyweights and influencers who can so often seemingly make anything happen with a few phone calls — and where necessary, fix things.
So when the Illinois-bred group hit a stalemate, eventually explained to fans as “irreconcilable differences” between singer-songwriter Kevin Cronin and bassist Bruce Hall, Azoff stepped in, but he had a certain reason for doing so.
Over the decades, Azoff is probably best known for his long-running association with the Eagles, but he also oversaw record labels including Full Moon and Giant, his personal imprints, as well as a stint at MCA Records in the early ’80s. He held key positions at Ticketmaster and eventually, Live Nation and was ranked at No. 1 on Billboard’s Power 100 list in 2012
But before any of that happened, he began working with bands while he was still a student at the University of Illinois at Urbana-Champaign. It was there that he met keyboardist Neal Doughty and the other members of the group that the world would come to know as REO Speedwagon. He proved to be an important influence on the band, taking them on as his first management client.
Decades later, when he heard there was trouble in the world of REO, he did what he so often does — he picked up the phone — and called Doughty, the last remaining founding member, who retired from the band in 2023 but remains a full partner.
“Irving Azoff, a lot of people in the industry don’t like him because he’s so successful. But to us, he’s that college kid, who said, ‘Neal, you play the piano, [and] you play the guitar…I’ll be the manager,'” Doughty recalled during a conversation on the UCR Podcast. “That’s the way it started out. When I saw I’d missed a call from Irving, I’m going, ‘Wow, they’re pulling out the big guns now.’ But it wasn’t that. He was totally sympathetic to what’s going on and why me and Bruce have to do what we’re doing. He had a talk with Kevin and called me back the next day. He said, ‘I tried. I have no stake in this. It’s just that you guys were my first band.’ It’s a shame, but he didn’t take sides. He just said, ‘I couldn’t do anything about it.'”
“For me to actually accept a phone call from a person that most people [regard as the] most successful guy in the music business and for me to say to him, ‘I can’t vote against Bruce and you understand why. You know how close we are,’ it’s not like this was easy,” Doughty continues. “It’s not like we just said, ‘Okay, Kevin, you can’t use the name anymore because we’re mad at you.’ This was a full year of soul searching. I don’t want anybody to think Bruce and I just shut it down out of spite.”
One of the main issues centers around Hall’s time away from the band, which began near the end of 2023, for him to have a long-needed back surgery. While Cronin told UCR in an earlier conversation that it was his understanding the bassist had agreed to sit out the whole of the band’s 2024 touring plans, Hall shares a different story, “I’d set this all up with management so I wouldn’t miss any shows,” he explains. “So I could get [the surgery] done and get back to work.” There were unplanned complications with what had been sketched out and as the group was getting ready for a Las Vegas residency near the end of last year, Hall realized he couldn’t make it due to his back issues.
After the surgery was completed, by January, he says that he’d been cleared by doctors to return to active duty with REO. Voicing that he’d need to “possibly sit on a stool,” Hall says, “They didn’t want me to play. They were kind of happy with what they had going” and while he was frustrated, he decided to use the extra time to “take it easy for a little bit longer.” He rejoined the band in March to share the stage for a couple of songs in the encore during a charity gig in his home area of Orlando, Fla. Performing “Roll With the Changes” and his signature song, “Back on the Road Again,” felt good. Still, there were issues with Cronin, he says. “[He] didn’t like my posture,” Hall explains. “He kept coming up with reasons….and it became apparent that he didn’t want me coming back –and why exactly, I couldn’t tell you.”
During the previous conversation with UCR, Cronin shared his enthusiasm for the current lineup, featuring bassist Matt Bissonette in Hall’s position, plus keyboardist Derek Hilland and longtime bandmates, guitarist Dave Amato and drummer Bruce Hitt. He will follow through on his expressed desire to continue with that exact grouping of players under his own name in 2025 when he begins to play solo dates.
Both Hall and Doughty stress that they don’t want to keep Cronin from moving ahead with his own plans, they just wish it would have been handled differently — with Doughty sharing frustration that certain moves were made “unilaterally” by Cronin. If this is the end of REO Speedwagon’s touring days, they’d like to see the current chapter end in a proper way. “The fans want us to do a farewell tour,” Hall points out. “That would be great,” Doughty agrees. “If there was a farewell tour with Bruce, I would also go back and be part of that. Then Kevin could go back to his solo career with the guys.”
“Honestly, we could have done that,” Hall says. “He doesn’t have to say farewell personally — as the band, we’d go out and say that and thank the fans for giving us this wonderful life and being there for us every time we come to town. If it hadn’t been for them, [we wouldn’t have had this kind of career].”
Listen to Neal Doughty and Bruce Hall on the ‘UCR Podcast’
Why 40 of Rock’s Biggest Reunions Haven’t Happened
A look at 40 of the biggest potential reunions in rock music, and why they most likely won’t happen.
Gallery Credit: Matthew Wilkening, except as noted below.
