Complete List Of Santana Songs From A to Z

Complete List Of Santana Songs From A to Z

Feature Photo: Distributed by Columbia Records, Public domain, via Wikimedia Commons

Santana is inseparably connected to the vibrant cultural fusion of San Francisco’s late 1960s music scene, where guitarist Carlos Santana assembled a dynamic lineup in 1966, setting the foundation for a groundbreaking fusion of rock, Latin rhythms, jazz, and blues. Originally known as the Santana Blues Band, the group’s early performances at iconic venues such as the Fillmore West garnered significant attention, positioning them for a defining moment at the 1969 Woodstock Festival. Their electrifying set, highlighted by an iconic rendition of “Soul Sacrifice,” catapulted the band to global recognition.

With a prolific discography spanning several decades, Santana has released twenty-six studio albums, along with numerous live recordings and collaborations, illustrating an unwavering commitment to musical innovation and evolution. Their eponymous debut album, released shortly after their Woodstock performance, established the band’s signature style and included standout tracks like “Evil Ways.” The following year, their landmark album “Abraxas” solidified their stardom, featuring chart-topping hits such as “Black Magic Woman” and the exuberant instrumental “Oye Como Va,” which remains one of their most celebrated tracks.

Throughout their impressive career, Santana achieved significant commercial and critical acclaim, amassing numerous awards and honors. Notably, the band earned multiple Grammy Awards, particularly in 2000 when their album “Supernatural” swept nine Grammy wins, including Record of the Year and Album of the Year. This landmark album, driven by the massive global hit “Smooth,” featuring Rob Thomas of Matchbox Twenty, introduced Santana’s timeless appeal to a new generation, reaffirming their unique ability to seamlessly bridge musical genres and generations.

Santana’s enduring popularity is deeply rooted in their authentic blend of diverse musical influences and virtuosic musicianship. Carlos Santana himself is widely revered for his soulful, expressive guitar style, characterized by fluidity and emotional depth, qualities that have made him one of rock music’s most admired guitarists. The band’s ability to continuously reinvent their sound while maintaining their musical integrity has cemented their status as both cultural icons and musical trailblazers.

Outside the recording studio, Carlos Santana and his bandmates have dedicated substantial efforts toward humanitarian and social activism. Carlos established the Milagro Foundation in 1998, committed to supporting underserved and vulnerable children around the world by funding educational, healthcare, and arts programs. The band’s commitment to social consciousness extends through benefit concerts and participation in various philanthropic initiatives, underscoring their belief in music’s transformative power beyond mere entertainment.

Santana’s legacy is thus characterized not only by their impressive catalogue and accolades but also by their profound influence across cultural and generational lines. Their passionate performances, commitment to innovation, and meaningful contributions to social causes illustrate why Santana continues to be cherished deeply within the global music community, respected for both their artistic excellence and dedication to humanitarian principles.

Complete List Of Santana Songs From A to Z

  1. A DiosMilagro – 1992
  2. A-1 FunkLotus – 1974
  3. AdoumaShaman – 2002
  4. Africa BambaSupernatural – 1999
  5. Africa SpeaksAfrica Speaks – 2019
  6. Agua que va caerMilagro – 1992
  7. Ah, Sweet DancerShape Shifter – 2012
  8. All AboardSantana IV – 2016
  9. All I Ever WantedMarathon – 1979
  10. All the Love of the UniverseCaravanserai – 1972
  11. AmericaShaman – 2002
  12. America for SaleBlessings and Miracles – 2021
  13. American GypsyZebop! – 1981
  14. Amoré (Sexo)Shaman – 2002
  15. Amor CorrespondidoCorazón (Deluxe) – 2014
  16. Angel Choir/All TogetherBlessings and Miracles – 2021
  17. Angelica FaithShape Shifter – 2012
  18. Anywhere You Want to GoSantana IV – 2016
  19. Aqua MarineMarathon – 1979
  20. AspirationsBorboletta – 1974
  21. Aye Aye AyeShaman – 2002
  22. Back in BlackGuitar Heaven – 2010 (AC/DC cover)
  23. BahiaMoonflower – 1977
  24. Bang a Gong (Get It On)Guitar Heaven – 2010 (T. Rex cover)
  25. BatongaAfrica Speaks – 2019
  26. BatukaSantana III – 1971
  27. BatukadaLotus – 1974
  28. Beijo de LongeCorazón (Deluxe) – 2014
  29. Before We GoFreedom – 1987
  30. BembeleAfrica Speaks – 2019
  31. Besos de LejosCorazón – 2014
  32. Black Magic Woman/Gypsy QueenAbraxas – 1970
  33. Blue SkiesAfrica Speaks – 2019
  34. Blues MagicSantana IV – 2016
  35. Body SurfingShangó – 1982
  36. BorbolettaBorboletta – 1974
  37. BreakBlessings and Miracles – 2021
  38. Breaking Down the DoorAfrica Speaks – 2019
  39. Breaking OutBeyond Appearances – 1985
  40. Breathing UnderwaterBlessings and Miracles – 2021
  41. Brightest StarZebop! – 1981
  42. BrotherhoodBeyond Appearances – 1985
  43. Brown Skin GirlAll That I Am – 2005
  44. CaminandoSantana IV – 2016
  45. Can’t You Hear Me KnockingGuitar Heaven – 2010 (The Rolling Stones cover)
  46. Candombe CumbeleAfrica Speaks – 2019
  47. CanelaShape Shifter – 2012
  48. Canto de los FloresBorboletta – 1974
  49. CarnavalFestival – 1977
  50. Castillos de Arena Part 1 (Sand Castle)Lotus – 1974
  51. Castillos de Arena Part 2 (Sand Castle)Lotus – 1974
  52. ChangesZebop! – 1981
  53. Choo ChooSantana IV – 2016
  54. ChooseSpirits Dancing in the Flesh – 1990
  55. Come as You AreSantana IV – 2016
  56. Con SantanaAll That I Am – 2005
  57. Corazón EspinadoSupernatural – 1999
  58. Cry Baby CryAll That I Am – 2005
  59. Da Tu AmorAll That I Am – 2005
  60. Dance Sister Dance (Baila Mi Hermana)Amigos – 1976
  61. Dance the Night AwayGuitar Heaven – 2010 (Van Halen cover)
  62. Dawn/Go WithinMoonflower – 1977
  63. Dealer/Spanish RoseInner Secrets – 1978
  64. Deeper, Dig DeeperFreedom – 1987
  65. Dios Bendiga Tu InteriorAfrica Speaks (Bonus Track) – 2019
  66. Do You Like the WaySupernatural – 1999
  67. DomShape Shifter – 2012
  68. E Papa RéZebop! – 1981
  69. EchizoSantana IV – 2016
  70. El FarolSupernatural – 1999
  71. El FuegoAll That I Am – 2005
  72. El MoroccoMoonflower – 1977
  73. El NicoyaAbraxas – 1970
  74. Eres La LuzShape Shifter – 2012
  75. Eternal Caravan of ReincarnationCaravanserai – 1972
  76. Europa (Earth’s Cry Heaven’s Smile)Amigos – 1976
  77. Everybody’s EverythingSantana III – 1971
  78. Every Step of the WayCaravanserai – 1972
  79. Everything’s Coming Our WaySantana III – 1971
  80. Evil WaysSantana – 1969
  81. Feel It Coming BackCorazón – 2014
  82. Feels Like FireShaman – 2002
  83. Fillmore EastSantana IV – 2016
  84. Flame – SkyWelcome – 1973
  85. Flor d’Luna (Moonflower)Moonflower – 1977
  86. Flor de CanelaBorboletta – 1974
  87. Foo FooShaman – 2002
  88. ForgivenessSantana IV – 2016
  89. Free All the People (South Africa)Milagro – 1992
  90. Free AngelaLotus – 1974
  91. Freedom in Your MindSantana IV – 2016
  92. Full MoonSpirits Dancing in the Flesh – 1990
  93. Future PrimitiveCaravanserai – 1972
  94. Ghost of Future Pull / New LightBlessings and Miracles – 2021
  95. Ghost of Future Pull IIBlessings and Miracles – 2021
  96. GitanoAmigos – 1976
  97. Give and TakeBorboletta – 1974
  98. Give Me LoveFestival – 1977
  99. Going HomeWelcome – 1973
  100. Goodness and MercySpirits Dancing in the Flesh – 1990
  101. GuajiraSantana III – 1971
  102. Gypsy WomanSpirits Dancing in the Flesh – 1990
  103. Gypsy/GrajoncaMilagro – 1992
  104. HannibalZebop! – 1981
  105. Hard TimesMarathon – 1979
  106. Here and NowBorboletta – 1974
  107. HermesAll That I Am – 2005
  108. Hold OnShangó – 1982
  109. Hope You’re Feeling BetterAbraxas – 1970
  110. Hoy Es AdiósShaman – 2002
  111. How LongBeyond Appearances – 1985
  112. I Ain’t SuperstitiousGuitar Heaven – 2010 (The Jeff Beck Group cover)
  113. I Am SomebodyAll That I Am – 2005
  114. I Don’t Wanna Lose Your LoveAll That I Am – 2005
  115. I Love You Much Too MuchZebop! – 1981
  116. I See Your FaceCorazón – 2014
  117. I’ll Be WaitingMoonflower – 1977
  118. I’m Feeling YouAll That I Am – 2005
  119. I’m the One Who Loves YouBeyond Appearances – 1985
  120. In the Light of a New DayShape Shifter – 2012
  121. Incident at NeshaburAbraxas – 1970
  122. IndyCorazón – 2014
  123. Introduction — Bill Graham (Milagro)Milagro – 1992
  124. Iron Lion ZionCorazón – 2014
  125. It’s a Jungle Out ThereSpirits Dancing in the Flesh – 1990
  126. Jin-go-lo-baSpirits Dancing in the Flesh – 1990
  127. JingoSantana – 1969
  128. JoyBlessings and Miracles – 2021
  129. JugandoFestival – 1977
  130. Jungle StrutSantana III – 1971
  131. Just Feel BetterAll That I Am – 2005
  132. Just in Time to See the SunCaravanserai – 1972
  133. Kyoto (Drum Solo)Lotus – 1974
  134. La FlacaCorazón – 2014
  135. La Fuente del RitmoCaravanserai – 1972
  136. Leave Me AloneSantana IV – 2016
  137. Let It ShineAmigos – 1976
  138. Let MeAmigos – 1976
  139. Let Me InsideShangó – 1982
  140. Let the Children PlayFestival – 1977
  141. Let the Music Set You FreeFestival – 1977
  142. Let There Be Light/Spirits Dancing in the FleshSpirits Dancing in the Flesh – 1990
  143. Life Is a Lady/HolidayInner Secrets – 1978
  144. Life Is AnewBorboletta – 1974
  145. Life Is for LivingMilagro – 1992
  146. Light of LifeWelcome – 1973
  147. Lightning in the SkyMarathon – 1979
  148. Little WingGuitar Heaven – 2010 (The Jimi Hendrix Experience cover)
  149. Look Up (To See What’s Coming Down)Caravanserai – 1972
  150. Los InvisiblesAfrica Speaks – 2019
  151. LoveMarathon – 1979
  152. Love Is YouFreedom – 1987
  153. Love Makes the World Go RoundSantana IV – 2016
  154. Love of My LifeSupernatural – 1999
  155. Love, Devotion & SurrenderWelcome – 1973
  156. Luna HechiceraAfrica Speaks – 2019
  157. Macumba in BudapestShape Shifter – 2012
  158. Make Somebody HappyMilagro – 1992
  159. Mal BichoCorazón – 2014
  160. MandelaFreedom – 1987
  161. MantraLotus – 1974
  162. MarathonMarathon – 1979
  163. MargaritaCorazón – 2014
  164. Maria MariaSupernatural – 1999
  165. María CaracólesFestival – 1977
  166. MeditationLotus – 1974
  167. MetatronShape Shifter – 2012
  168. Mientras TantoAfrica Speaks (Bonus Track) – 2019
  169. MigraSupernatural – 1999
  170. MirageBorboletta – 1974
  171. Mother AfricaWelcome – 1973
  172. Mother YesBlessings and Miracles – 2021
  173. Mother’s DaughterAbraxas – 1970
  174. MoveBlessings and Miracles – 2021
  175. Move OnInner Secrets – 1978
  176. Mr. SzaboShape Shifter – 2012
  177. My ManAll That I Am – 2005
  178. Never the Same AgainShape Shifter – 2012
  179. Night Hunting TimeShangó – 1982
  180. No One to Depend OnSantana III – 1971
  181. NomadShape Shifter – 2012
  182. Nothing at AllShaman – 2002
  183. NovusShaman – 2002
  184. Nowhere to RunShangó – 1982
  185. Nueva YorkShangó – 1982
  186. Once It’s GotchaFreedom – 1987
  187. One Chain (Don’t Make No Prison)Inner Secrets – 1978
  188. One of These DaysShaman – 2002
  189. One with the SunBorboletta – 1974
  190. Open InvitationInner Secrets – 1978
  191. Over and OverZebop! – 1981
  192. Oxun (Oshūn)Shangó – 1982
  193. Oye 2014Corazón – 2014
  194. Oye Cómo VaAbraxas – 1970
  195. Oye Este Mi CantoAfrica Speaks – 2019
  196. Para los RumberosSantana III – 1971
  197. Paraísos QuemadosAfrica Speaks – 2019
  198. Peace on Earth…Mother Earth…Third Stone from the SunSpirits Dancing in the Flesh – 1990
  199. Peace PowerBlessings and Miracles – 2021
  200. PersuasionSantana – 1969
  201. PhotographGuitar Heaven – 2010 (Def Leppard cover)
  202. Practice What You PreachBorboletta – 1974
  203. PraiseFreedom – 1987
  204. Primera InvasiónZebop! – 1981
  205. PrimaveraSupernatural – 1999
  206. Promise of a FishermanBorboletta – 1974
  207. Put Your Lights OnSupernatural – 1999
  208. Reach UpFestival – 1977
  209. Red ProphetMilagro – 1992
  210. RevelationsFestival – 1977
  211. Riders on the StormGuitar Heaven – 2010 (The Doors cover)
  212. Right NowBeyond Appearances – 1985
  213. RumbaleroBlessings and Miracles – 2021
  214. RunninMarathon – 1979
  215. SaideiraCorazón (Deluxe) – 2014
  216. Saideira (Spanish version)Corazón – 2014
  217. Saja/Right OnMilagro – 1992
  218. Samba de SausalitoWelcome – 1973
  219. Samba Pa TiAbraxas – 1970
  220. Santana CelebrationBlessings and Miracles – 2021
  221. SavorSantana – 1969
  222. Say It AgainBeyond Appearances – 1985
  223. Se a CabóAbraxas – 1970
  224. Searchin’Zebop! – 1981
  225. Shades of TimeSantana – 1969
  226. Shake ItSantana IV – 2016
  227. ShangóShangó – 1982
  228. Shape ShifterShape Shifter – 2012
  229. She Can’t Let GoFreedom – 1987
  230. She’s FireBlessings and Miracles – 2021
  231. She’s Not ThereMoonflower – 1977
  232. SidewaysShaman – 2002
  233. Since SupernaturalShaman – 2002
  234. Singing Winds, Crying BeastsAbraxas – 1970
  235. Smoke on the WaterGuitar Heaven – 2010 (Deep Purple cover)
  236. SmoothSupernatural – 1999
  237. Song for CindyBlessings and Miracles – 2021
  238. Somewhere in HeavenMilagro – 1992
  239. Song of the WindCaravanserai – 1972
  240. Songs of FreedomFreedom – 1987
  241. Soul SacrificeSantana – 1969
  242. Soweto (Africa Libre)Spirits Dancing in the Flesh – 1990
  243. Spark of the DivineShape Shifter – 2012
  244. SpiritBeyond Appearances – 1985
  245. Spring ManifestationsBorboletta – 1974
  246. Stand UpMarathon – 1979
  247. Stay (Beside Me)Marathon – 1979
  248. Stone FlowerCaravanserai – 1972
  249. StormyInner Secrets – 1978
  250. SueñosSantana IV – 2016
  251. Summer LadyMarathon – 1979
  252. Sunshine of Your LoveGuitar Heaven – 2010 (Cream cover)
  253. TabooSantana III – 1971
  254. Take Me with YouAmigos – 1976
  255. Tales of KilimanjaroZebop! – 1981
  256. Tell Me Are You TiredAmigos – 1976
  257. The CallingSupernatural – 1999
  258. The Facts of LoveInner Secrets – 1978
  259. The Game of LoveShaman – 2002
  260. The NileShangó – 1982
  261. The RiverFestival – 1977
  262. The Sensitive KindZebop! – 1981
  263. Touchdown RaidersBeyond Appearances – 1985
  264. Toussaint L’OvertureSantana III – 1971
  265. TranscendanceMoonflower – 1977
  266. TreatSantana – 1969
  267. TrinityAll That I Am – 2005
  268. Try a Little HarderFestival – 1977
  269. TwistedAll That I Am – 2005
  270. Una Noche en NápolesCorazón – 2014
  271. VeracruzFreedom – 1987
  272. Verão VermelhoFestival – 1977
  273. Victim of CircumstanceFreedom – 1987
  274. Victory Is WonShaman – 2002
  275. WaitingSantana – 1969
  276. WarriorShangó – 1982
  277. Waves WithinCaravanserai – 1972
  278. We Don’t Have to WaitMilagro – 1992
  279. Well All RightInner Secrets – 1978
  280. WelcomeWelcome – 1973
  281. What Does It Take (To Win Your Love)Shangó – 1982
  282. Wham!Inner Secrets – 1978
  283. When I Look into Your EyesWelcome – 1973
  284. While My Guitar Gently WeepsGuitar Heaven – 2010 (The Beatles cover)
  285. Whiter Shade of PaleBlessings and Miracles – 2021
  286. Who Loves YouBeyond Appearances – 1985
  287. Who’s That LadySpirits Dancing in the Flesh – 1990
  288. Whole Lotta LoveGuitar Heaven – 2010 (Led Zeppelin cover)
  289. Why Don’t You & IShaman – 2002
  290. Wishing It WasSupernatural – 1999
  291. WinningZebop! – 1981
  292. Written in SandBeyond Appearances – 1985
  293. Xibaba (She-Ba-Ba)Lotus – 1974
  294. (Da Le) YaleoSupernatural – 1999
  295. YambuSantana IV – 2016
  296. Yo Me Lo MerezcoAfrica Speaks – 2019
  297. Yo Soy La LuzCorazón – 2014
  298. You and ISantana IV – 2016
  299. You Are My KindShaman – 2002
  300. You Just Don’t CareSantana – 1969
  301. You Know That I Love YouMarathon – 1979
  302. Your TouchMilagro – 1992
  303. Yours Is the LightWelcome – 1973
  304. ZuluMoonflower – 1977

Albums

Santana (1969): 9 songs

Abraxas (1970): 9 songs

Santana III (1971): 9 songs

Caravanserai (1972): 10 songs

Welcome (1973): 9 songs

Lotus (1974): 9 new tracks

Borboletta (1974): 12 songs

Amigos (1976): 7 songs

Festival (1977): 11 songs

Moonflower (1977): 8 new studio tracks

Inner Secrets (1978): 9 songs

Marathon (1979): 11 songs

Zebop! (1981): 12 songs

Shangó (1982): 11 songs

Beyond Appearances (1985): 10 songs

Freedom (1987): 10 songs

Spirits Dancing in the Flesh (1990): 10 songs

Milagro (1992): 12 songs

Supernatural (1999): 13 songs

Shaman (2002): 16 songs

All That I Am (2005): 13 songs

Guitar Heaven (2010): 12 songs (all covers)

Shape Shifter (2012): 13 songs

Corazón (2014): 15 songs (including deluxe edition tracks)

Santana IV (2016): 16 songs

Africa Speaks (2019): 13 songs (including bonus tracks)

Blessings and Miracles (2021): 15 songs

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

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Complete List Of Santana Band Members

Top 10 Santana Album Covers

Top 10 Santana Songs

Complete List Of Santana Studio Albums And Songs

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“I was living a couch, with no food and no money, just hoping the band would come through this”: The epic story of Meshuggah’s rise from thrash metal wannabes to tech metal giants

“I was living a couch, with no food and no money, just hoping the band would come through this”: The epic story of Meshuggah’s rise from thrash metal wannabes to tech metal giants

Meshuggah posing for a photograph in 2012
(Image credit: Press)

Swedish trailblazers Meshuggah are one of the most innovative and influential bands of the last 30 years. In 2012, as they geared up to release their new album, Koloss, guitarist Mårten Hagström and drummer Tomas Haake looked back on their rise from thrash metal wannabes to tech metal giants.

A divider for Metal Hammer

Meshuggah guitarist Mårten Hagström is puzzled by the whole concept of ‘djent’. The Swedish band are universally acknowledged as pioneering this innovative and exciting strain of modern metal. The term describes a mix of syncopated, elastic guitar riffs, bringing together complexity and palm-muted, distorted chords. But for Mårten, it’s something of a mystery.

“I know we’re credited with starting this whole thing, but I really wonder what people mean by the term,” he says. “However, in the wider scheme of things it’s very warming and gratifying to know that there are a lot of bands out here – ones we respect – who claim us to be an influence. It’s a long way removed from where we were in the early days, when we thought nobody actually cared about what we did!”

Meshuggah’s story has been beset by as many out-of-the-blue interruptions and sudden, headspinning reconfigurations as their music itself. While not a rags-to-riches tale, it is about turning musical rage into sonic gold dust – the alchemy of sound.

“Tomas Haake [current Meshuggah drummer] and I remember them when they were Metallien back in 1985,” recalls Mårten of Meshuggah’s formation. “We were in the band Barophobia and supported Metallien in their very early days. So we saw them develop.”

Metallien were started by guitarist Fredrik Thordendal in the small Swedish town of Umeå. But after making a few demos, the band split up, realising that they were making little progress.

Meanwhile, in 1987, guitarist/vocalist Jens Kidman started a new band called Meshuggah, taking the name from an ancient Yiddish language term, as Mårten explains: “When the band was in its infancy, Jens was sitting looking through books for some name ideas for the band. He came across the word Meshuggah, which means ‘insane’. The band liked it so much they decided to keep it as a name.”

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However, this didn’t last long, and when the project fell apart, Jens teamed up with Fredrik in a new band called Calipash, the lineup also featuring bassist Peter Nordin and drummer Niklas Lundgren. It was at Fredrik’s suggestion that the Meshuggah name was revived, and this time there was some momentum.

Meshuggah posing for a photograph in 1989

Meshuggah in 1989 (Image credit: Press)

In 1989, the newly-christened band released the raw three-track EP titled Psykisk Testbild, with 1,000 copies pressed up on vinyl and sold at a local record shop, Garageland.

“The band used this to try and get a proper record deal,” says Tomas. “They sent out copies to every company they could think of, and Nuclear Blast offered them a contract.”

The cover of Metal Hammer magazine issue 229 featuring Ghost

This feature originally appeared in Metal Hammer magazine issue 229 (March 2012) (Image credit: Press)

However, signing to the label meant having to find a new drummer, as Niklas Lundgren quit.

“He was scared by what the band had become,” considers Tomas. “To him it was all fine as long as the band remained no more than a hobby. But now it was something a lot more serious. So he left and sold his drum kit.”

The search for a replacement led to Tomas. “I was living in Örnsköldsvik, close to Umeå,” he continues. “I used to go there regularly to buy my drum heads from one particular music store. I got to know the guy who ran the drum department, and he also knew the Meshuggah guys. He told me they were looking for a new drummer, and he passed my number to them.”

With Tomas in place, the band recorded their debut album. Released in 1991, this was originally going to be called (All This Because Of) Greed, but at the last minute the title was changed to Contradictions Collapse.

“Well, we had this idea for the title and also the album cover design,” explains Tomas. “The line (All This Because Of) Greed is from the song Greed on that record. We explained our sleeve artwork idea to Nuclear Blast and they got someone to come up with a design. But when we saw what they’d done, all of us hated it. So the label then gave us a choice of three pieces of artwork that had already been done for other things, but never used. Now we liked the idea of the Statue Of Liberty set in what seemed to be the aftermath of a nuclear holocaust, but that didn’t fit in with the album title. That’s when we changed it.”

Musically, Contradictions Collapse was closely allied to the thrash movement, which had been a major source of inspiration for the four musicians as they grew up.

“We were all influenced by the Bay Area thrash scene, and also by NWOBHM,” agrees Tomas. “Bands like Anthrax, Metallica, Metal Church and even Holy Moses were our roots. You can hear all of this on that debut album. It was very primitive, I suppose, and a lot of the songs dated back a few years. Some were even written in 1987, and had first been recorded with Niklas. It is far removed from where we went musically, but as we developed so those influences began to become less important.”

The band, though, were about to go through yet another change, as Jens decided to concentrate on his vocals and gave up playing the guitar.

“Our music was beginning to become a little more complex,” reveals Tomas. “And it was difficult for Jens to play guitar and to sing live. He felt he had to make a choice, so decided to give up on the guitar completely and become our vocalist. This also suited Fredrik, because he had to do some of the live singing when Jens played guitar, and he hated doing it.”

The search for a new guitarist led to Mårten, who was cooling his heels at the time after Barophobia had split up.

“I was doing nothing musically at all,” he admits. “I’d even sold all of my equipment, except for one guitar. Inevitably, it was Tomas who suggested me to the rest of the Meshuggah guys. What convinced me to do it was that they not only wanted someone to play rhythm guitar, but also a person who could write. That suited me.”

The first recordings done by the new-look Meshuggah appeared as the EP None, released in 1994. For Mårten, this was a crucial opportunity to show what he could do.

“I was so lucky in that I was joining a band where I knew everyone, and also knew what they wanted to do musically,” he notes. “I was also encouraged to offer any ideas I had, and for None they actually chose to record some old songs I had never quite finished. This helped prove to them what I could do.”

“I think this was the moment when we really began to find our feet,” adds Tomas. “When you listen to None and compare it to Contradictions Collapse, you can see how much we were moving on. It was an important step for us.”

Meshuggah posing for a photograph in 1995

Meshuggah in 1995 (Image credit: Press)

But bad luck struck Meshuggah just as they were getting into their stride. Both Fredrik and Tomas suffered injuries.

“Fredrik was a carpenter by trade and he accidentally severed the tip of the ring finger on his left hand at work,” shudders Mårten. “Thankfully, it was sewn back on, but it took him ages to be able to play the guitar again. In fact, at one stage we did wonder whether he would ever be able to play again. Yes, it was very close to finishing his career.

“At the same time, Tomas split a finger in an accident. Again, we all wondered whether he’d recover enough to pick up the sticks again. It was a bad time for us. I was living on Tomas’s couch, with no food and no money and just hoping the band would come through this. Everyone told me to stop dreaming and get a proper job. But I stuck it out, and after about six months we slowly got back into action.”

Once the injured pair were over their problems in 1995, Meshuggah released the Selfcage EP, which had been recorded in ’94 but had been held back until the band had momentum again. Then they recorded what was to be a vital album, namely Destroy Erase Improve.

“We worked on this with Daniel Bergstrand as producer,” says Tomas. “And it was an important time for us and him. In fact, working together helped to give us both a boost.”

MESHUGGAH – New Millennium Cyanide Christ (Official Music Video) – YouTube MESHUGGAH - New Millennium Cyanide Christ (Official Music Video) - YouTube

Watch On

Meshuggah then got another shot in the arm when they were invited by Machine Head to open for them on a European tour in 1995, just as the new album was released.

“They were really a happening metal band at the time,” reveals Mårten. “Their first album, Burn My Eyes, was out and there was such a buzz about them. So to get the chance to tour with them was a great thrill.”

But health problems again hit the Swedes hard, as bassist Peter Nordin was forced to leave the tour.

“He was sick every morning, and none of us knew what was wrong with him,” sighs Mårten. “In the end, there was no choice but to send him home. Adam Duce from Machine Head did offer to stand in for him, but we decided to do things ourselves. So Fredrik played bass and we adapted the set to feature only those songs that worked with one guitar.”

Peter eventually quit the band, being replaced by Gustaf Hielm, as the Swedes carried on touring.

The next significant move for Meshuggah was literally a move, as the musicians decided to relocate from Umeå to Stockholm.

“It was a really tough time for us,” admits Mårten. “But it made sense to move to Stockholm, because that was a major city for the music industry in Sweden. We wanted to have our own studio, do a lot more touring, and to live right in the heart of everything was crucial. But we arrived there with no jobs and no money, and really didn’t know what to do.

“We’d just done the True Human Design EP, which came out in 1997. That had one new song called Sane, and we’d done it because Nuclear Blast were keen to hear what we were doing musically. But we were in Stockholm feeling frustrated and aggressive about where we were in our lives and career, and you can hear all of that on the Chaosphere album, which came out at the end of 1998. It was the most chaotic record we’d ever done.”

Meshuggah performing live onstage in 2002

Meshuggah onstage at the 2002 Ozzfest (Image credit: Tim Mosenfelder/Getty Images)

But while the band might have believed the world was passing over them, in reality their stock was on the rise and they were about to get a major breakthrough in America. Because in 2002, the next album, Nothing, became not only their first charting release in the States (making it to number 165), but it was the first time Nuclear Blast had ever had an album in the Top 200 over there.

“I put a lot of the success Nothing achieved down to the amount of touring we did in the States around that period,” says Tomas. “We had done two tours with Tool, another with Slayer and also been on the Ozzfest bill in ’02. That all helped to get our music across to a wider audience.”

“I think we did seven weeks with Slayer,” remembers Mårten, “and that was such a big deal for us. To be honest, we never expected to go down at all well. Most bands who open for Slayer suffer because the fans only want to see them. But for some reason they took to us. But we were still shocked to have Nothing do so well, and we were amazed that Nuclear Blast had never had anything so big in America before.”

Typically, the band decided their next project would be an EP featuring just one track, and that was 21 minutes long. This was the I EP, put out in 2004, by which time Dick Lövgren had taken over on bass.

“That was on the Fractured Transmitter label, which was started by Jason Popson, who’d been a member of Mushroomhead,” says Tomas, “We’d met him on the Ozzfest tour and gotten on really well. When he left the band he started up his own label and asked if we’d give him one track, anything we wanted. We asked Nuclear Blast if they were OK with the idea, and then came up with this very long, single song.”

And a similar concept was followed for the next album, Catch Thirtythree. Released in 2005, this is a continuous piece of music lasting for 47 minutes, albeit divided into 13 parts.

MESHUGGAH – Shed (Official Music Video) – YouTube MESHUGGAH - Shed (Official Music Video) - YouTube

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“Fredrik and I would go into the studio and mess around with ideas,” Tomas continues. “Every time we felt that we had something worked out all of us would record that section. It was a very flexible type of arrangement, and it gave us so much freedom to explore musical visions. We never intended it to be as long as it turned out. But we just kept going and going.

“I used a lot of programmed drums on it, because we never thought of ever having to play it live. This was to be just studio music, so I got to try out different approaches.”

Contrary to expectations, though, they did eventually play some of the album live, which caused Tomas a huge headache.

“We did a 30-minute segment from Catch Thirtythree onstage, and I had to spend ages going back and learning how to play the music. The whole thing had been so deliberately unstructured that it was a nightmare working out how to do it on a live kit.”

The band spent almost a year on the next album, obZen, both in terms of the writing and also the recording. But while this might seem to be a lengthy process, for Mårten it all made total sense.

“We’re very lucky in that Nuclear Blast never rush us. We have complete artistic freedom. In fact, that’s in our contract with them. It’s something we’ve always insisted on, and this is so much more important than money to us. So, when we get into the creation of any album or EP, we decide the timetable.”

“We’re not the sort of band who can write on the road. We have to be completely locked away in a different environment and then focus solely on that side of things,” adds Tomas. “We toured a lot with Catch Thirtythree, so had to start from scratch with obZen. It might appear that we took a very long time to do the album, but if you analyse the process, it wasn’t so time consuming. One of the things with us is that we never have any material left over from albums that we can subsequently use. What we record is used; there are no leftovers or outtakes.”

Meshuggah posing for a photograph in 2008

Meshuggah in 2008 (Image credit: Press)

ObZen was to really catapult the band forward, reaching number 59 in the US charts and giving them more exposure than ever. But yet again health issues temporarily forced the band off the road. In April 2009, it was announced that Tomas was suffering from a herniated disc in his lower back.

“I had a back operation, and I lost control of my right foot. The control still hasn’t fully returned, and even when I could play again, for a while we had to cut anything from Chaosphere out of our live set, because I literally couldn’t play it. It’s been difficult. But I don’t think I’m unique among drummers. If you play as hard as I do then you are gonna put a lot of stress and strain on your body, and that leads to the type of injuries I’ve had. You just have to live with it.”

Thankfully, Tomas worked out his physically issues. The band’s 2012 album, Koloss, sees Meshuggah returning to a heavier approach.

“We do have our own style and sound now,” says Tomas. “You know a Meshuggah album when you hear it. But with each release, we try to move a little further sideways. Not forward, but sideways. We never want to repeat what we’ve done before.

obZen was technically very complex and it was so difficult to do the songs live. It took us ages to learn how to do that. So this time, we’ve gone for music with a real groove and it’s also much heavier. As I’ve said, we are lucky enough to be able to do whatever we want.”

Meshuggah stand apart as one of the outstanding and individual metal bands of the 21st century. What they do is both visionary and inspirational, and they have inspired so many others to follow a similar path.

MESHUGGAH – Break Those Bones Whose Sinews Gave It Motion (OFFICIAL MUSIC VIDEO) – YouTube MESHUGGAH - Break Those Bones Whose Sinews Gave It Motion (OFFICIAL MUSIC VIDEO) - YouTube

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“To see that the djent genre has caught on is special to us,” admits Tomas. “To know that there are bands out there who cite us as a big influence makes it all worthwhile. Is there anything better? But we aren’t part of any movement. We like to think that we’re removed from all of that, and what we do is unique to us. Like any founding fathers of a musical style, that actual style doesn’t fully describe us.”

“It took us ages to realise that anyone was paying attention to what we did,” concludes Mårten. “At first we thought we were only doing things for ourselves… that nobody was paying attention. Then we found out that people were buying our albums, and listening to what we were doing. The strange thing is, this made us all the more determined to be true to ourselves. Selling huge numbers of records is not why were are here. Our music matters most of all to us. As long as we know we’ve done the right thing, we’re comfortable. If we inspire anything, let it be the pursuit of personal excellence. It’s not about being part of the pack.”

Originally published in Metal Hammer issue 229, March 2012

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica, published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term “thrash metal” while writing about the Anthrax song Metal Thrashing Mad in 1984. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He died in 2021

Ted Nugent Estimates He ‘Should Have Died’ 40 Times Onstage

Ted Nugent has long been known as the Motor City Madman, a title that he earned thanks to his penchant for wild live performances.

In his younger years, the guitarist was known for jumping off of speakers and hanging from the rafters during his shows. In a recent interview with Sirius XM’s Eddie Trunk, Nugent looked back on his outlandish onstage antics, specifically the stunts that could have gotten him killed.

“I mean, the running, the athleticism, the ramp — we created the whole ramp thing onstage because I was so hyper, so driven by the rhythms that my incredible band provided that you can’t stand there and play,” the guitarist recalled, before naming a memorable near-death experience. “Coming down out of the ceiling at Cobo Hall in the ‘80s, my hair got caught in the pulley 140 feet up in the air. And I had to literally violently yank out that big shard of hair from the pulley or I’d have plummeted to the ground and died.”

READ MORE: 24 of Rock’s Worst Onstage Injuries

Another one of Nugent’s life-risking moves? Mounting a 1,000-pound wild animal onstage.

“Riding the buffalo onstage at the House of Blues in Chicago, where we’re going up the elevator where the buffalo’s horns were up against my ass,” the rocker continued. “And if he would sneeze, I’d have been fixed for life.”

“I should have died, oh, maybe 30, 40 times,” the guitarist estimated. “But luckily I was really healthy and athletic.”

Nugent likened his extreme performance style to a racecar driver pushing to “dangerous near-death limits to come in first. … I couldn’t have told you that was my approach back then, but that was my approach back then.”

How Did Ted Nugent Start Riding Buffalo During His Concerts?

A chance encounter with a buffalo farmer led Nugent to study the impressive beasts. He slowly learned how to earn the animal’s trust and eventually trained one to ride onstage.

“I know some people don’t think you should domesticate wild animals, but we do, we can, we do,” Nugent noted. “And if it’s done with reverence and done with respect and taking real genuine care of these animals, then there’s a place for that.”

READ MORE: How Ted Nugent ‘Broke All of the Rules’ With ‘Stranglehold’

Of course, practicing on a farm and getting out on a stage in front of an audience were two very different things. Nugent admitted he was worried the buffalo would “kill me or the first four rows” if it got spooked by the noise or lighting. “But luckily I had spent so much time riding him that he came to accept me and even accept the chaos and the outrage of a rock ‘n’ roll concert. And people would witness me come out riding Chief onstage.”

Riding a buffalo would become something of a calling card for Nugent, who repeated the act many times throughout his career. As for what happened to his very first onstage buffalo, the avid hunter was direct: “I do believe that we sauteed some of him on my barbecue.”

The Most Awesome Live Album From Every Rock Legend

Some of these concert recordings sold millions of copies, while others received little fanfare. Still, they remain the best of the best.

Gallery Credit: Corey Irwin

Linkin Park launch “the best song we’ve ever made” Up From The Bottom

Linkin Park have released their first new song since last year’s comeback album From Zero. Up From The Bottom is available on streaming platforms now, and will also appear on a deluxe edition of the album scheduled to arrive on May 16.

“We are so grateful for the incredible reception to From Zero,” says guitarist/vocalist Mike Shinoda. “This new chapter, our continuing journey, and the connection between the band and fans has been more than we could’ve hoped for. Thank you for listening.”

When asked about the single by Billboard last month, Linkin Park DJ Joe Hahn responded, “In my opinion, it’s the best song we’ve ever made,” while Shinoda called the accompanying clip “one of the best we’ve ever had.”

The band teased the release of Up From The Bottom in the second part of a short YouTube documentary about their upcoming world tour released earlier this month. The film ended with Shinoda and lead singer Emily Armstrong recording what sounded like a new song, which can now be revealed to be the new single.

Linkin Park’s 2025 schedule will kick off on April 26 at the Moody Center in Austin, TX, before heading to Europe in June. The band will return to North America for more shows at the end of that month, before South American dates in October and November. Full dates below.

Up From The Bottom (Official Music Video) – Linkin Park – YouTube Up From The Bottom (Official Music Video) - Linkin Park - YouTube

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Linkin Park: 2025 tour dates

Apr 26: Austin Moody Center, TX ^
Apr 28: Tulsa BOK Center, OK ^
May 01: Grand Rapids Van Andel Arena, MI ^
May 03: Baltimore CFG Bank Arena, ND ^
May 06: Raleigh Lenovo Center, NC ^
May 08: Greenville Bon Secours Wellness Arena, SC ^
May 10: Columbus Sonic Temple, OH *
May 17: Daytona Welcome To Rockville, FL *

Jun 12: Nisckelsdorf Novarock, Austria *
Jun 14: Hradec Kralove Rock For People, Czech Republic *
Jun 16: Hannover Heinz-Von-Heiden Arena, Germany ~
Jun 18: Berlin Olympiastadion, Germany ~
Jun 20: Bern Bernexpo, Switzerland
Jun 22: Clisson Hellfest, France *
Jun 24: Milan I-Days, Italy *
Jun 26: Arnhem Gelredome, Netherlands $
Jun 28: London Wembley Stadium, UK $&
Jul 01: Dusseldorf Merkur Spiel Arena, Germany ~&
Jul 03: Werchter Rock Werchter Festival, Belgium *
Jul 05: Gdynia Open’er Festival, Poland *
Jul 08: Frankfurt Deutsche Bank Park, Germany ~&
Jul 11: Paris Stade De France, France

Sign up below to get the latest from Metal Hammer, plus exclusive special offers, direct to your inbox!

Jul 29: Brooklyn Barclays Center, NY +
Aug 01: Boston TD Garden, MA +
Aug 03: Newark Prudential Center, NJ +
Aug 06: Montreal Bell Centre, Canada +
Aug 08: Toronto Scotiabank Arena, Canada +
Aug 11: Chicago United Center, IL +
Aug 14: Detroit Little Caesars Arena, MI +
Aug 16: Philadelphia Wells Fargo Center, PA #
Aug 19: Pittsburgh PPG Paints Arena, PA #
Aug 21: Nashville Bridgestone Arena, TN #
Aug 23: St Louis Enterprise Center, MO #
Aug 25: Milwaukee Fiserv Forum, WI #
Aug 27: Minneapolis Target Center, MN #
Aug 29: Omaha CHI Health Center, NE #
Aug 31: Kansas City T-Movile Center, MO #
Sep 03: Denver Ball Arena, CO #
Sep 06: Phoenix Footprint Center, AZ #
Sep 13: Los Angeles Dodger Stadium, CA !&
Sep 15: San Josa SAP Ceter, CA &
Sep 17: Sacramento Golden 1 Center, CA &
Sep 19: Portland Moda Center, OR &
Sep 21: Vancouver Rogers Arena, Canada &
Sep 24: Seattle Climate Pledge Arena, WA &

Oct 26: Bogota TBA, Colombia
Oct 29: Lima TBA, Peru
Nov 01: Buenos Aires TBA, Argentina
Nov 05: Santiago TBA, Chile
Nov 08: Rio De Janeiro TBA, Brazil
Nov 10: São Paulo TBA, Brazil
Nov 13: Brasilia TBA, Brazil
Nov 15: Porto Alegre TBA, Brazil

Festival performance *
With Queens Of The Stone Age !
With Spiritbox $
With AFI =
With Architects ~
With Grandson ^
With Jean Dawson #
With Jpegmafia &
With Pvris +

Tickets are on sale now.

Elton John Names the ‘Worst Thing That Can Happen’ to a New Act

Elton John has enjoyed a career spanning more than 60 years, and he’s learned many lessons along the way.

During a conversation with Rolling Stone UK, the legendary singer shared some of his wisdom, advising new artists to “keep trying to play live” as much as they can.

“That’s the way you improve as a musician and songwriter. It doesn’t matter if you’re playing to 40 people,” John explained. “The more experience you get playing to nobody, the better. Because when I played in Musicology (sic), we played to hardly anybody sometimes.”

Some may scoff at Elton’s suggestion, considering how the music industry has changed over the years. Nowadays, artists can build a following via social media and TV competition shows, largely skipping the process of playing small, near-empty clubs. Still, the Rock & Roll Hall of Famer insisted that experience is vital for any artist – not just for their musicianship, but for their confidence.

READ MORE: The Best Song From Every Elton John Album

“That experience stood me in great stead for when I became Elton John because I had backbone,” John noted. “And backbone is so important, because the worst thing that can happen to you in the industry are things like X Factor and instant fame on television, where you have no experience of playing live. You get put on stage, you go, and you can’t do it. That’s the worst thing. American Idol — just the worst.”

Rather than looking for instant fame, John said new artists should “Take risks. Go and play in a pub.”

Elton John: ‘Music Keeps Me Alive’

Just days away from his 78th birthday, John remains as active as ever. Though he’s retired from touring, the singer-songwriter still delivers occasional performances at charity events and fundraisers.

“I can’t live without music. It nearly killed me, but it also kept me alive, and it keeps me alive today,” he explained. “But not the music of the past so much. Although I do listen to jazz and stuff like that, but it’s the music of the future that keeps me alive.”

John has an upcoming collaborative album with Brandi Carlisle titled Who Believes in Angels? The two will be musical guests on the April 5 episode of Saturday Night Live, the day after the album’s release.

READ MORE: Elton John Admits He Was a Nightmare for Brandi Carlisle

“I love her so much and not just as a person, but I love what’s inside of her musically and creatively,” John said of Carlisle. “And it hasn’t really touched the surface. I think it’s beginning to, but it’s got so much further to go. She’s like an embryo at the moment, and she’s done a hell of a lot to be an embryo, but she’s going to just burst.”

Elton John Albums Ranked

Counting down every Elton John album, from worst to best.

Gallery Credit: Matt Springer

How Ted Nugent ‘Broke All of the Rules’ With ‘Stranglehold’

Ted Nugent’sStranglehold” almost found itself choked out by the record label before fans ever would get a chance to hear it. That’s the story that the legendarily outspoken guitarist and hunter is telling as one of his most classic songs hits the 50-year mark.

He begins to tell the tale by sharing some “Stranglehold” lyrics with us. “Here I come now, baby/ Like a dog in heat/ You tell it’s me by the clamor now, baby/ I like to tear up the streets/ Now, I’ve been smoking for so long/ You know I’m here to stay/ Got you in a stranglehold, baby/ Get the f–k out of the way!

As one would expect, the original words are punched up a bit, punctuated with an F-bomb and with good reason, as Nugent shares. “Those lyrics were so pertinent because the record company didn’t think I should record it because it didn’t have a chorus,” he says now. “I went, ‘Really, you don’t think I should record the song that every night the people go the most crazy about? Does f–k you ring any bells? That defiant element is what [makes the song]. Even when I play it to this day, even as an old man, you feel it. [Nugent grabs his guitar and plays the “Stranglehold” riff to demonstrate] Get the f–k out of here!”

Listen to Ted Nugent Perform ‘Stranglehold’

The seeds of “Stranglehold” were initially sown long before Nugent got a chance to record it for his 1975 self-titled solo debut, beginning musical life as a jam. The moment, which happened in the twilight hours following an Amboy Dukes gig in 1968, stayed with the guitarist. “To turn just a spontaneous jam with no guidance — which is what a jam should be — to have it end up being a composition with arrangements and the F sharp / minor seventh bass solo, was an amazing moment,” he recalls. “[They told me] nobody wants a bass solo, Well, I want a bass solo! Give me one! Well, people don’t like bass solos. I think they do! I’m going with my hunches here.” [Nugent laughs maniacally]

READ MORE: Top 10 Ted Nugent Songs

The people, with Nugent as their advocate, got what they wanted. “That f–king bass solo is mystical. It’s lyrical, outrageous, bombastically soulful, its inescapable groove and grind [stays with you when you hear it],” he says. “I broke all of the rules, but that’s one of the planets that aligned. I have the evidence from every night on stage, people going nuts for this thing, this moment, this lick. It’s only two chords and 11 minutes long. What? You can’t just play two chords for 11 minutes. Yeah? Shut the f–k up! Since you said that, watch me do it. Don’t tell me I can’t do something, because the audience goes berserk and that’s all that matters.”

Nugent Steps Inside the Vault

While he’s done with touring on a lengthy scale, the guitar legend continues to play select concerts, including a series of dates in Texas and Michigan this summer to celebrate the 50th anniversary of “Stranglehold.” Fans can tune up for the upcoming dates by revisiting decades of history inside Nuge Vault, the new online archive spearheaded by Nugent’s own drummer, Jason Hartless, who has spent an extensive amount of time going through a voluminous amount of materials.

Among the concert highlights so far are previously unavailable gigs recorded in 1976 and 1980 and the 1987 edition of Nugent’s annual Whiplash Bash New Year’s Eve celebration. The video section of the Vault includes things like an ’84 jam with Sammy Hagar and a ’94 gig recorded at the Indiana-area Deer Creek Music Center. Additional audio treasures feature a pair of long out-of-print EPs, rough mixes for 1976’s Free-for-All and demos for Nugent’s last two albums, 2018’s The Music Made Me Do It and 2022’s Detroit Muscle.

“He did a swan dive into these eternal vats of memorabilia,” Nugent shares. “Inside my barn, there’s 100-feet walls stacked up 20 feet in the air with boxes from the Amboy Dukes, reel-to-reel tapes, photos, cassette jam sessions and every series of Ted Nugent band eras, including Damn Yankees. It’s fascinating. He whipped out a reel-to-reel of the rehearsal for the Free-for-All album and I was like, “Oh man, I remember that!”

Watch Ted Nugent Discuss the ‘Nuge Vault’

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The Most and Least-Played Song Live Off Every AC/DC Album

Some people say AC/DC have made the same album over and over again. The band would probably beg to differ, and as far as Angus Young is concerned, there is strength in consistency.

Malcolm [Young] used to say, ‘Yeah, well, they said we sound the same, because we’re the same band. That’s what we are.’ We never aimed to be going into territory that was not ours,” he explained to Rolling Stone in 2021. “We know the style. We know what we’re looking for, so when people hear it, they go, ‘Well, that is them. They have their own stamp on who they are.'”

Though their lineup has changed multiple times over the years, AC/DC has continued to release albums and tour the world.

With the help of data from setlist.fm, we’ve collected the most and least-played songs live from just about every AC/DC album. For the purposes of this list, we’re not including songs that have never been played live ever, as well as the 1976 international release of High Voltage, which contained songs from the band’s two previous Australia/New Zealand-only albums.

Album: High Voltage (1975)
Most-played: “She’s Got Balls”
Least-played: “You Ain’t Got a Hold on Me”

AC/DC released their very first album, High Voltage, in 1975, though it only came out in Australia and New Zealand. Siblings Malcolm and Angus Young, along with singer Bon Scott, proved apt songwriters, writing nearly every track on the album with the exception of the traditional blues song “Baby, Please Don’t Go.” Every song from this album has been played live at one point or another, including the aforementioned cover. “You Ain’t Got a Hold on Me” comes in last place though with 11 plays. “She’s Got Balls” is No. 1 with 423 plays. Of course, most of those took place prior to Scott’s death in 1980, but the band did bring the song back around for a few performances in 1986.

Album: T.N.T. (1975)
Most-played: “The Jack”
Least-played: “Rock ‘n’ Roll Singer”

Before the year was out, AC/DC released a second album in Australia/New Zealand, titled T.N.T. Once again, every song from it has made a set list. Technically, the least-played song is “School Days,” a Chuck Berry cover, but in terms of originals its “Rock ‘n’ Roll Singer” with a little over 200 performances. The most-played is “The Jack,” which got its first play in 1975 and most recent play at AC/DC’s 2015 Coachella concert.

Album: Dirty Deeds Done Dirt Cheap (1976)
Most-played: “Dirty Deeds Done Dirt Cheap”
Least-played: Tie Between “Ride On” and “Big Balls”

Dirty Deeds Done Dirt Cheap came out just about everywhere in the world apart from America in 1976. It would not be released there until 1981, the year after Scott’s passing. Only five out of the album’s nine songs have been played live, with “Ain’t No Fun (Waiting ‘Round to Be a Millionaire),” “There’s Gonna Be Some Rockin,'” “Squealer” and “R.I.P. (Rock in Peace)” never seeing a set list. “Big Balls” got performed once in 1976, and “Ride On” got one play in 2001, a tie for next least-played. At the top is the album’s title track with over 1,200 performances.

Album: Let There Be Rock (1977)
Most-played: “Whole Lotta Rosie”
Least-played: “Go Down”

“Whole Lotta Rosie” isn’t just the most-played song from Let There Be Rock, but also the second most-played song across AC/DC’s entire catalog with 1,678 plays, topped only by “The Jack.” It’s even been included on all three of the band’s official live albums. Meanwhile, “Go Down” got one play at the VH1 Studios in London in 1996, which is still more than the zero plays “Overdose” and “Crabsody in Blue” got.

Album: Powerage (1978)
Most-played: “Sin City”
Least-played: “Kicked in the Teeth”

Enter Cliff Williams on bass, who replaced Mark Evans following his 1977 firing. “Sin City” takes the cake for most-played from Powerage, an astute example of AC/DC’s talent for coming up with robust three-chord guitar riffs. Only two songs from this album, “Gimme a Bullet” and “Cold Hearted Man” haven’t got played, making “Kicked in the Teeth” the next least-played with two performances. Both of those were in September of 1977, literally one day apart from one another in San Francisco. It has not been heard since.

Album: Highway to Hell (1979)
Most-played: “Highway to Hell”
Least-played: “Beating Around the Bush”

If you happened to attend AC/DC’s taping of the music TV show Aplauso in Madrid, Spain on Feb. 9, 1980, then congratulations, you heard the one and only time the band has played “Beating Around the Bush.” Two songs from Highway to Hell have been neglected, set list-wise: “Love Hungry Man” and “Night Prowler.” The album’s title track understandably got the most plays — a little over 1,400 of them – and continues to rack up performances.

Album: Back in Black (1980)
Most-played: “Hells Bells”
Least-played: “Shake a Leg”

With Back in Black, we enter the Brian Johnson era of AC/DC. From this album, just one song has never made a set list, “Let Me Put My Love Into You.” “Shake a Leg” got one performance in 1980, but things only go up from there. In fact, the four most-played songs from Back in Black have all earned over 1,000 plays each, with “Hells Bells” claiming the top slot at 1,302 plays. “Back in Black” is not far behind at 1,295, followed by “Shoot to Thrill” (1,208) and “You Shook Me All Night Long” (1,199).

Album: For Those About to Rock (We Salute You) (1981)
Most-played: “For Those About to Rock (We Salute You)”
Least-played: “C.O.D.”

Sometimes, bands will struggle after releasing an album as successful as Back in Black. But that was not the case for AC/DC, who followed it up with another hugely successful release, For Those About to Rock (We Salute You). Only half of the album’s 10 total songs have been played live. There is, of course, the title track which has gathered 1,158 plays so far. On the lower end is “C.O.D.”  — “Care of the Devil” — with just 10 plays, all of which occurred in 1982.

Album: Flick of the Switch (1983)
Most-played: “Guns for Hire”
Least-played: “Landslide”

Flick of the Switch did not perform as well commercially as AC/DC’s previous two albums, but it did mark something else notable: it was the last album to include drummer Phil Rudd before his return on 1995’s Ballbreaker. “Deep in the Hole” and “Brain Shake” have never been played, while “Landslide” (not to be confused with the tender Fleetwood Mac song of the same name) got one play in 1983, the year Flick of the Switch came out. “Guns for Hire” has 71 plays to its name, which coincidentally was the A-side to “Landslide.”

Album: Fly on the Wall (1985)
Most-played: “Fly on the Wall”
Least-played: “Playing With Girls”

Beginning in October of 1984, AC/DC gathered in Mountain Studios, then owned by Queen, in Montreux, Switzerland to record Fly on the Wall. With Rudd gone, Simon Wright took over on drums and after approximately four months of work, the 10-track album was recorded. Only five of those tracks have ever been played live. The title track got a lot of attention in 1985 and 1986, while “Playing With Girls” squeaked in one play. (Props to the person who recorded it.)

Album: Blow Up Your Video (1988) 
Most-played: “Heatseeker”
Least-played: “Go Zone”

Just as quickly as Wright arrived on drums, he played his final album with AC/DC, 1988’s Blow Up Your Video, which was also the last album Johnson was listed as a co-writer on. A tour was launched in support of the album, marking the first time the band played dates in their native Australia in seven years, though only four of the album’s tracks were included: “Heatseeker,” “That’s the Way I Wanna Rock ‘n’ Roll,” “Nick of Time” and “Go Zone.” Actually, those are the only four songs to ever have been played from the album, with “Go Zone” at eight plays and “Heatseeker” at 284.

Album: The Razor’s Edge (1990)
Most-played: “Thunderstruck”
Least-played: “Are You Ready”

Even people who know nothing about AC/DC recognize “Thunderstruck,” which is understandably the most-played song from 1990’s The Razor’s Edge. “I’m a classic doodler, and every now and again I’ll pick up a guitar and knock out some classical-sounding or flamenco thing just for a stretch,” Angus Young explained in 1992. “That’s how the ‘Thunderstruck’ intro came about.” A number of songs from this album have never made a set list, with the least-played being “Are You Ready,” a No. 16 hit in the U.S.

Album: Ballbreaker (1995)
Most-played: “Hard as a Rock”
Least-played: “Cover You in Oil”

As mentioned, Rudd returned to AC/DC in time for 1995’s Ballbreaker. A new face entered the picture here in the form of producer Rick Rubin, a longtime fan of the band. As AC/DC grew older, they played less of their newer material, which stands to reason given fans wanted to hear their favorite hits at concerts. Thus, “Hard as Rock” has earned 295 plays, “Boogie Man” and “Ballbreaker” each have nearly `150 to their names, “Hail Caesar” has 100 and “Cover You in Oil” 75. The rest have never been touched.

Album: Stiff Upper Lip (2000)
Most-played: “Stiff Upper Lip”
Least-played: “Satellite Blues”

Stiff Upper Lip marked the last AC/DC album that George Young, the older brother of Malcolm and Angus, produced before his death. Only four songs from the 12-track album have been played live, so far at least. In order from most to least-played: “Stiff Upper Lip,” “Safe in New York City,” “Meltdown” and “Satellite Blues.” One of those performances of the title track was for an episode of Saturday Night Live on March 18, 2000.

Album: Black Ice (2008)
Most-played: “Rock ‘n’ Roll Train”
Least-played: “Anything Goes”

A whole eight years passed between Stiff Upper Lip and Black Ice, years in which not a lot of touring happened for AC/DC — it was also the longest gap between their studio albums in their entire career. Black Ice contains a whopping 15 tracks, but only five of them have made set lists: “Rock ‘n’ Roll Train” is at the top with 283 plays, followed by “Big Jack,” “Black Ice,” “War Machine” and finally, “Anything Goes” with 112 plays. Considering the extended gap, it was even more impressive when Black Ice was nominated for Best Rock Album at the 2010 Grammys.

Album: Rock or Bust (2014)
Most-played: “Rock or Bust”
Least-played: “Rock the Blues Away”

After Malcolm Young retired, his nephew Stevie Young joined the band in 2014, just in time to participate in Rock or Bust. “I’m not trying to imitate or copy him – but trying to keep the spirit of what he did in the band,” Stevie said then. This is AC/DC’s shortest album, but it still contains 11 songs, six of which have never been performed. The title track takes the No. 1 spot for most-played at 90 renditions, while “Rock the Blues Away” got in one play at a Los Angeles concert in 2015.

Album: Power Up (2020)
Most-played: Tie Between “Demon Fire” and “Shot in the Dark”
Least-played: Tie Between “Demon Fire” and “Shot in the Dark”

To be fair, Power Up is not even five years old yet, so it makes sense that only two of its songs have been played live so far: “Demon Fire” and “Shot in the Dark,” both of which were released as singles and have been played 25 times each. Of particular importance is the fact that all of the songs on Power Up were co-written by Malcolm Young prior to his 2017 death. The album was reportedly finished in the fall of 2018, but shelved while the band settled their lineup.

AC/DC’s Most Historic Concerts

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Gallery Credit: Nick DeRiso

Tommy Shaw Says He Spends More on Bird Seed Than He Did On Drugs

Tommy Shaw Says He Spends More on Bird Seed Than He Did on Cocaine
Jason Kempin, Getty Images

Tommy Shaw compared his investment in feeding birds to his former drug habits as he discussed upcoming Styx album Circling From Above.

The band plans to release the follow-up to 2021’s Crash of the Crown in the coming months – but Shaw explained they had to endure some nervous moments before telling their record label about the record.

During a Q&A on last month’s Rock Legends Cruise (video below), he revealed they’d just completed recording a concept record about a starling, inspired by the life he lives today.

READ MORE: When Styx Made Their First Album Without Dennis DeYoung

“My wife and I… live on a wildlife sanctuary,” Shaw told the audience. “You’re usually going to see me picking up a 60-pound bag of bird seed and filling [feeders] up. We spend as much money on bird seed as I used to spend on cocaine.”

While the crowd laughed he protested: “I’m serious! I think cocaine was cheaper than the bird seed!”

Bandmate James “J.Y.” Young added: “But the seed hurts when it goes in your nose!”

Styx Worried About Revealing New Album’s Concept

Shaw went on to say that, when he finally spoke to the label, the exec turned out to be equally fascinated by birds, telling the musician about a device that can be left to take photos, send them to the user and identify the species that’s been spotted.

He reported that there’d been “so much enthusiasm” from the company, adding: “Sometimes in life things just go your way. And this went our way at a time when we were… a little nervous about doing an album about a bird!”

Watch Styx’s Q&A on Rock Legends Cruise

Styx Albums Ranked

Come sail away as we rank Styx’s albums, from worst to best.

Gallery Credit: UCR Staff

More From Ultimate Classic Rock

“The live recording sees the piece come to life… amid the sepulchral gloom there are moments of real beauty”: Roger Water’s Super Deluxe Box Set of his Dark Side Of The Moon Redux

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

In October 2023, Roger Waters took to the London Palladium’s stage to perform his Redux version of Pink Floyd’s epochal, career-defining album The Dark Side Of The Moon. He’s become an increasingly outspoken and controversial figure, and many Floyd fans have looked on with dismay as they feel he threatens to trash his former band’s reputation by association. Similarly, his re-recording of TDSOTM has been received by some as just a button-pushing exercise in his ongoing battle with David Gilmour.

And yet this Redux version is far from an act of cultural vandalism. It may be self-indulgent in places – a man at odds with the world augmenting a sacred text with additional spoken words – but it’s an interesting and often affecting take.

It’s here reissued alongside a recording from the Palladium, with both versions presented on gold vinyl, CD and Blu-ray, including Dolby Atmos and 96/24 Audio mixes. The set also includes 10” singles of Breathe, Time, Money and Us And Them with etched B-sides, a track-by-track Waters video interview, and a 40-page book of photos.

Roger Waters – THE DARK SIDE OF THE MOON REDUX SUPER DELUXE BOXSET – YouTube Roger Waters - THE DARK SIDE OF THE MOON REDUX SUPER DELUXE BOXSET - YouTube

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Fifty years after the original’s release, TDSOTM Redux is like a ghostly but persistent afterimage – yet while the studio version is sometimes subdued to the point of torpor, the Palladium recording sees the piece come to life: amid the passages of sepulchral gloom, there are moments of real beauty as well.

Time is retains a subtle power, with haunting theremin and elegant cellos where Gilmour’s grandstanding solo used to be

One such moment occurs early on, where the chiming but icy guitars of Breathe are tempered by a lonely swirl of theremin, indicative of a sonic presentation that’s lusher and more expansive in its live setting. Waters delivers his vocals in a gravelly baritone, and sometimes struggles to nail the melody, but he gets strong support from his backing singers onstage.

The stripped-down electronics of On The Run act as effective backing for Waters’ “standard bullshit fight with evil” anxiety dream before concluding that “the voice of reason” is the only thing that can save us. Time is another of TDSOTM’s ‘big’ songs; it’s reduced in volume but retains a subtle power, with haunting theremin and elegant cellos where Gilmour’s grandstanding solo used to be.

Introducing The Dark Side Of The Moon Redux by Roger Waters – YouTube Introducing The Dark Side Of The Moon Redux by Roger Waters - YouTube

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Mournful Moog and low-key backing vocals turn The Great Gig In The Sky into a soft lamentation befitting Waters’ moving monologue about the death of a friend. And Money has the wryly comical gait of a cowboy’s horse plodding into town – mocking strings swoop and dive; and not for the first time the growling resonance of Waters’ voice recalls Leonard Cohen.

These songs may sound in their dotage, Waters seems to be saying, but better that than being preserved in aspic.

The Dark Side Of The Moon Redux: Super Deluxe Box set is on sale now via Cooking Vinyl.

Joe is a regular contributor to Prog. He also writes for Electronic Sound, The Quietus, and Shindig!, specialising in leftfield psych/prog/rock, retro futurism, and the underground sounds of the 1970s. His work has also appeared in The Guardian, MOJO, and Rock & Folk. Joe is the author of the acclaimed Hawkwind biographyDays Of The Underground (2020). He’s on Twitter and Facebook, and his website is https://www.daysoftheunderground.com/

“I was so sick. I had tunnel vision and couldn’t walk. I was crawling to the toilet and I thought I was going to die”: The unbelievable rise of Opeth, the band who went from death metal no-hopers to prog royalty

“I was so sick. I had tunnel vision and couldn’t walk. I was crawling to the toilet and I thought I was going to die”: The unbelievable rise of Opeth, the band who went from death metal no-hopers to prog royalty

Opeth posing for a photograph in 2012
(Image credit: Press)

When Opeth began as a death metal band in the early 1990s, no could have imagined their ascent to prog metal royalty – not least Mikael Åkerfeldt. In 2012, he looked back over the twists and turns of their career.

A divider for Metal Hammer

“The first songs we did, it was just amazing to me that you could play together with other people,” says Opeth’s Mikael Åkerfeldt. “You could play along with a drumbeat and someone else could play the same thing as you and it’d sound alright! It was a revolution for me!”

True revolutions, artistic or otherwise, generally evolve from humble beginnings. Despite the fact that they are now widely recognised and lauded as standard bearers for progressive heavy music and one of the most passionately admired metal bands on the planet, Opeth started life in much the same way as every other young band.

Formed by vocalist David Isberg in 1990 as the Stockholm death metal scene hit its stride, the band could easily have become just another bunch of growling extremists to stand alongside the likes of Entombed and Dismember were it not for the arrival of 16-year-old Mikael Åkerfeldt, a former member of aspiring local metal crew Eruption. A flurry of lineup changes over the two years that followed resulted in Mikael’s accidental promotion to the role of chief creative force and, consequently, the adoption of a far more adventurous musical philosophy inspired by their new leader’s burgeoning desire to think outside the extremity box.

“That Stockholm scene was massively influential for me, especially Nihilist, Entombed and Therion,” Mikael recalls. “We played a few shows with Therion in the early days but no one really had any interest in what we were doing at the time, which was fair enough because we weren’t really doing anything out of the ordinary

“As I developed my songwriting, nobody really told me ‘That’s pretty cool and original sounding.’ I couldn’t even think about it in those terms until people from outside of my circle of friends told me that we had something cool going. We did a show in Gothenburg with At The Gates and a guy came up to us and said we had a pretty original sound, but I didn’t really think about it. It was the early 90s and I was into the death metal scene and the black metal scene a bit too, but I also started to develop an interest in 70s music and prog.”

Opeth posing for a photograph in the mid-1990s

Opeth in the mid-1990s:” (from left) Mikael Åkerfeldt, Peter Lindgren, Anders Nordin, Johan DeFarfalla (Image credit: Press)

As their Stockholm peers stuck to a well-established sonic formula, Opeth began to stand proudly apart from the pack, their sound morphing into a wildly inventive and ambitious combination of melodic extreme metal and elaborate song structures influenced by the Yes, Genesis and Camel records that Mikael was embracing in preference to the more traditionally metallic sounds that had informed his adolescent listening habits.

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The quality of the band’s music was remarkably high, considering their relative inexperience, but it would take a dose of good fortune to enable Opeth to secure a record deal and begin their careers in earnest. They were eventually plucked from obscurity by Candlelight Records founder Lee Barrett, who heard a brief snatch of one of the band’s rehearsal tapes at the end of a compilation of unsigned bands that he’d been sent by Emperor guitarist Samoth. Entranced by Opeth’s distinctive sound, Lee offered the Swedes a deal and Mikael’s dream of becoming a professional musician kicked gently into gear.

“At that time Candlelight was a small label with one tiny office. It was a good start for us and it didn’t take long for us to work out how it worked on our level,” says the frontman. “It had nothing to do with how major labels operate, it was just about developing a friendship with a guy that could help you a bit. We clicked with Lee and became friends right away. He was a fan of the band and he based all his signings on whether he fucking loved the music as a fan. That was good enough for us; we just needed someone to believe in us.”

Recorded in the spring of 1994 with death metal legend Dan Swano at the controls and released the following year, Opeth’s debut album Orchid was an audacious account opener that revelled in its own refusal to fit into any pre-determined pigeonholes. With four of its seven tracks clocking in at well over 10 minutes in length, and plenty of fragility and elegant grandeur contrasting with the album’s heavier moments, it was a precocious first effort that garnered ecstatic reviews from the metal press. Due in part to the lack of live shows that Opeth were performing at that time, Orchid did not achieve the impact that it deserved, but those who discovered the band at this early stage were blown away by the sheer bravery involved.

“At the time, there weren’t any bands coming out of Sweden, or anywhere, that sounded like that,” Mikael states proudly. “Obviously it’s aged – some of it badly – but as a debut it is pretty cool. We’d never been in a studio; I was 19 and we made an album that’s over an hour long and the songs are 15 minutes each, y’know? I was very ambitious for a 19-year-old musician. I don’t think I’d do anything differently now. It came out how it was supposed to come out.”

Buoyed by the creative, if not commercial, success of Orchid, Mikael and guitarist Peter Lindgren began work on a follow-up. The last Opeth album with drummer Anders Nordin and bassist Johan DeFarfalla, 1996’s Morningrise, was an even more extravagant and daring collection of epic compositions that cemented their reputation as one of extreme metal’s most intriguing prospects.

On tracks like the poignant The Night And The Silent Water (inspired by the passing of Mikael’s grandfather shortly before the album was recorded) and the 20-minute labyrinth of riffs and folk-tinged frailty Black Rose Immortal, Opeth were almost being over- whelmed by the weight of their own ideas. And yet it remained apparent that the band were operating on a higher level than most of their peers and critical plaudits continued to pour in.

What Opeth had lacked up until this point were opportunities to tour and spread the word about their music via more impactful means than word of mouth. A 26-date European tour as support to Cradle Of Filth presented them with their first bona fide chance to step out from the underground shadows, and having had a glimpse of what the wider world was offering, Mikael began to crave bigger and better things as his songwriting skills began to bear ever greater fruit.

The final piece of the jigsaw fell into place with the recruitment of Uruguayan rhythm section Martin Lopez and Martin Mendez, who’d answered a newspaper advert placed by Mikael and Peter upon the departure of Anders and Johan, and the recording of third album My Arms Your Hearse. A darker and less ornate record than its predecessors, it boasted a warmer and more obviously 70s-influenced sound while also being the most aggressive Opeth record to date.

“We were so discouraged because we’d made two records, neither of which had made a big impact. I was thinking about splitting the band up but I had these songs, like April Ethereal, which I really liked,” Mikael recalls. “I loved that song. I really wanted to record it. I didn’t have anything else to do. I didn’t have a job or any money. I was living with my mom, who was like, ‘When are you gonna move?’ So I didn’t know what the fuck I was gonna do.

“So we did that one record, thinking it was going to be the last one, and maybe we’d get lucky and in 20 years’ time someone like me would come up and say ‘I really loved those obscure records you put out!’ But I think My Arms Your Hearse was an important record for us. We changed our sound a little bit. We didn’t tour much but we did a few shows, still in the black and death metal circuit, and we had a new lineup with Lopez and Mendez. We did a few shows and started rehearsing and soon enough we had a new record deal with Peaceville Records and I got excited about playing again.”

Opeth posing for a photograph in 2000

Opeth circa Still Life: (from left) Martin Mendez, Martin Lopez, Peter Lindgren, Mikael Åkerfeldt (Image credit: Press)

The result of Mikael’s renewed enthusiasm was Still Life, an album that strengthened Opeth’s credentials as one of metal’s most adventurous bands, as those all-important prog influences began to play a more significant role. Released by Peaceville in 1999, the album received far more attention than its predecessors and also piqued the interest of a man who’d soon become an important ally in the Swedes’ ongoing rise to prominence.

“I was a massive fan of Porcupine Tree and one day I got an email from Steven Wilson,” Mikael explains. “They were my favourite band, so it might as well have been Ozzy, you know? I was like, ‘What the fuck!’ There was no real purpose with the email, he just wanted to say that he liked Still Life. Somehow I got on a flight over to London to meet him. He was interesting and very different from everyone that I hung out with. He was my hero, my idol, so I was like a sponge, just waiting for him to namedrop a band so I could memorise it and go back home and buy their records. I asked him then and there if he wanted to produce our next album and he said yes on the spot. The rest is history!”

A pivotal record in Opeth’s career, 2001’s Blackwater Park was the first fruits of a creative partnership between Mikael and Steven, as the latter assumed the mantle of co-producer. Having moved to legendary metal imprint Music For Nations, Opeth were in the perfect position to click into a higher gear and so it proved, as the album received universal praise and was widely hailed as a masterpiece by an increasingly rabid fanbase.

Songs like The Drapery Falls and the largely acoustic Harvest also confirmed that the band’s sound was maturing and evolving into something truly special. Buoyed by the record’s success, Opeth also began to tour more extensively than they’d done in the past. Suddenly this once-obscure progressive death metal band found themselves edging towards the upper echelons of modern heavy music, even though Mikael remains typically self-effacing about the importance of Blackwater Park within the Opeth catalogue.

“A lot of things happened after Still Life; we were forced over to Music For Nations – a bigger label – and we had proper US distribution and we made Blackwater Park,” he says. “I didn’t think it was any better than any of the other records, to be honest. I was happy with it but I didn’t think it was any better than Still Life. But it was a breakthrough for us. I don’t think it had much to do with the quality of the album. It’s a good record, but MFN had more power and we started to work with Andy Farrow at Northern Music, who helped us a lot with agents, and we started touring. That’s what really set us off. We had some kind of career, finally.”

Opeth – Harvest | Official Music Video – YouTube Opeth - Harvest | Official Music Video - YouTube

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The impact of Blackwater Park undoubtedly introduced Opeth to a much wider audience than before, but the majority of the band’s support was still from the metal end of the music spectrum. It wasn’t until they embarked on their most ambitious project of all, the dual album extravaganza of Deliverance and Damnation, that Opeth really outgrew their roots and were fully embraced by the prog rock community too.

Deliverance was the more predictable of the two records: a pitch-black and predominantly brutal affair that delighted long-time fans. Damnation, on the other hand, saw Opeth abandon crushing riffs and death growls in favour of a largely acoustic, pointedly mellow musical approach that confounded as many people as it pleased. Unfortunately, the process of recording two albums – effectively for the price of one, due to budgetary limitations – proved to be hugely stressful for Mikael in particular. Upon the completion of Deliverance in 2002, the frontman found himself in an alarmingly fragile state of health.

“By the time I got home with the finished album I was in such a negative mood,” he recalls. “We filmed interviews for the album and I was saying things like ‘This is the last album’ and ‘The album isn’t good and my performances are horrible’ and ‘Everybody is shit and this isn’t a band anymore!’ It wasn’t good. In the meantime, I was so sick. I had tunnel vision and couldn’t walk. I was crawling to the toilet and I thought I was going to die. I thought I had a terminal disease. My shit was grey. I went to the doctor and took all kinds of tests but I wasn’t sick. Per [Wiberg, Opeth keyboard player at the time of Deliverance] told me that it might be stress and he started describing my symptoms. As soon as I realised that it might be stress, I started feeling better. And my shit was brown again!”

As a result of his steady recovery, Mikael found the recording sessions for Damnation, which would be released in 2003, far more rewarding than those for its darker twin.

Damnation had more good moments,” he recalls. “My memory of that album is better because I had some great moments working with Steven [Wilson] again. That was kind of fun. It wasn’t such a dark experience! Deliverance has some really great songs on it, but it ended up being a bit thrown together.”

Opeth’s Mikael Akerfeldt performing onstage in 2011

Opeth’s Mikael Åkerfeldt live at London’s Brixton Academy, November 2011 (Image credit: Kevin Nixon/Metal Hammer Magazine/Future via Getty Images/Team Rock via Getty Images)

With their status rising ever higher, Opeth joined forces with Roadrunner in 2005 and hit the studio to record their eighth album. Ghost Reveries, released in August of that year, would prove to be the last album to feature either Mikael’s long-time bandmate Peter Lindgren or drummer Martin Lopez, who departed after the album’s release due to health problems.

Another widely lauded triumph, the album contained some of Opeth’s most inventive material yet, veering from the brutal menace of The Grand Conjuration to the shimmering, Beatles-saluting psychedelia of Atonement. Lopez was replaced by Witchery/Bloodbath drummer Martin ‘Axe’ Axenrot in time for Opeth’s momentous show at London’s legendary Roundhouse in November 2006, while former Arch Enemy alumni Fredrik Åkesson was unveiled as Peter’s replacement for the band’s 2007 Progressive Nation tour with Dream Theater.

Revitalised by that injection of fresh blood, Mikael threw caution to the wind for 2008’s Watershed, by far the most challenging and unashamedly proggy record Opeth had recorded at that point.

“It’s not like we have to do something different each time,” Mikael says. “Watershed just came out that way, which is fucking awesome! Obviously we have a style and I don’t think we’re going to move too far away from that style, I just try to develop it. I don’t really think in terms of ‘Now I must do something different…’ On the contrary, I just wrote the songs as I normally do, but there were a few things that came out, like the electric piano lick on The Lotus Eater, that didn’t sound like Opeth at first. But somehow it all works. I love it.”

Opeth – The Devil’s Orchard [OFFICIAL VIDEO] – YouTube Opeth - The Devil's Orchard [OFFICIAL VIDEO] - YouTube

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The ultimate proof that Opeth had come of age and become a genuinely important band came when they performed a head- lining show at the Royal Albert Hall on April 5, 2010, performing Blackwater Park in its entirety alongside one song from each of their other studio albums. It was an unforgettable gig for band and fans alike, not least because Mikael became the first person to do death metal vocals at the venue. For a self- confessed student of 70s hard rock, the event was a huge milestone and an chance to follow in the footsteps of some of the greatest and most revered bands of them all.

“It was crazy. Walking in there that morning it was like ‘Wow!’” Mikael remembers. “I went out on stage and looked around and started thinking about that Deep Purple sleeve, the one they did in ’69 [Concerto For Group And Orchestra], and the photos that Camel took outside. It’s got so much history, that place, and for me it was surreal, to be in a nice place like that. Without a doubt, it’s the most posh venue we’ve ever been to! I’m wondering what the fuck we can do next. Coming to London again and playing at The Forum, for instance, would seem boring now. And I said ‘cunt’ at the Royal Albert Hall! Apparently it’s a bit of a no-no! Ha ha! But what can I say? It was amazing. The biggest moment of my career.”

While many metal bands are content to stick to a proven formula, Opeth have managed to become one of the best-loved heavy bands on the planet by exhibiting a consistent disregard for repetition. As a result, it should not have surprised many people when they released Heritage in 2011: an album that bore no musical links to the Swedes’ death metal roots and that painted them as a fully fledged progressive rock band, arguably for the first time. Mikael’s intimated that his band may well make a partial return to more brutal territory on their next studio album, but for now the only thing that is completely certain is that followers of Opeth’s fascinating and frequently audacious story so far should expect the unexpected.

“It was a career risk, but for me it was not strange to do Heritage,” Mikael concludes. “Maybe one day I’ll rethink and do a nostalgia Blackwater Park tour, but at this point it’s much more important for me to maintain some kind of integrity. If everyone hates something we do, we’re fucked and I’ll go and work in a gas station again, you know? I’m not afraid of that. I’m more afraid of being chickenshit.”

Originally published in Metal Hammer issue 238, November 2012

Dom Lawson has been writing for Metal Hammer and Prog for over 14 years and is extremely fond of heavy metal, progressive rock, coffee and snooker. He also contributes to The Guardian, Classic Rock, Bravewords and Blabbermouth and has previously written for Kerrang! magazine in the mid-2000s. 

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