“As soon as you hear it it’s just, ‘Wow’. The simplicity of it and how powerful it is.” Watch Zakk Wylde reveal his five favourite riffs of all time – and his opinion on what makes a truly great guitar riff
(Image credit: Future)
From his breakthrough moment becoming Ozzy Osbourne‘s lead guitarist and later forming Black Label Society to his Zakk Sabbath project, involvement in the Experience Hendrix tour and filling Dimebag Darrell‘s shoes for the widely covered Pantera reunion, it’s safe to say that Zakk Wylde knows a thing or two about iconic riffs.
With that in mind, we sat down with the man himself last week to ask him to name his five favourite riffs of all time – and he didn’t disappoint. First up, Wylde picks out one of the most iconic riffs ever laid down and everybody’s favourite first motif to learn on the guitar – Deep Purple’s Smoke On The Water. “All us rock/metal guys, rock guitar players, you would have to learn Smoke On The Water,” he tells us.
“As soon as you hear that riff, it’s just like, ‘Wow’. The simplicity of it and how powerful it is. Just amazing. It was Sabbath [I first discovered], and then I found Zeppelin and then Deep Purple after that. Aside of the great musicianship of all three bands, it’s just great songs. Song power. And all these iconic riffs, but great performances by all the guys: the vocals, the bass-playing, the drumming and the production on the albums, just timeless.”
Wylde also chooses classic riffs from Black Sabbath, Led Zeppelin, The Jimi Hendrix Experience and AC/DC. Watch the whole interview below.
Zakk Wylde picks his 5 favourite riffs ever – YouTube
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Merlin moved into his role as Executive Editor of Louder in early 2022, following over ten years working at Metal Hammer. While there, he served as Online Editor and Deputy Editor, before being promoted to Editor in 2016. Before joining Metal Hammer, Merlin worked as Associate Editor at Terrorizer Magazine and has previously written for the likes of Classic Rock, Rock Sound, eFestivals and others. Across his career he has interviewed legends including Ozzy Osbourne, Lemmy, Metallica, Iron Maiden (including getting a trip on Ed Force One courtesy of Bruce Dickinson), Guns N’ Roses, KISS, Slipknot, System Of A Down and Meat Loaf. He has also presented and produced the Metal Hammer Podcast, presented the Metal Hammer Radio Show and is probably responsible for 90% of all nu metal-related content making it onto the site.
Iron Maiden have unveiled details of an official documentary set for release later this year. Universal Pictures Content Group today announced that the film will be released in cinemas around the globe in autumn 2025 to coincide with the metal legends’ 50th anniversary.
The long-awaited documentary will span through Maiden’s 50-year history with input from both members and ex-members of the group alongside famous fans such as No Country For Old Men star Javier Bardem, Metallica’s Lars Ulrich and Kiss’s Gene Simmons. It will also include the final interview with the band’s original singer Paul Di’Anno, who died in 2024.
As well as rare archive footage, the as-yet-untitled film will also feature brand new animated sequences featuring their legendary mascot Eddie. It will be helmed by Churchill At War director Malcolm Venville. Speaking about the forthcoming documentary, Iron Maiden manager Ron Smallwood said:
“We’re proud Universal Pictures Content Group has chosen to share the unique story of Iron Maiden with the world. We have given them unrestricted access to the band, our fans and musical peers. We trust that they will excite not only music fans but also anyone who loves a story of an underdog beating the odds to become and remain one of Britain’s biggest musical exports since our first record released 45 years ago.”
You don’t have to wait until then for your 2025 Maiden fix though – beginning in Hungary at the end of May, the band will embark on the European leg of their Run For Your Lives tour. It arrives in the UK for a run of five dates at the end of June.
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Roxy Music frontman Bryan Ferry has teamed up with performance artist, writer and painter Amelia Barratt for the very art rock Loose Talk album, which the pair will release through Dene Jesmond Enterprises on March 28.
The duo, for which Ferry creates the music (it’s the very first time he’s created new music for another writer’s words), have just shared a video for the abum’s title track, which features Ferry’s Roxy Music bandmate Paul Thompson on motorik drums.
“The whole experience of making Loose Talk has had an interesting newness about it,” Ferry says. “It seems to have opened a whole new chapter in my work. There’s a really strong mood to the work that Amelia does and I was very conscious of not getting in the way of her words. Hopefully, together, we’ve created something neither could do on our own.
“The nearest I ever got to doing pieces like this before would maybe be back in Roxy with In Every Dream Home A Heartache, and Mother Of Pearl. To some extent, those are kind of spoken monologues. I’m pleased that when we’ve played Loose Talk to people, they’ve said, “Oh, this sounds really different.” That’s what I’ve always wanted with everything I’ve done, or been involved in, to be: different. Different to what you’ve heard before, or seen before. That’s the whole point of being an artist: trying to create a new thing, a new world.”
“Loose Talk is a conversation between two artists: a collaborative album of music by Bryan Ferry with spoken texts by me,” adds Barrett. “It’s cinematic; music put to pictures.
“There’s possibility for experimentation within a frame. And there’s a freedom in knowing exactly what my part to play is, then being able to pass a baton, stretching out creatively and knowing there is someone on the other side to take it further. Nothing feels off limits.”
Loose Talk will be available digitally, on CD, black vinyl, green vinyl and clear vinyl.
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Amelia Barratt & Bryan Ferry: Loose Talk 1. Big Things 2. Stand Near Me 3. Florist 4. Cowboy Hat 5. Demolition 6. Orchestra 7. Holiday 8. Landscape 9. Pictures On A Wall 10. White Noise 11. Loose Talk
“My dad smashed the tape of Number Of The Beast: ‘I’m forbidding Devil’s music in my house!’ That only made it more appealing.” How Jesse Leach went from “Flanders kid” to future metalcore icon
(Image credit: Travis Shinn)
There aren’t many vocalists in the worlds of metal and hardcore like Jesse Leach. The Killswitch Engage frontman couldn’t be further away from the stereotypical metalcore tough guy. For one thing, he’s calling Hammer via Zoom not from a big city apartment but from his new home, tucked away in the woodlands in the Catskill Mountains, upstate New York.
“I can be alone here, in the middle of nowhere,” he says. “I need to be close to nature.”
Born in 1978 to a religious family that moved around the US, Jesse found his calling in the fertile late-90s Massachusetts hardcore scene. After playing in a series of local bands, he co-founded metalcore trailblazers Killswitch Engage in 1999, only to quit just after the release of their breakthrough second album, 2002’s Alive Or Just Breathing. He spent a decade away from the band, but made an unexpected – and triumphant – return to Killswitch in 2012.
He’s in a philosophical mood today, a few weeks ahead of the release of Killswitch’s new album, This Consequence. His journey has seen him go from young kid raised in a strict Christian family to one of the most recognisable, committed frontmen around. It’s a story that takes in questions of faith, mental health and an unexpected love of ambient techno.
What was your upbringing like?
“For the most part I had a pretty damn good childhood. My parents did a great job of masking our poverty from us. But a lot of my childhood was just three times a week at church. My father was studying to be a minister, so when I was very young, it was a lot of travelling to different churches, him and my mom trying to find the right spiritual home for us.”
How did that affect you as a child?
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“My brain was filled at a very young age with a lot of knowledge and Christian indoctrination. I often joke that my brother and I were like the Flanders kids from The Simpsons. My parents would wind us up with religious fervour and we’d go to, like, a family party or Christmas, and we’d be calling out our uncle for living in sin because he wasn’t married to the woman he was with. Just really cringeworthy shit when you’re four or five years old.”
Were you allowed to listen to music?
“No. No secular music allowed in the house, no secular TV. I could only watch one show a week, and movies and cassette tapes had to be screened if they came into the house. My parents would read the lyrics first. I didn’t break out of that until we eventually moved into public schools and started to co-mingle with the secular world. That was when things really started to change for me.”
What was the first music to really make an impression on you during that time?
“People might chuckle over this, but it’s true and I still love him today: Phil Collins was the first guy that I was allowed to listen to, because he was on popular radio in the 80s. When I would sneak to my friends’ houses and see MTV, the first glimpses I had was stuff like Phil Collins. That was the initial, ‘Oh, I like this guy. He’s on the radio.’ Def Leppard would have been the next one – Hysteria was the biggest thing in the world in 1987 for me.”
When did you start discovering heavier music?
“My brother brought home a couple of tapes – he smuggled them in! One of them was Anthrax’s I’m The Man and the other was [Iron Maiden’s] The Number Of The Beast. We were aged 10 or 11, and my parents would leave my brother and I at home to go to a Bible thing. We didn’t have to go anymore, thankfully – we’d stay home and do our homework. The moment they would leave, those cassette tapes would go into the boombox and we would sing word for word.”
Presumably The Number Of The Beast would be the last thing your parents would want to discover you listening to!
“Exactly! Fast forward to a couple of weeks later, my mother’s cleaning my brother’s room, lifting the mattress – back then the mattress was the place to hide all your stuff – and she finds it. During that time, with Satanic Panic, we knew the worst thing in the world you could do was bring in The Number Of The Beast. My dad took the tape in front of us, put it on the ground and smashed it: ‘I’m forbidding Devil’s music in my house!’ But that only made it more appealing.”
When did you start to question that religious upbringing?
“I was old enough where I was like, ‘OK, now I’m skateboarding with my friends, now I’m listening to punk rock.’ I dove deep into that community instead of going to church and Bible studies every week. I realised that all of that is based on what a human is writing and saying. If God is greater than all of that, how are we capturing that energy, that spirit, and homogenising it and translating it into words that other people can understand without completely reducing what the Great Spirit god energy is like? Faith is a beautiful thing. I have faith too. But it’s not connected to a certain belief system.”
So discovering punk rock changed everything for you?
“Yeah. Punk and hardcore is when I was like, ‘This is me. I can identify with this.’ I’ll never forget the first time hearing Minor Threat – it blew my mind. I didn’t even understand what was happening. I knew Metallica, but Minor Threat was different. It was angry, fast, pissed off, and when I honed in on the lyrics, it was like, ‘Oh, they’re talking about like bettering yourself, being free from alcohol and drugs’ – stuff that I had already thought as an indoctrinated Christian kid. It felt very righteous to me. That’s when I started to see the counterculture that was happening, and that’s when I started to lean more towards that way.”
When did you start your first band?
“Probably not even six months on from hearing Minor Threat. I had two friends that were into punk, and we started a band called Departure, and played our first show at a Halloween party in 1993. We covered Unsung by Helmet and Seeing Red by Minor Threat, and then had six originals. I still have the cassette tape somewhere. It’s awful, but it was the first time where I was like, ‘This is it. There’s nothing cooler than this.’”
How quickly did you integrate into the hardcore scene?
“I was going to four local shows a week. My mom, to her credit, would drop me off at the clubs to see some of these bands because she saw that it really made me feel alive. I heard bands like Bad Brains, 7 Seconds, Youth Of Today, Earth Crisis, Strife, Unbroken. These were bands that had a really uplifting, positive message, and that kind of is what really sunk its teeth into me. I was like, ‘This is it. Son of a preacher man is now a punk rock singer.’ It was my religion.”
Killswitch Engage – My Last Serenade [OFFICIAL VIDEO] – YouTube
Were you aware of how special that Massachusetts hardcore scene was?
“I look back on that and it was the glory days for me. Even before Killswitch, Adam [Dutkiewicz, lead guitar] and Joe [Stroetzel, rhythm guitar] were in Aftershock, Mike [D’Antonio, bass] was in Overcast, you had a band like Candiria who mixed jazz and death metal. If it wasn’t for that scene then I wouldn’t even be here.”
Killswitch really put the scene on the global map with Alive Or Just Breathing. Was it weird getting all that attention?
“I knew it was definitely blowing up. We went from playing to 30, 40, 50 people in the local scene to playing very large rooms, having people travel distances to see us. The moment we got signed and things started to happen, that’s when people wanted my autograph. People wanted to grab a picture with me and it was like, ‘What? That’s wild.’ It started to build social anxiety within me. I started to dread it.”
And that’s what led to your departure from the band?
“Yeah. Back then, I was a very insecure, social anxiety-ridden kid, who didn’t have a total handle on my art. I started to get depressed. My anxiety was crippling me. I would hide out before the show, play the set, hide out after, not be sociable, not have fun, and that just started wearing thin on me. I felt very alone, I was having a rough time with my voice and my mental health. I became pretty much suicidal. I had the wherewithal at least to bail and get out of there. It sucked. I wish I would have done it better, but I knew no other way. Survival mode kicked in.”
That was in an era where discussions around mental health were far less common as well…
“I did hold my cards close to my chest for a long time. Honestly, I was finding myself in the bottom of bottles, just drinking and numbing it, not even really being that self-aware. By the time I did come around to wanting to talk about it, I was just desperate for answers.”
How did you address it?
“I remember going on my Myspace and posting a photo of me in the mirror, not looking that great, and saying, ‘From now on, I’m going to start talking about this. I’m not OK and I want to hear from you, let’s talk about this. Reach out.’ I got people calling me a pussy and whatever. You kind of weave through all that, then you see the gems, the comments of someone who’s like, ‘I’m a firefighter… a big, tough guy… I’ve got issues. Thank you so much for speaking out.’ This empowers me to want to talk more about it and that narrative.”
How have you learnt to cope with those issues over the years?
“For the most part, it’s my muse. You learn how to live with it. You exercise certain techniques and thought patterns, and there’s so many things you can do to sort of live with mental disorders. If I’m going through a bout of depression, I can write some pretty intense stuff.”
Is there any specific music that helps you in those low moments?
“My favourite group of all time is [UK electronica duo] The Orb. I listen to The Orb more than I do anything. It’s music for mental health. They help anti-anxiety me. Everyone has that band that they put on or that song when you need to just come back to reality. If I’m not in a good place, I’ll have The Orb on constantly. And that’s my happy place.”
Was it hard to see Killswitch get so big after you left?
“I was happy for those dudes and I knew they were getting big. But to be completely honest, I wanted nothing to do with that scene. I turned away from all that stuff and started getting into stoner rock and doom, smoking weed and drinking. It was like, ‘Let me get as far away from this as I can.’ So when I did tap in and check them out, I’m like, ‘Holy shit, these guys are getting big!’”
Did you ever go and see them with your replacement, Howard Jones?
“I remember watching a clip of Killswitch playing a show, and I was like, ‘Dude, this is ridiculous. These guys are huge!’ So I put on a disguise – a big, old, hooded sweatshirt and a knit cap – and went to go see them play. I was happy for them. I didn’t feel jealous. I felt a little dumb, that it was kind of a dumb move to leave, but I knew that I had to do it and I was happy for those guys.”
How did you get back into that scene?
“Fast forward to a few years later, I’m in a band called Seemless, and I started touring again. The van that Killswitch had – a black Ford Econoline, the van that I suffered in, had mental breakdowns, anxiety – Seemless had bought from Killswitch Engage to tour with. So I went back into that same van with a different band, and I fell in love with touring. Seemless was fun, the pressure was off, I wasn’t taking myself so seriously. It was just a totally different environment. That’s when I wanted some success.”
You rejoined Killswitch in 2012. Your set at that year’s Download festival felt like an important moment. Was it?
“I knew this was an important moment for us as a band. Benji from Skindred was backstage. He came up to me and just gave me love, like, ‘Yo, this is dope. So good to see you.’ I love that dude, his energy is off the charts. Seeing him just charged me up: ‘Yes, I’m right where I belong.’
By the time we hit that stage, the sun just starting to crack through, I was so present to the moment, fighting back tears: ‘I can’t believe I’m here doing this again with these guys.’ I remember being so fulfilled. I get emotional just thinking about that moment. From that point on in my life, shit got really fucking cool.”
Touring with Iron Maiden in 2019 must have been really fucking cool…
“Oh yes! I mentioned the whole smashing of The Number Of The Beast – I actually got to tell that story to Bruce on that tour. He got such a kick out of it.”
Given your upbringing, how would you identify yourself in terms of religion these days?
“I don’t like labels. I don’t have to subscribe to what you say I should subscribe to, to feel like a spiritual being. I was raised Christian, but now I lean on Buddhism, I really like some of the philosophies from Krishna and Hinduism. Does it work? Are you treating people well? Are you living a life that’s filled with love and positivity? Good. Do it. If I were to give you a general ballpark statement, I’m a spiritual being. I absolutely do believe there’s something more to life than just us as humans.”
So you’re still searching for something?
“Always. I’m still thirsty for knowledge. I’m still hungry for the wisdom that has yet to be captured. I love knowledge, I love wisdom, I love hearing people’s stories. I love reading certain scriptures and philosophies. I add it to my brain and I continue with my wonderment and my hope. If I’m going to boil it all down to one statement: God is love. Love is the only thing that can save us as a species. Love is the only thing that is powerful enough to overcome all things.”
This Consequence is out now via Metal Blade. Killswitch are currently on tour in North America – for the full list of tour dates, visit their official website.
Since blagging his way onto the Hammer team a decade ago, Stephen has written countless features and reviews for the magazine, usually specialising in punk, hardcore and 90s metal, and still holds out the faint hope of one day getting his beloved U2 into the pages of the mag. He also regularly spouts his opinions on the Metal Hammer Podcast.
I was born on October 19, 1996, which means I was released 19 months after The Bends was. It’s not an album I’m nostalgic for: I grew up in households where New Wave Of British Heavy Metal bands and 70s prog rock were near-constant soundtracks. I started discovering the modern acts in those genres and, as my tastes started expanding towards their more avant-garde fringes, I noticed more and more of my favourites citing influence from Radiohead.
I’d heard of Radiohead before, but only via the memes. I knew the jokes about their fan-base being pretentious adult virgins long before I knew even one of their lyrics. Eventually, though, this mysterious band’s impact on the music I loved – acknowledged by everyone from Leprous to Loathe – became too intense to ignore.
I started with OK Computer, familiar with its frequent anointment as one of the best albums ever made, and I liked it. Not as great as Gothic by Paradise Lost, I thought, but still very good. So then I stuck on The Bends and… fucking hell. That was the revelation.
As a junior-millennial rock fanatic, hearing The Bends felt tantamount to digging up the first fish who grew legs. So many of the bands who blew up during my youth – Muse, Coldplay, Snow Patrol, Kings Of Leon, even the bloody Darkness – suddenly had a common ancestor. And none of them did The Bends better than Radiohead did The Bends.
I have two enduring memories of my first listens. One is being taken aback by just how sad it was. Like, I knew that Radiohead were a sad band, but this was sad. This album’s just driven home from having its puppy put down only to accidentally hit its toddler in the driveway.
Although sad music’s always appealed to me (note the above Paradise Lost reference), the sheer desperation of Street Spirit (Fade Out) still stood out. Somehow, the song’s microscopic glimmer of hope made it all the more heart-rending, ending four minutes of arpeggiated chords, down-trodden wailing and ruminations on the pointlessness of life with one last-resort command: ‘Immerse your soul in love.’
There was a similar, dying flicker in the black hole of Bullet Proof… I Wish I Was. Thom Yorke conveyed his desire to be stronger emotionally, yet did so in defeated solemnity, loosely strumming an acoustic guitar and half-singing/half-whispering as if he already knew that his dream was impossible. My Iron Lung also soundtracked positivity drowning in a quagmire, likening Radiohead’s breakthrough single Creep and the subsequent demand for another hit to a life-support machine: for all it did to sustain them, it hugely constrained their capabilities.
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The second memory is of how, for all that sorrow, The Bends refused to simply slump down and sit still. There was a power and volume to the album that all those memes I saw never as much as hinted at. The title track was a cacophonously loud expression of stagnation, with even Yorke’s mightiest vocal cries getting overwhelmed by the distortion of Jonny Greenwood and Ed O’Brien’s guitars. Black Star – behind a chorus that so, so many of Radiohead’s acolytes have tried to replicate – built a wall of riffing that was just as impervious.
Other songs reserved their noise for crescendos, and these included some of the album’s biggest singles, High And Dry and Fake Plastic Trees. Their buzzing bridges and solos felt like climaxes to grand classical movements, a tactic that forged entire careers for This Will Destroy You, Maybeshewill and myriad others once the 2000s’ post-rock scene reached full steam. At the risk of sounding as wanky as I was once led to believe Radiohead’s fan-base was, it was an ingenious balance of freeness, strength and control.
In 2025, it’s almost tempting to laugh at how despondent Radiohead were 30 years ago. Oh, you thought life back then was bad? Try dolloping a climate crisis and the West’s increasing embrace of fascism on top of your problems! However, The Bends represents both a refined collection of music and an entire mood that has transcended its time. No matter when you listen to it, it will give your blues the most dynamic soundtrack.
OK Computer may be more acclaimed, Kid A may be more rebellious… but, when it comes to era-defining cues and versatile song craft, nothing Radiohead have done will ever beat The Bands for me.
Ellie Goulding has built a career as one of the most successful British pop artists of the 21st century, known for her distinctive soprano voice and genre-blending sound that merges synth-pop, folk, and electronic music. She grew up in Hereford, England, and was raised in the small town of Lyonshall, where she began writing songs at the age of 15. Goulding later attended the University of Kent, where she studied drama and theatre but was discovered by her future manager, Jamie Lillywhite, while performing at a university talent contest. Lillywhite quickly introduced her to producer Starsmith, who became instrumental in developing her early sound, setting the stage for her entrance into the music industry. Goulding’s career officially took off in 2009 when she signed with Polydor Records and released her debut single, “Under the Sheets,” later that year.
Her debut studio album, Lights, released in 2010, was an immediate commercial success, debuting at No. 1 on the UK Albums Chart. The title track, “Lights,” went on to become one of her biggest international hits, reaching No. 2 on the US Billboard Hot 100 and earning multi-platinum status. The album also included hits like “Starry Eyed” and “Guns and Horses,” which introduced her to a wide global audience. In 2010, Goulding’s growing popularity was cemented when she won the Critics’ Choice Award at the Brit Awards and topped the BBC’s annual “Sound of…” poll, two honors that mark emerging talent in the British music scene. Her blend of folk-influenced songwriting with electronic production made her a fresh voice in the pop world, quickly establishing her as a mainstay on the charts.
Goulding’s second album, Halcyon, released in 2012, marked a darker and more mature turn in her music, featuring emotionally charged hits such as “Anything Could Happen” and “Figure 8.” The album was later re-released as Halcyon Days in 2013, featuring additional tracks including “Burn,” which became her first UK No. 1 single. This period of her career also saw her growing international acclaim, especially as “Burn” topped charts and found heavy rotation in both the US and Europe. The single “How Long Will I Love You,” originally recorded for the BBC Children in Need campaign, further showcased her ability to deliver heartfelt ballads, broadening her fan base.
In 2015, Goulding released her third studio album, Delirium, which was designed to be a major pop record, featuring collaborations with top producers like Max Martin and Greg Kurstin. The album included “On My Mind,” another international hit that demonstrated her ability to master the evolving pop landscape. However, it was “Love Me Like You Do,” recorded for the Fifty Shades of Grey soundtrack, that became a defining moment in her career. The song reached No. 1 in the UK and No. 3 in the US, earning a Grammy nomination for Best Pop Solo Performance. Its success cemented Goulding’s position as a global pop icon, as the track topped charts in multiple countries and dominated radio airplay worldwide.
Goulding’s fourth studio album, Brightest Blue, was released in 2020 and marked a return to a more introspective and personal style. The album was critically praised for its lyrical depth and vulnerability, featuring songs like “Power” and “Love I’m Given.” It debuted at No. 1 on the UK Albums Chart, proving her staying power in the industry. By this point in her career, Goulding had amassed a significant catalog of hits and was recognized not just for her commercial success but also for her versatility as an artist capable of shifting between genres and styles while maintaining her unique sound.
Beyond her chart achievements, Ellie Goulding has received numerous awards and honors. In addition to her early Brit Award win, she has been nominated for several other Brit Awards, including British Female Solo Artist and British Single of the Year. Her influence has been acknowledged with awards from the BMI London Awards for songwriting, and she has received Grammy and MTV Europe Music Award nominations. Goulding’s distinct ability to balance mainstream success with artistic credibility has earned her respect across the music industry.
Outside of music, Goulding is known for her work in philanthropy and activism. She has been an outspoken advocate for environmental issues, working with organizations such as the United Nations to promote climate change awareness. In recognition of her efforts, she was appointed a Goodwill Ambassador for the United Nations Environment Programme in 2017. Additionally, she has been open about her own struggles with anxiety and mental health, using her platform to encourage conversations around these critical issues. Her dedication to both music and social causes has made her a beloved figure not only among fans but also within the broader cultural landscape.
With five studio albums released to date — including her most recent, Higher Than Heaven, in 2023 — Ellie Goulding has proven herself to be an artist of remarkable longevity and influence. Her career spans over a decade of evolving sounds and major international success, marked by numerous hit singles like “Lights,” “Burn,” “Love Me Like You Do,” and “On My Mind.” More than just a pop star, Goulding has consistently used her voice for both artistic expression and meaningful advocacy, making her one of the most respected and multi-dimensional artists in modern music.
Complete List Of Ellie Goulding Songs From A to Z
Aftertaste – Delirium – 2015
All by Myself (with Alok and Sigala) – Higher Than Heaven (Deluxe Edition) – 2023
Your Song – Halcyon (Austrian iTunes Store) – 2012
Songs per album:
Lights (2010): 22 songs
Halcyon (2012): 28 songs
Delirium (2015): 25 songs
Brightest Blue (2020): 20 songs
Higher Than Heaven (2023): 16 songs
Total: 111 songs
Check out our fantastic and entertaining Ellie Goulding articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Sammy Hagar has carved out a legendary career defined by hard-driving rock music, entrepreneurial ambition, and a reputation as one of the most energetic performers in the business. Raised in Fontana, California, Hagar was surrounded by working-class struggles, and it was that early environment that fueled his relentless drive to succeed. His entrance into the music scene began in the late 1960s, fronting bands like Skinny, the Fabulous Castilles, and later, Montrose, where he first gained significant attention. It was with Montrose’s 1973 self-titled debut album, featuring tracks like “Rock Candy” and “Bad Motor Scooter,” that Hagar’s voice and songwriting began reaching national audiences. Although he left Montrose after two albums, his role as their original frontman set the stage for a solo career that would explode in the years to come.
By the mid-1970s, Hagar was launching a solo career that would establish him as a force in rock music. His 1978 solo album Street Machine and 1979’s Danger Zone helped build his reputation, but it was “I Can’t Drive 55” from his 1984 album VOA that became a defining anthem of the decade. The rebellious spirit of that song, fueled by Hagar’s fiery vocals and electric stage presence, cemented his place as a rock heavyweight. Over the span of his career, Hagar has released seventeen solo studio albums, including Nine on a Ten Scale, Red Voodoo, and Marching to Mars, showing his ability to remain relevant and prolific through changing eras of rock music.
Of course, no discussion of Sammy Hagar’s career would be complete without acknowledging his explosive tenure with Van Halen. After the departure of David Lee Roth in 1985, Hagar stepped in as the band’s lead vocalist, a role that would lead to four consecutive Billboard No. 1 albums—5150 (1986), OU812 (1988), For Unlawful Carnal Knowledge (1991), and Balance (1995). With hit singles like “Why Can’t This Be Love,” “Finish What Ya Started,” and “Right Now,” Hagar helped propel Van Halen to continued global superstardom. His time with the band brought them to new heights commercially and critically, earning them a Grammy Award for Best Hard Rock Performance with Vocal in 1992 for For Unlawful Carnal Knowledge. Hagar’s powerful vocals and songwriting contributions were pivotal in crafting a more melodic, polished sound that defined Van Halen’s second era.
Beyond Van Halen and his solo success, Hagar has proven to be a master collaborator, working with an array of musicians across multiple projects. His band Chickenfoot, formed in 2008 with Joe Satriani, Michael Anthony, and Chad Smith, released two studio albums—Chickenfoot and Chickenfoot III—to strong acclaim, showing his continued relevance in modern rock. He also leads The Circle, a supergroup that includes Michael Anthony, Jason Bonham, and Vic Johnson, with albums like Space Between (2019) and Crazy Times (2022), proving Hagar’s voice and vision remain sharp and compelling. These projects allowed him to both revisit classic hits and explore new material, demonstrating a versatility that few rock singers maintain across decades.
Sammy Hagar’s impact extends far beyond music. As an entrepreneur, he made waves in the business world by launching the Cabo Wabo Cantina in Mexico and the Cabo Wabo Tequila brand, which he sold for a reported $80 million, solidifying his reputation as a savvy businessman. Hagar also established Sammy’s Beach Bar Rum and owns restaurants in locations such as Las Vegas and Lake Tahoe, turning his love for food and drink into a successful hospitality empire. His ventures reflect a rock-and-roll spirit that translates effortlessly into business, fueled by the same passion and energy he brings to music.
Throughout his career, Hagar has received numerous accolades recognizing his influence and success. In addition to Van Halen’s Grammy Award, Hagar himself was inducted into the Rock and Roll Hall of Fame in 2007 as a member of Van Halen, an acknowledgment of his massive contribution to one of rock’s most iconic bands. Yet, what makes Hagar so beloved in the music world is not just his voice or his hits—it’s his infectious personality, commitment to his fans, and his unrelenting pursuit of fun. Nicknamed “The Red Rocker,” Hagar built a persona that is both larger-than-life and deeply relatable, winning him loyal fans across generations.
Hagar’s philanthropic work adds another layer to his impressive career. Through the Hagar Family Foundation, he has donated millions to charities supporting children and families in need. His efforts focus on food banks and children’s healthcare, reflecting a lifelong dedication to giving back. It’s clear that for Hagar, success is about more than fame—it’s about making a meaningful impact on the lives of others. This dedication has only enhanced his standing as a figure loved not just for his music but for his heart.
Even today, Sammy Hagar continues to tour, release new music, and engage with fans around the world, showing no signs of slowing down. His ability to evolve with the times, his keen business sense, and his legendary career as both a solo artist and band member make him one of the most enduring and respected figures in rock. Hagar’s legacy is built on more than hit records—it’s a testament to perseverance, passion, and an undying love for the music and the people who listen to it.
Complete List Of Sammy Hagar Songs From A to Z
20th Century Man – Danger Zone – 1980
20th Century Man (live) – Live 1980 – 1983
2120 – Crazy Times – 2022
24365 – Cosmic Universal Fashion – 2008
3 in the Middle – Ten 13 – 2000
Affirmation – Space Between – 2019
All American – Nine on a Ten Scale – 1976
All We Need Is an Island – Sammy Hagar & Friends – 2013
Amnesty Is Granted – Marching to Mars – 1997
Back into You – I Never Said Goodbye – 1987
Bad Motor Scooter – Rematch – 1982 / The Essential Red Collection – 2004 (Montrose)
Bad Motor Scooter (live) – All Night Long – 1978 / Greatest Hits Live! – 2002 / Sammy Hagar & Friends – 2013
Bad On Fords and Chevrolets – Sammy Hagar & Friends – 2013
Bad Reputation – Danger Zone – 1980 / Rematch – 1982
Baby, It’s You – Standing Hampton – 1982
Baby’s on Fire – Standing Hampton – 1982 / Unboxed – 1994
Be Still – Crazy Times – 2022
Best of Both Worlds (live) – At Your Service – 2015 (Van Halen)
Both Sides Now – Marching to Mars – 1997
Bottom Line – Space Between – 2019
Boys’ Night Out – I Never Said Goodbye – 1987
Burnin’ Down the City – VOA – 1984
Buying My Way into Heaven – Unboxed – 1994
Call My Name (demo) – The Essential Red Collection – 2004
Can’t Get Loose – Standing Hampton – 1982
Can’t Hang – Space Between – 2019
Catch the Wind – Sammy Hagar – 1977
Child to Man – Street Machine – 1979
Childhood’s End – Crazy Times – 2022
China – Nine on a Ten Scale – 1976
Confession (Please Come Back) – Nine on a Ten Scale – 1976
Schenker released My Years With UFO last September. The star-studded LP features re-recorded versions of songs from the guitarist’s brief but significant tenure with the band, which yielded classics such as “Lights Out” “Too Hot to Handle,” “Doctor Doctor” and “Rock Bottom.”
“When Slash came to the recording studio in Frankfurt to record with me, he said, ‘Oh, I told Axl I’m coming here today to do this with you,'” Schenker told UCR. “And Axl said, ‘Oh, can I sing a song?’ So I said, ‘Oh, really? Ask Axl which song he wants to sing.'”
Michael Schenker, ‘My Years With UFO’ 2025 U.S. Tour Dates Sept. 5 – Orlando, FL @ Plaza Live Sept. 6 – Ft Lauderdale, FL @ Culture Room Sept. 7 – Clearwater, FL @ Capitol Theater Sept. 9 – Hopewell, VA @ Beacon Theater Sept. 10- Warrendale, PA @ Jergels Sept. 12 – Ridgefield, CT @ Ridgefield Playhouse Sept. 13 – Derry, NH @ Tupelo Music Hall Sept. 14 – Patchogue, NY @ Patchogue Theater Sept. 16 – Annapolis, MD @ Ram’s Head Onstage Sept. 17 – Glenside, PA @ Keswick Theater Sept. 19 – New York, NY @ Palladium Times Square Sept. 20 – Newton, NJ @ Newton Theater Sept. 21 – Leesburg, VA @ Tally Ho Theater Sept. 23 – Columbus, OH @ The Kings Of Clubs Sept. 24 – Lorain, OH @ Lorain Palace Theater Sept. 26 – Des Plaines, IL @ Des Plaines Theater Sept. 27 – St Charles, IL @ Arcada Theater Sept. 28 – Green Bay, WI @ EPIC Events Center Sept. 30 – Denver, CO @ Oriental Theater Oct. 2 – Agora Hills, CA @ Canyon Club * Oct. 3 – Los Angeles, CA @ Saban Theater * Oct. 4 – Anaheim, CA @ The Grove * Oct. 5 – San Francisco, CA @ Great American Music Hall * Oct. 8 – Albuquerque, NM @ National Hispanic Cultural Center * Oct. 10 – Plano, TX @ Legacy Hall * Oct. 11 – San Antonio, TX @ Tobin Center * Oct. 12 – Houston, TX @ White Oak Music Hall *
* With Armored Saint
Top 100 Live Albums
These are more than just concert souvenirs or stage documents from that awesome show you saw last summer.
Roger Waters, born George Roger Waters on September 6, 1943, in Great Bookham, Surrey, England, is a seminal figure in the world of rock music. His early life was marked by the loss of his father, Eric Fletcher Waters, a teacher and soldier who died in World War II when Roger was just an infant. This profound loss would later influence much of his musical work. Raised by his mother, Mary, Waters attended the Cambridge County High School for Boys, where he formed a friendship with Syd Barrett, a relationship that would prove pivotal in his musical journey.
In 1965, Waters co-founded the rock band Pink Floyd, initially serving as the bassist. Following Syd Barrett’s departure in 1968 due to mental health issues, Waters assumed the roles of lyricist, co-lead vocalist, and conceptual leader. Under his direction, Pink Floyd released a series of critically acclaimed concept albums that have left an indelible mark on music history.
One of the most notable albums is “The Dark Side of the Moon” (1973), which has sold over 45 million copies worldwide, making it one of the best-selling albums in history. This was followed by “Wish You Were Here” (1975), “Animals” (1977), and “The Wall” (1979), each contributing to the band’s reputation for deep, thematic content and innovative soundscapes. “The Wall,” in particular, stands out with its narrative exploring themes of isolation and personal struggle, and it was later adapted into a feature film in 1982.
During his tenure with Pink Floyd, Waters’ songwriting prowess led to several hit singles. “Another Brick in the Wall, Part 2” from “The Wall” became a global anthem, reaching number one on various charts. Other significant tracks include “Money,” “Comfortably Numb,” and “Wish You Were Here,” all of which have become staples in rock music.
Waters’ contributions have been recognized with numerous awards. He won the British Academy of Film and Television Arts (BAFTA) award for Best Original Song Written for a Film in 1983 for “Another Brick in the Wall.” As a member of Pink Floyd, he was inducted into the US Rock and Roll Hall of Fame in 1996 and the UK Music Hall of Fame in 2005. The band also received the Polar Music Prize in 2008 for their significant contributions to music and art.
Beyond his musical endeavors, Waters has been actively involved in political and social causes. His outspoken views have sparked controversy and debate, reflecting his commitment to issues he is passionate about.
In summary, Roger Waters’ career spans over five decades, characterized by groundbreaking musical achievements. This is a list of the songs he has released outside of his work with Pink Floyd.
(#)
“4:30 AM (Apparently They Were Travelling Abroad)” – The Pros and Cons of Hitch Hiking (1984) “4:33 AM (Running Shoes)” – The Pros and Cons of Hitch Hiking (1984) “4:37 AM (Arabs with Knives and West German Skies)” – The Pros and Cons of Hitch Hiking (1984) “4:39 AM (For the First Time Today, Part 2)” – The Pros and Cons of Hitch Hiking (1984) “4:41 AM (Sexual Revolution)” – The Pros and Cons of Hitch Hiking (1984) “4:47 AM (The Remains of Our Love)” – The Pros and Cons of Hitch Hiking (1984) “4:50 AM (Go Fishing)” – The Pros and Cons of Hitch Hiking (1984) “4:56 AM (For the First Time Today, Part 1)” – The Pros and Cons of Hitch Hiking (1984) “4:58 AM (Dunroamin, Duncarin, Dunlivin)” – The Pros and Cons of Hitch Hiking (1984) “5:01 AM (The Pros and Cons of Hitch Hiking, Part 10)” – The Pros and Cons of Hitch Hiking (1984) “5:06 AM (Every Stranger’s Eyes)” – The Pros and Cons of Hitch Hiking (1984) “5:11 AM (The Moment of Clarity)” – The Pros and Cons of Hitch Hiking (1984)
(A-D)
“Amused to Death” – Amused to Death (1992) “The Ballad of Bill Hubbard” – Amused to Death (1992) “Bed-Time-Dream-Clime” – Music from The Body (1970) “Bird in a Gale” – Is This the Life We Really Want? (2017) “Body Transport” – Music from The Body (1970) “The Bravery of Being Out of Range” – Amused to Death (1992) “Breathe” – Music from The Body (1970) “Bridge Passage for Three Plastic Teeth” – Music from The Body (1970) “Broken Bones” – Is This the Life We Really Want? (2017) “Chain of Life” – Music from The Body (1970) “Dance of the Red Corpuscles” – Music from The Body (1970) “Déjà Vu” – Is This the Life We Really Want? (2017)
(E-G)
“Embryo Thought” – Music from The Body (1970) “Embryonic Womb-Walk” – Music from The Body (1970) “Four Minutes” – Radio K.A.O.S. (1987) “A Gentle Breeze Blew Through Life” – Music from The Body (1970) “Get Back to Radio” – B-side of “Sunset Strip” (1987) “Give Birth to a Smile” – Music from The Body (1970) “Going to Live in L.A.” – B-side of “Radio Waves” (1987)
(H-L)
“Hand Dance – Full Evening Dress” – Music from The Body (1970) “Hello (I Love You)” – Non-album single (2007) “Home” – Radio K.A.O.S. (1987) “Is This the Life We Really Want?” – Is This the Life We Really Want? (2017) “It’s a Miracle” – Amused to Death (1992) “The Last Refugee” – Is This the Life We Really Want? (2017) “Late Home Tonight, Part I” – Amused to Death (1992) “Late Home Tonight, Part II” – Amused to Death (1992) “Leaving Beirut” – Non-album single (2004) “Lick Your Partners” – Music from The Body (1970)
(M-O)
“March Past of the Embryos” – Music from The Body (1970) “Me or Him” – Radio K.A.O.S. (1987) “Molly’s Song” – B-side of “Who Needs Information” (1987) “More Than Seven Dwarfs in Penis-Land” – Music from The Body (1970) “The Most Beautiful Girl” – Is This the Life We Really Want? (2017) “Mrs. Throat Goes Walking” – Music from The Body (1970) “Oceans Apart” – Is This the Life We Really Want? (2017) “Old Folks Ascension” – Music from The Body (1970) “Our Song” – Music from The Body (1970)
(P-R)
“Part of Me Died” – Is This the Life We Really Want? (2017) “Perfect Sense, Part I” – Amused to Death (1992) “Perfect Sense, Part II” – Amused to Death (1992) “Picture That” – Is This the Life We Really Want? (2017) “Piddle in Perspex” – Music from The Body (1970) “The Powers That Be” – Radio K.A.O.S. (1987) “Radio Waves” – Radio K.A.O.S. (1987) “Red Stuff Writhe” – Music from The Body (1970)
(S-Z)
“Sea Shell and Soft Stone” – Music from The Body (1970) “Sea Shell and Stone” – Music from The Body (1970) “Smell the Roses” – Is This the Life We Really Want? (2017) “Sunset Strip” – Radio K.A.O.S. (1987) “Three Wishes” – Amused to Death (1992) “The Tide Is Turning (After Live Aid)” – Radio K.A.O.S. (1987) “To Kill the Child” – Non-album single (2004) “Too Much Rope” – Amused to Death (1992) “Wait for Her” – Is This the Life We Really Want? (2017) “Watching TV” – Amused to Death (1992) “We Shall Overcome” – Non-album single (2010) “What God Wants, Part I” – Amused to Death (1992) “What God Wants, Part II” – Amused to Death (1992) “What God Wants, Part III” – Amused to Death (1992) “When We Were Young” – Is This the Life We Really Want? (2017) “Who Needs Information” – Radio K.A.O.S. (1987) “The Womb Bit” – Music from The Body (1970)
Check out our fantastic and entertaining Roger Waters articles and more…all on ClassicRockHistory.com
Our list of the Best Hair Metal Album of Every Year From 1981 to 1991 proves that before it was relegated to the dustbin of history, hair metal — or glam metal, or pop-metal, or whatever the heck you want to call it — had an impressive decade-long run.
The seeds for the genre were planted by ’70s hard rock acts such as Van Halen, Aerosmith and Kiss. But hair metal’s true opening volley was Motley Crue‘s scrappy 1981 debut album, Too Fast for Love. Combining hard rock, power-pop and punk into one sleazy, hedonistic package, it set the tone for the following decade of high-watt, libidinous hard rock.
Before long, the Sunset Strip music scene was exploding with bands that were eager to be the next Motley Crue, and they were courted by record labels eager to strike gold — again and again and again. The next several years saw blockbuster albums from the likes of Ratt, Poison, Dokken, Bon Jovi and many more.
You’ll notice a few choice omissions from this list. Def Leppard, despite their dominance throughout the ’80s, came up just short of notching the year’s best hair metal album on two separate occasions (three, if you count High ‘n’ Dry). And although we’ve included Guns N’ Roses on previous hair metal song lists, we simply could not lump their landmark debut, Appetite for Destruction, in with this crop of albums.
On the flip side, you’ll find some bands and albums on here that were only tangentially related to the hair metal scene, which we nevertheless chose to include either because they had a massive influence on the scene or they wiped the floor with all the other albums that came out during their respective years.
To paraphrase Cinderella, another contender for this list: “If you don’t like it, we don’t care!“
Read on to see the Best Hair Metal Album of Every Year From 1981 to 1991.
The Best Hair Metal Album of Every Year From 1981-1991
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