“There certainly was a fair amount of hard drinking. But there was a degree of professionalism, if hard to recognise at times”: How The Pogues made a folk-punk classic in Rum, Sodomy & The Lash

“There certainly was a fair amount of hard drinking. But there was a degree of professionalism, if hard to recognise at times”: How The Pogues made a folk-punk classic in Rum, Sodomy & The Lash

The Pogues posing for a photograph in 1985
(Image credit: Pictorial Press Ltd / Alamy Stock Photo)

Banjo player, folk music aficionado and actor/comedian Billy Connolly once described The Dubliners as “folk music’s Rolling Stones”. If that’s the case, then The Pogues were its Sex Pistols: controversial, outspoken, unapologetic, but ultimately revered and respected for breaking the mould, and evolving the Celtic folk sound. Released towards the end of summer 40 years ago, The Pogues’ classic second album, Rum, Sodomy & The Lash, was a remarkable progression from the previous year’s debut Red Roses For Me – in terms of lead vocalist Shane MacGowan’s songwriting as well as the band’s rapidly accelerating popularity and notoriety.

Formed in London’s King’s Cross in 1982, The Pogues were originally named Pogue Mahone – an Anglicisation of the Irish phrase ‘póg mo thóin’, meaning ‘kiss my arse’. (Shane’s previous band, punk rock upstarts The Nipple Erectors, similarly abbreviated their name to the slightly less puerile The Nips).

With their punk background, their singer’s insatiable thirst and the exuberance of their early material, it’s easy to assume that life in The Pogues followed a clichéd rock’n’roll template of wild living and non-stop partying. But the famously raucous party atmosphere of the band’s live shows belied the dedication of the self-taught musicians.

“I wouldn’t say it was that chaotic,” says tin whistle player and vocalist Spider Stacy. “We were following a steady trajectory; we were getting more and more popular. Shane’s songwriting was just expanding.”

“There certainly was a fair amount of hard drinking,” says drummer Andrew Ranken. “But we were also working hard. There was a degree of professionalism and discipline, if somewhat unconventional and hard to recognise at times. We liked to get things done.”

Rocketing out of the vinyl, the three-minute blast of The Sick Bed of Cúchulainn is a perfect opener for Rum, Sodomy & The Lash: energetic but shot through with darkness and death while retaining an indefatigable determination. Shane reimagines Irish folklore warrior Cú Chulainn on his deathbed with operatic tenors John McCormack and Richard Tauber singing by his side. The song also name-checks Irish Republican Frank Ryan, who fought in both the Irish and Spanish Civil Wars. Indicative of MacGowan’s prodigious literacy and historical knowledge that informed his songwriting, it follows a similar – yet amped-up – narrative to traditional folk standard and Dubliners favourite Finnegan’s Wake; the protagonist is thought to be dead but revives to carry on drinking and carousing.

“There’s a doughtiness there,” says accordionist James Fearnley, on how the opening track epitomises the album’s overall theme. “He’s just going to keep going. There’s a determination; despite the circumstances, we’re all going to live”.

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The Pogues posing for a photograph in 1984

The Pogues in 1984: (from left) Shane MacGowan, James Fearnley, Jem Finer, Andrew Ranken, Spider Stacey, Cait O’Riordan (Image credit: Steve Rapport/Getty Images)

The album title was suggested by drummer Andrew Ranken from an alleged quote by Winston Churchill about the British navy: “Don’t talk to me about naval tradition. It’s nothing but rum, sodomy and the lash.”

“It certainly wasn’t meant as a description of life in the band,” says Andrew. “I think I might have come across it through reading George Melly’s autobiography Rum, Bum And Concertina. Certainly not from reading anything by Churchill, which I’d run a mile from. I don’t think I was terribly serious about it, I just threw it at the wall and it seemed to stick.”

The album’s morbid mood is reflected by its sleeve. Suggested by Jem’s wife Marcia, it features the band members superimposed onto characters on The Raft Of The Medusa, a bleak 18th-century painting by Theodore Géricault that depicts dying and incapacitated shipwreck survivors floundering in turbulent seas, desperately clinging to the remains of a boat in anguish and despair, searching for a route to survival. It’s the ideal image to express the dark and haunted songs: the anti-war Wilfred Owen-influenced A Pair Of Brown Eyes and cover of And The Band Played Waltzing Matilda; the exhilarating but lachrymose Sally MacLennane; the plight of the Irish labourer in Navigator; the distressing ballad The Old Main Drag; the anti-imperialist satire of Billy’s Bones – and even the fate of an American Robin Hood-style folk hero.

Spider’s gravelly tones take lead vocals on that cover of bluegrass standard Jesse James – his version inspired by Ry Cooder’s recording from the soundtrack of 1980 western The Long Riders. Despite its Americana roots, the song is a natural fit with the rest of the album: poignant and sombre despite its upbeat celebratory nature. Its inclusion emphasises the similarities between Americana and Irish folk, a recurring Pogues subject explored further in the following album – their 1988 commercial peak If I Should Fall From Grace With God – with its themes exploring the Irish diaspora’s emigration to escape homeland famine and poverty at the turn of the previous century.

That influence of evergreen Americana folk rock would also inspire Rum producer Elvis Costello. Already an accomplished singer-songwriter and producer by the mid-80s, Costello later described his task at the helm of Rum, Sodomy & The Lash as to capture The Pogues “in their dilapidated glory before some more professional producer fucked them up”.

The Pogues – Sally MacLennane (The Tube, 11.01.1985) – YouTube The Pogues - Sally MacLennane (The Tube, 11.01.1985) - YouTube

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“We were big fans of The Specials and their album that Elvis produced,” says Andrew. “We wanted that really open, bleak kind of feel.”

Impressed by Costello’s dedicated professionalism and the end result – especially in comparison to the Rizla-thin production of their debut – the band remember Rum’s studio sessions fondly. Mostly fondly.

“A spark went off between me and him,” says James. “Being a busybody, I wanted to play everything for the overdubs. There was a certain amount of competition between myself and Elvis because I was trying to think of things before he did. If he had an idea for doing a particular overdub, I got shirty with him because he’d just pick up a guitar and go into the studio and do it. I said: ‘We’re the band, you’re the producer.’ So Elvis called a meeting and said: ‘If anybody’s got any ideas, just speak up and do whatever needs to be recorded.’ And Spider said: ‘Oh, James, what have you done now?!’”

So was Elvis an authoritarian producer?

“He had a whip!” jokes banjoist Jem Finer. “He had the lash!”

“We had the sodomy!” Spider interjects jokingly.

“It was really quite sordid…” Jem says, laughing. “No, he wasn’t an authoritarian. He was disciplined and very encouraging.

“He was really very good at his job,” says James. “It sounds brilliant and stands up to time. He really did well with Shane’s voice.”

“I think we had a big influence on him too,” says Jem, “because he then went and made an acoustic album [Costello’s 1986 Americana folk and blues album King Of America]. We fobbed him off with our bass player as well,” Jem deadpans on Cait O’Riordan’s departure. She and Costello became romantically involved after he saw The Pogues live just prior to the album sessions.

The Pogues performing onstage in 1985

The Pogues onstage in 1985 (Image credit: Jane Simon/Getty Images)

Evidently not invited to the band’s 40th-anniversary tour of Rum, Sodomy & The Lash in 2025 – “Don’t go there,” says Spider – Cait O’Riordan didn’t respond to requests to take part in this feature. She was brought into The Pogues as bassist by Shane in 1982 when she was just 17. She was later described by him during the Rum era as “a very strong Irish woman and she could be very aggressive,” as he told author Richard Balls for his exhaustive in-depth biography of Shane, A Furious Devotion. “She was really into her rights as a woman and wasn’t into manipulation,” said Shane.

So do frictions remain between Cait the rest of the band?

“I don’t have a problem with her,” Jem says diplomatically. “I don’t know about other people… When I’ve come across her she’s been fine. But she left the band in 1986.”

Now a DJ with SiriusXM radio, Cait revisited her beautiful soaring vocal on Rum’s striking cover of I’m A Man You Don’t Meet Every Day for Shane’s funeral in 2023.

Equally arresting, Shane’s composition A Pair Of Brown Eyes was chosen as the album’s lead-off single. Demonstrating that The Pogues were much more than a one-trick pony following the debut’s furiously paced songs of drinking ’n’ fighting, the sorrowful ballad marked a new direction. In the style of a classic folk song, it takes the form of a moving tale recollected by its protagonist. In this case, a war veteran recounts the grisly details of his life with only the memory of his lost lover’s eyes to keep him alive. It quickly became a favourite of both fans and the band themselves.

“It’s a great song, and lovely to play live,” says Andrew. “It has such a strong melody and that massive swing.”

Their first single to chart, A Pair Of Brown Eyes firmly established Shane’s talent for songwriting and lyrical storytelling. While he composed all the original tracks on Rum, the album was also the beginning of his co-writing partnership with Jem. Together they came up with ghostly instrumental, The Wildcats Of Kilkenny, featuring blood-curdling screams and sinister metallic strings imitating razor-sharp swiping claws.

“Before the band even existed, Shane would teach me songs and I was sort of playing along,” says Jem. “I’d inadvertently make up instrumental bits. But I didn’t actually realise I was writing music, because I was pretty new to playing,” continues the self-effacing and modest musician. “But they would find their way into things like the intro to Boys From The County Hell and the instrumental section of Dark Streets Of London [both from debut Red Roses For Me]. So that’s how The Wildcats Of Kilkenny came along. Then I would start writing songs but thinking that no way my lyrics would be the lyrics; they were there for Shane to change. So we’d get together and I’d play him bits that I’d written – bits of tune or embryonic songs – then he’d play me stuff and sometimes we’d go: ‘That would really work with this’, or he’d take something and work on it. We didn’t stay together writing for days on end until we got something, we’d meet up and exchange ideas and make cassettes.”

While Jem began his songwriting with Pogues instrumentals, later in the band’s career, he’d go on to co-write Pogues classics with Shane – Bottle Of Smoke, Fairytale Of New York and Sunny Side Of The Street – and his sole compositions the glorious Misty Morning, Albert Bridge and the Eastern-tinged The Wake Of The Medusa. As Jem’s songwriting matured and evolved, Shane said he’d no longer rewrite lyrics. “I didn’t think that was always the best idea,” says Jem. For Sunny Side Of The Street, on Hell’s Ditch, the band’s final album with Shane, Jem purposefully stopped writing so many words; he simply wrote just the song title in order to galvanise the lyricist.

So did Shane gradually lose interest in songwriting throughout the band’s career?

“I think he sporadically lost interest before we even started,” says Jem. “He was often a difficult person to motivate. It would take weeks to even do the simplest thing. There was endless procrastination. But then, great focus.”

Conjecture and speculation persistently followed Shane’s alleged history as a rent boy in London during the 70s. It was often rumoured that the lyrics of Rum’s most affecting track, The Old Main Drag, a bleak and tragic tale of a harassed male prostitute in the dark underbelly of London, were at least semi-autobiographical: ‘In the dark of an alley you’d work for a fiver/For a swift one off the wrist down on the old main drag.’ With its mournful uilleann pipes and Jem’s measured banjo picking, The Old Main Drag is a melancholy tale of woe before its dramatically abrupt vocal ending suggesting death.

“There was an item in the news about some kid being found in a subway,” says James, “who came down from Wigan, because he had his ‘dancing bag’. [Referenced in the lyrics, ‘my ole dancing bag’ was how Northern soul fans referred to their kit of non-work clothes kept for strutting their stuff at renowned nightclub Wigan Casino]. It’s about survival,” James says of the song’s theme. “And against massive odds. It’s hard out there, and that song’s about how hard it is.”

It wasn’t until the release of Julien Temple’s 2020 documentary film Crock Of Gold: A Few Rounds With Shane MacGowan that Shane finally admitted to his past. “Shane used to do it,” says Shane’s wife Victoria Clarke, when Johnny Depp raises the subject of rent boys. “But only hand jobs,” Shane responds. “It was a job in hand,” he says, snickering into his drink.

The release of Rum, Sodomy & The Lash was celebrated with a launch party aboard HMS Belfast moored in the River Thames. “We played in nautical fancy dress,” says Andrew. “A great deal of rum was served by some charming and very camp sailors, and a journalist ended up in the drink – with the drink also in him, no doubt.” The story goes that a sub-editor from music weekly Melody Maker ended up overboard. Equally bizarrely, Hanoi Rocks guitarist René Berg allegedly went in to rescue him.

The Pogues’ Shane MacGowan and Cait O’Riordan backstage at a gig in 1985

Shane MacGowan and Cait O’Riordan in 1985 (Image credit: Jane Simon/Getty Images))

But even as the album was released, the band had already moved on and were back in the studio, again with Elvis Costello producing, working on a follow-up. The four-track EP Poguetry In Motion was released just six months after Rum, with three sole Shane compositions and another instrumental by Jem, Planxty Noel Hill. Shane’s Body of An American would point the way forward to the Irish-American themes of If I Should Fall From Grace With God, and the EP sessions also included an early version of a new Shane and Jem joint creation – a certain Christmas song titled Fairytale Of New York. The demo had its duet performed by Shane and Cait, with Costello on piano, but the song was of course revisited for the eventual version on Grace. With Cait having departed after the EP’s release, on what became The Pogues most famous song her vocal part was done by Kirsty MacColl, wife of Grace producer Steve Lillywhite and daughter of Ewan MacColl who wrote Dirty Old Town (the folk classic covered on Rum). Cait was replaced on bass by Pogues road manager and aide Darryl Hunt.

But the real treasure of the Poguetry In Motion EP – included as bonus tracks with Rum, Sodomy & Lash since the album’s 2004 reissue – is A Rainy Night In Soho, perhaps Shane’s masterpiece, a timeless and touching love ballad. It was also played at Shane’s funeral in a heartbreaking performance by his friend Nick Cave.

During the EP sessions, Costello and MacGowan argued over whether the final version of A Rainy Night In Soho’s instrumental break should be a muted flugelhorn, or a cor anglais (an alto oboe). They eventually compromised on the flugelhorn (performed by musician Dick Cuthell, best-known for his horn-section work in The Specials) for the UK release and cor anglais for the US version. “It sounded a bit too oily, if you know what I mean,” James says of the latter.

The release of Poguetry In Motion – their first UK Top 40 hit – coincided with the band’s first tour of the USA, and the start of a long love affair with America that would partly inspire If I Should Fall From Grace With God. The band spent their time on the road listening to the new Tom Waits album Rain Dogs and watching the Sergio Leone 1984 gangster film Once Upon A Time In America.

The EP saw the band’s line-up permanently expanded with the addition of guitarist Philip Chevron, who previously played in 70s punk band The Radiators From Space, and Terry Woods, ex-Steeleye Span, on cittern. Chevron had already played with the band for some live dates prior to the recording of Rum, when Jem took a leave of absence for family commitments when his wife Marcia was expecting their second daughter, Kitty. “Philip took over on banjo during that period,” says Jem. “And then he kinda wouldn’t leave! He became the guitar player. Shane decided he didn’t want to play guitar any more – or Philip decided he did.”

Chevron (who passed away from cancer in 2013) officially joined in between Rum and the Poguetry In Motion EP, but was still included in the album artwork. “He still somehow got his picture on the sleeve,” Jem says of the cigarette card-style photos of the band dressed up in period naval garb for the album artwork, “but he didn’t play on it. He was quite an operator… he was on the album, but he wasn’t.”

Shane was eventually sacked by the band in 1991, following the fifth Pogues album, 1990’s Hell’s Ditch, for increasing unreliability wrought by his alcoholism and drug use. Hell’s Ditch was produced by ex-Clash frontman Joe Strummer, who would replace Shane for ensuing live dates, but Spider took over on lead vocals for their final two albums: 1993’s Waiting For Herb and 1996’s Pogue Mahone. Meanwhile, their former frontman would record two albums as Shane MacGowan & The Popes – 1994’s The Snake and 1997’s The Crock Of Gold. Shane reunited with The Pogues for occasional live dates between 2001 and 2014, but despite the occasional guest appearance on song covers, he released no further material or albums before he passed away in 2023.

The Pogues’ Shane MacGowan performing onstage in 2013

The Pogues’ Shane MacGowan onstage in 2013 (Image credit:  Okpako/Redferns via Getty Images)

The Pogues would have a significant influence on the 90s Celtic punk movement – bands like Dropkick Murphys, Flogging Molly, the Real McKenzies et al. But much deeper, in the same way that they pushed the envelope of Irish folk in the 80s with Rum, Sodomy & The Lash the last few years have seen a true renaissance of the music, with a fertile upsurge of acclaimed bands and artists. Influenced by The Pogues to a greater or lesser degree – even if just by having the door opened – Lisa O’Neill, Lankum, John Francis Flynn, Ye Vagabonds, Junior Brother, CMAT and the Mary Wallopers are taking the genre in an entirely new progressive and alternative folk direction, while respecting its rich history.

In a somewhat precocious question asked of MacGowan at the time of Rum, Sodomy & The Lash’s release in August 1985, the NME’s Danny Kelly wondered how Shane would like The Pogues to be remembered. In hindsight, his answer now seems to sum up the spiritual soul of that seminal album: “As being very good, as meaning something to quite a lot of people,” said Shane. “As having a sense of humour, as being real, down to earth. I’d like it to be said that we reflected reality without being deliberately miserable or offering unobtainable escapism.”

The Pogues feat. James Fearnley, Jem Finer, Spider Stacy, and special guests celebrate the 40th anniversary of Rum, Sodomy & The Lash with six UK shows in May

A regular contributor to Louder/Classic Rock and The Quietus, Burrows began his career in 1979 with a joke published in Whizzer & Chips. In the early 1990s he self-published a punk/comics zine, then later worked for Cycling Plus, Redline, MXUK, MP3, Computer Music, Metal Hammer and Classic Rock magazines. He co-wrote Anarchy In the UK: The Stories Behind the Anthems of Punk with the late, great Steven Wells and adapted gothic era literature into graphic novels. He also had a joke published in Viz. He currently works in creative solutions, lives in rural Oxfordshire and plays the drums badly.

Joe Walsh Mourns Death of His ‘Enforcer’ and Road Manager

Joe Walsh Mourns Death of His ‘Enforcer’ and Road Manager
Peter Sherman, Getty Immages

Joe Walsh paid tribute to his close friend and “drug enforcer,” Richard “Smokey” Wendell, who died aged 80 on March 2.

Wendell was hired by the Eagles icon in the ‘90s to help him get clean, and remained in the guitarist’s entourage as road manager for over 30 years.

“There are some losses so profound that words seem meaningless,” Walsh wrote on social media. “I hope to have some better ones later. I lost my buddy. RIP Richard “Smokey” Wendell.”

A former bodyguard of President Nixon, Wendell was assigned to deal with John Belushi’s drug issues in 1980, but quit as a result of the job’s stresses. Belushi died in 1982, just after Wendell had been persuaded to return.

READ MORE: Joe Walsh’s Drink and Drugs Epiphany

Referring to the Eagles’ current residency at the Sphere in Las Vegas, Walsh later added: “Better than the way we had. It always was with you by my side. Night #25 is for Smokey.”

“Smokey was a man whose life was as full of adventure as it was of kindness,” his family said in their obituary. “Though the years may say 80, anyone who knew him would say he was the youngest 80-year-old they ever knew.”

Joe Walsh Road Manager Smokey Wendell’s Incredible Gift

The family said he’d been granted an “incredible gift” in that “he got along with everyone. His wit and humor were sharp, his stories legendary (often ‘extended’) and he was a jack of all trades. We always joked that if you needed a plane, he’d have one ready in minutes.”

Wendell died peacefully at home, surrounded by his family. “Despite traveling for work, Smokey’s heart was always at home,” they said. “His pride and joy was becoming a grandfather. Smokey and [wife] Maryanne shared a deep loving bond and remained best friends until the day he passed.”

Eagles Albums Ranked

The Eagles have been rightly praised for their canny combining of Glenn Frey’s city-slicker R&B with Don Henley’s country-fried rockabilly. But which LP goes this distance?

Gallery Credit: Nick DeRiso

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Hear Doobie Brothers’ New Single With Michael McDonald on Vocals

The Doobie Brothers released their first new song to feature Michael McDonald on vocals in 45 years.

“Learn to Let Go” is the fourth song from their upcoming album, Walk This Road, due June 6. It follows the release of “Call Me,” “Lahaina” and the title track.

You can hear “Learn to Let Go” below.

“Learn to Let Go” was cowritten by McDonald and producer John Shanks; McDonald shares vocals on the track with Pat Simmons and Tom Johnston. (John McFee rounds out the reunited band lineup.)

The song marks McDonald’s first vocal turn on an original Doobie Brothers song since 1980’s One Step Closer. McDonald contributed vocals and keyboards to the 2014 album Southbound, a collaboration with country artists covering Doobie Brothers classics with the band.

READ MORE: Top 10 Doobie Brothers Songs

“It’s a song about what might be the hardest lesson we learn and one of the last things we do in this life,” McDonald said in a press release announcing “Learn to Let Go.”

Where Are the Doobie Brothers Playing in 2025?

In 2020, the Doobie Brothers reunited with singer McDonald, the songwriter and voice behind some of their most enduring hits; a tour, scheduled that year, was postponed until 2021 because of COVID.

The Doobie Brothers were also inducted into the Rock & Roll Hall of Fame in 2020.

The reunited band will start a summer tour in early August in Detroit with Jimmy Buffett‘s The Coral Reefer Band opening all shows.

You can see tour dates below.

The Doobie Brothers Walk This Road Tour 2025
8/4 – Detroit, MI @ Pine Knob Music Theatre
8/6 – Burgettstown, PA @ The Pavilion at Star Lake
8/7 Holmdel, NJ @ PNC Bank Arts Center
8/9 – Bristow, VA @ Jiffy Lube Live
8/10 – Wantagh, NY @ Northwell at Jones Beach
8/12 – Virginia Beach, VA @ Veterans United Home Loans Amphitheatre
8/13 – Camden, NJ @ Freedom Mortgage Pavilion
8/15 – Boston, MA @ Xfinity Center
8/17 – Gilford, NH @ BankNH Pavilion
8/18 – Saratoga Springs, NY @ Broadview Stage at SPAC
9/4 – St. Louis, MO @ Hollywood Casino Amphitheater
9/5 – Ridgedale, MO @ Thunder Ridge Nature Arena
9/9 – Milwaukee, WI @ American Family Insurance Amphitheatre
9/10 – Tinley Park, IL @ Credit Union 1 Amphitheater
9/12 – Cincinnati, OH @ Riverbend Music Center
9/13 – Noblesville, IN @ Ruoff Music Center
9/15 – Franklin, TN @ FirstBank Amphitheatre
9/17 – Cuyahoga Falls, OH @ Blossom Music Center
9/18 – Toronto, ON @ Budweiser Stage

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‘Spinal Tap II’ Gets a Release Date and Amps That Now Go Past 11

‘Spinal Tap II’ Gets a Release Date and Amps That Now Go Past 11

Spinal Tap‘s amps go past 11 now.

Spinal Tap II, the long-awaited sequel to 1984’s rock mockumentary This is Spinal Tap is set for release on Sept. 12.

A brief teaser for the movie, embedded below, shows the band plugging in before a show, revealing an amplifier volume knob that now goes past “11” to… infinity.

David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), and Derek Smalls (Harry Shearer) are all confirmed to return for the new movie, along with fellow rock stars Paul McCartney and Elton John.

Paul Shaffer’s Artie Fufkin and Fran Drescher’s Bobbi Flekman are also set to return in the new movie. Presumably one or more unfortunate drummers will meet their demise as well.

Read More: 17 Hilarious Real-Life ‘Spinal Tap’ Stories

In December director and co-writer Rob Reiner revealed that Spinal Tap II would find the long-retired band forced to reunite after unexpectedly returning to the spotlight: “Some big music star, while screwing around at a sound check, is filmed on an iPhone singing a Tap song,” he told Empire, “and it goes wild on social media.”

You can also expect new Spinal Tap music. “[I]t’ll have a couple of cuts by Elton John and one cut by Paul McCartney – songs that they sing in the film, which aren’t Spinal Tap-type songs, they’re ones that people know. But the rest of them are new.”

A nationwide re-release of the original This Is Spinal Tap movie is expected to hit theaters this summer, with details to be revealed shortly.

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“Someone said, ‘Ozzy and Sharon would like to say hi’. I was so starstruck!” From Ozzfest and partying with Bullet For My Valentine to stalkers and dodgy photoshoots, Lacuna Coil put Italian metal on the map

“Someone said, ‘Ozzy and Sharon would like to say hi’. I was so starstruck!” From Ozzfest and partying with Bullet For My Valentine to stalkers and dodgy photoshoots, Lacuna Coil put Italian metal on the map

Lacuna Coil in 2025
(Image credit: Cunene)

When Cristina Scabbia and Andrea Ferro first met in a metal dive called The Midnight, in their home city of Milan in the early 1990s, the prospect of forging a musical partnership that would take them all around the world for the next three decades was not even a fantasy.

“Italy doesn’t really have the history of rock’n’roll or metal roots or culture,” says Cristina more than 30 years on. “When we were sending our details to labels using a fax machine, we couldn’t even imagine getting signed.”

Back then, no Italian rock band had broken out on a global scale, but Lacuna Coil would change that, becoming international stars and Italy’s biggest-ever metal export in the process. Today their ongoing journey has brought them to Nottingham’s Rock City, where they’re playing later this evening. They’ve already been to look at the venue’s Lemmy memorial containing some of the late Motörhead frontman’s ashes, and the two co-vocalists are huddled against the English chill. Cristina is wrapped in a none-more-black shawl and chain-eats throat lozenges to protect her voice. Andrea leaves his overcoat on, but the pair are all smiles as they look back at their long journey to this point.

The roots of Lacuna Coil go back to 1993. Andrea was playing bass and singing in a band named Sleep Of Right with bassist Marco Coti Zelati, who would go on to become Lacuna’s bassist and chief composer. Cristina was dating Marco and would hang out with the band at rehearsals. She had sung before, without using her name or image, for DJ friends who were producing records. “We asked her to try something with us and we loved the result,” Andrea recalls.

Initially they were just thinking about using Cristina for backing vocals, but the dual approach worked so well that they decided to make it a feature of the band. “There were female vocalists of course, but we were leaning towards the doomy, gothic death metal mix and it sounded very different in that context,” he adds.

They took advantage of a local government offer giving young bands the opportunity to record for half-price at night, working from midnight until 7am. By day they plotted their rise from a makeshift band HQ located at the gothic clothing and shoe store Cristina was working in at the time. Century Media Records took a punt on the band – by this time renamed Lacuna Coil, meaning ‘empty spiral’ – and they headed out on their first ever tour, supporting Portuguese goth-metal mainstays Moonspell. It was an unmitigated disaster.

“Our guitarist was called for mandatory military service, and the friend we got in as a substitute got really sick with diarrhoea. He was getting really skinny and anxious and started freaking out,” Andrea recalls.

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The hapless six-stringer dropped out, along with their drummer, but the core trio of Cristina, Andrea and Marco were determined to make the most of the opportunity. They grimly held on and finished the tour with the help of Moonspell’s drum tech and a guitar tech pretending to play the guitar parts, which were actually on tape. A post-tour shake-up saw them jettison the dead wood and recruit long-term replacements with the same level of commitment.

The band continued to plug away with steely determination, releasing their first two albums and gradually building a name for themselves on the European circuit. It was their third album, 2002’s Comalies, that would eventually provide their international breakthrough. Refining their developing sound into a fully realised package, it combined dark gothic atmosphere and melancholy themes with shimmering hooks and an aggressive metal crunch. The switches and interplay between Cristina’s crystalline vocals and Andrea’s more belligerent bark added to the shifting dynamics and sense of light and shade. It was a fantastic album, but, as Cristina points out, you also need a slice of luck.


That luck came when Ozzy and Sharon Osbourne’s son, Jack, brought Lacuna Coil to the attention of his parents, who promptly signed them up for the 2004 Ozzfest. The Italians quickly found themselves part of the chaos of this travelling festival.

“You only had 20 minutes to prove yourself and, apart from the headliners, the bands would rotate, so you might be playing at 9.30 in the morning or the best slot of the afternoon,” Cristina recalls. “Every day was different and all the bands would hang out and party. I was in catering one time and someone said, ‘Ozzy and Sharon would like to say hi.’ I was a little bit starstruck, but they signed this album for me that had all of the bands from the tour on it.”

Their appearance on the Ozzfest tour, combined with radio and MTV picking up on the single Heaven’s A Lie, meant the band’s US profile skyrocketed, and their burgeoning success had a knock-on effect back in Europe. They soon became Century Media’s biggest-selling act at the time, and the success of Comalies kicked off a whirlwind period for the band. They toured nearconstantly and 2006’s follow-up album, Karmacode, continued the success, adding a nu metal bite that alienated some existing fans but won them many more. The constant grind of those years did have some casualties, however, one of which was Cristina’s romantic relationship with Marco.

“When you tour together for such a long time, you get to the point that you really become like a brother and sister,” she says, when asked if dealing with the split caused any friction within the band. “And I really do love him as a brother. I’d kill for him! Maybe we had a few months of assessing things, but I don’t think we brought our problems into the band.”

Cristina would later start a relationship with Slipknot guitarist Jim Root. In metal terms it was an A-list celebrity match-up, but the couple kept things low key. “We were together for more than 13 years, but it’s our stuff,” she says. “There’s a line you shouldn’t cross, not only for respect of the other person, but also the fact that people don’t need to know. I think that many celebrity couples give away so much and then when something happens they’re asking for privacy. If you want privacy, you carve it for yourself from the very beginning. It’s something that we lived and it will stay there,” she adds, politely but firmly.

One thing that did cause a little friction within Lacuna Coil was the fact that much of the attention the band received focused on Cristina. “Not so much for me, but the guys in the band felt a little underappreciated,” Andrea nods.

“We had a talk about it, because the situation was getting out of hand,” Cristina continues. “We had pictures taken in which I was visible and they were in the very back. We didn’t want to be ‘Cristina and her band’. We were and have always been just a band.”

The singer does admit to enjoying the attention and photoshoots that came her way, however. “In the beginning I did feel a little bit full of myself. It went to my head for a while, because it was so peculiar and unexpected. I got over it pretty quickly, but being on the cover of a magazine is still pretty awesome.”

There was also the glut of ‘Hottest Chicks In Metal’-themed magazine issues that appeared in the 2000s and early 2010s, many of which featured Cristina… “I don’t see the negativity at all,” she counters. I know a lot of people are against this because they see it as sexism, but I thought it was just a way to say ‘beautiful’. I didn’t see it as something that objectified me.”

Not all of the trappings of fame were quite so welcome. Some fans were simply over-intense, like the guy who presented Cristina with his wedding ring. “That was to tell me he had ended a toxic relationship and to thank me for somehow saving him from something bad with my voice,” she says. “That was peculiar, but I did have actual stalkers that were potentially dangerous and would follow me around. I remember them sending me weird pictures of me covered in blood or sending me pictures of a foetus. I reported it, and for one complete tour I had an FBI agent in every town checking on me. It was not only disturbing, it was also boring for me because I had to be confined on a tour bus every day.”

Cristina says she was never a big drinker, but for the rest of the band, a bit of partying often served as a pressure valve. “There was some alcohol abuse here and there,” nods Andrea. “That was getting kind of heavy, because when you’re on the road for three months, you’re drinking for those three months. None of us was really an alcoholic and when you’re young it’s easier, but you do start to pay the price.”

“The worst I’ve seen them?” ponders Cristina. “We were out with Rob Zombie and had a party on our bus. Bullet For My Valentine were there and they were big partiers. We were sponsored by Jägermeister back then, and I saw six bottles go in 10 minutes. Even Bullet just left because there was moshing; there was blood on the on the walls of the tour bus the day after. It was insane, but I was sober because I wanted to film it all. I have some tapes, but those will die with me!”

Lacuna Coil – I WISH YOU WERE D3AD (Official Music Video) – YouTube Lacuna Coil - I WISH YOU WERE D3AD (Official Music Video) - YouTube

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Subsequent years would see a number of line-up changes, but that core trio of Cristina, Andrea and Marco has held firm. After three decades together, Cristina describes her bandmates as her second family.

“We can have discussions, party together, hate each other for a few minutes and love each other to pieces,” she says. “It’s a very stable relationship at the moment and we have the same goals and drives. We still have that itch of competition, but we’re in competition with ourselves to keep doing better. It’s so fresh that for us it’s like we started a couple of years ago.”

That continued drive now sees the band returning with their 10th studio album, Sleepless Empire. It’s not a concept album, but, like several of their works, it does have an overarching theme. “We’re the last generation to have lived through an entirely analogue world into a digital one, and we can testify to the change,” Andrea explains.

“…And we kind of feel that we are living in a time in which it feels weird to take a break. You have to be present all the time or you’ll just disappear,” Cristina continues. “It can be destructive and it’s a reflection on these things; how they impact our lives and how we can connect and disconnect from it all.”

The album is darkly cinematic, leaning towards the heavier end of Lacuna Coil’s spectrum. It features guest appearances from Ash Costello of New Years Day (on In The Mean Time) and Lamb Of God’s Randy Blythe (on Hosting The Shadow).

“Ash has such a specific voice. I wrote the part specially for her and she did a phenomenal job,” says Cristina. “Randy we’ve known for years. When he comes to Milano we go out for dinner, or just for a walk. He’s part of the extended family.”

Lacuna Coil’s extended family of fans, friends and musical peers now reaches right around the world, but at heart they’re still the little band from Milan made good. “We were the first ones from our country to do a lot of things in metal,” says Andrea. “It’s something we never thought was possible when we started, but it makes us proud and it makes us happy.”

“I was one of the very few females who started in the metal business at that time,” Cristina adds. “I hope I’m going to be doing it for a long time, but if I can pass the flame and inspire others to do their own thing with it, I couldn’t ask for much more.”

Sleepless Empire is out now via Century Media. Lacuna Coil play Bloodstock in August and Aftershock in October, as well as headline dates across North America, Europe and the UK throughout the year. For the full list of shows, visit their official website.

Paul Travers has spent the best part of three decades writing about punk rock, heavy metal, and every associated sub-genre for the UK’s biggest rock magazines, including Kerrang! and Metal Hammer

Order your exclusive Slaughter To Prevail, Jinjer, Electric Callboy, Bloodywood and Bambie Thug bundles, featuring limited edition t-shirts, longsleeves and spellbooks

This month, Metal Hammer officially launched the New Heavy Class Of 2025, celebrating the most exciting rising bands in metal right now. You can pick up one of five separate covers of our latest issue – Bambie Thug, Bloodywood, Electric Callboy, Slaughter To Prevail and Jinjer – either in stores across the UK or from the Magazines Direct store online.

Now, Metal Hammer is proud to team up with all five bands for a series of exclusive bundles, featuring alternate cover versions of our new issue and limited edition merchandise that you won’t find anywhere else.

Our Metal Hammer x Jinjer bundle includes an exclusive Duél t-shirt to celebrate the Ukrainian metallers’ latest, heavy-as-hell album of the same name. Order your Jinjer bundle here.

Jinjer bundle

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Our Bambie Thug x Metal Hammer bundle includes an exclusive t-shirt and limited edition Bambie Thug spellbook – perfect for conjuring against anyone that’s wronged you (or that you just consider an absolute bell end). Order your Bambie Thug bundle here.

Bambie Thug bundle

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Our Slaughter To Prevail x Metal Hammer bundle includes an exclusive t-shirt with an unbelievably cool looking bear on it. STP have a thing about bears. The new album is even going to be titled Grizzly. You’ll understand when you read the feature. Order your Slaughter To Prevail bundle here.

Slaughrer to Prevail bundle

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Our Electric Callboy x Metal Hammer bundle features an exclusive long sleeve design. EC might be one of metal’s proudly silliest bands, but there’s nothing silly about this – it looks lovely. And metal as hell. Order your Electric Callboy bundle here.

Electric Callboy bundle

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Our Bloodywood x Metal Hammer bundle celebrates the Indian nu metallers’ imminent new album Nu Delhi with an exclusive t-shirt design featuring a big, fuck-off elephant. What else needs to be said? Order your Bloodywood bundle here.

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Check out the official Metal Hammer store for more exclusive bundles, collabs and merch designs

“That was high school for me!” Watch Carrie Underwood team with an American Idol contestant to cover Drowning Pool’s nu metal banger Bodies

US country favourite Carrie Underwood has helped an American Idol contestant cover Bodies by Drowning Pool.

The 42-year-old, who won American Idol in 2005 and now judges on the talent show, joined a contestant called ‘Insite’ in singing the 2001 nu metal floor-filler on the latest episode. The 18-year-old music teacher from Florida also did a rendition of Freak On A Leash by Korn. Watch the footage of his performances below.

After the seemingly impromptu Bodies team-up, Underwood tells her fellow judges Lionel Richie and Luke Bryan that she’s something of a secret metal fan. “That was high school for me!” she says of the Drowning Pool track, before adding: “I’ve even crowd-surfed people, OK?”

“We are learning about our [fellow] judge,” Richie quips in response.

After the audition, Insite is unanimously voted through to the competition’s second round, which is called “Hollywood Week” and sees contestants perform in front of the judges once again, sometimes in pairs.

Bryan asks Underwood after the audition, “What is your mother gonna say when she sees this?”

“She knows,” she replies.

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Drowning Pool released Bodies in May 2001 as the lead single of their debut album Sinner. It was an instant hit, reaching number 34 in the UK and 6 on the US Mainstream Rock chart. That commercial ascent coincided with the band’s appearance on the 2001 Ozzfest tour and got them pushed further up the bill.

Guitarist C.J. Pierce told Metal Hammer in 2023: “Sharon Osbourne ended up moving us up the bill of Ozzfest while we were on the tour. We did the Jägermeister tour straight after, then Music As A Weapon with Disturbed. These were huge arena crowds, but every night we’d go out and do Bodies and you’d see the whole place go up.”

After 9/11, US radio conglomerate Clear Channel tried to get Bodies banned in the US, deeming its lyrics inappropriate for the contemporary cultural climate.

Bassist Stevie Benton remembered in 2023: “It’s always really frustrated me that people took this song – that was about kids at a rock show – and put all these negative connotations on it. When Clear Channel just struck it off, they made it seem like there was a reason for it to be banned. It took away the ambiguity of the song and people’s ability to decide on the meaning for themselves.”

Drowning Pool’s original vocalist Dave Williams died from heart disease in 2002, but the band continue to tour and record. They released single Revolution (The Final Amen) with frontman Ryan McCombs in September and plan to put out their eighth studio album this year.

Insite Audition | Freak On A Leash + Bodies | Full Performance | American Idol 2025 – YouTube Insite Audition | Freak On A Leash + Bodies | Full Performance | American Idol 2025 - YouTube

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“If you watch the video, you can see Jimmy dribbling onstage, Robert not hitting the notes, and me miming, playing the air.” Phil Collins’ memories of Led Zeppelin’s “dark, sulphurous” reunion for Live Aid are brutal, and spare no-one

“If you watch the video, you can see Jimmy dribbling onstage, Robert not hitting the notes, and me miming, playing the air.” Phil Collins’ memories of Led Zeppelin’s “dark, sulphurous” reunion for Live Aid are brutal, and spare no-one

Robert Plant and Jimmy Page at Live Aid
(Image credit: Ron Galella/Ron Galella Collection via Getty Images))

As telegraphed by its title, the recently-released Led Zeppelin documentary Becoming Led Zeppelin only charts the band’s early, formative years, ending with the quartet’s now-legendary performance at London’s Royal Albert Hall on January 9, 1970. Bernard MacMahon’s film only enhances Zeppelin’s reputation as one of the greatest live rock bands in history… and fortunately cuts off long before the group’s lacklustre, at times shambolic, reunion show at 1985’s Live Aid concert confused those of us who were seeing the hard rock icons perform for the very first time.

At this point, we should insert a very obvious and important caveat: Led Zeppelin ended with the death of drummer John Bonham, aged just 32, on September 25, 1980. And while Robert Plant, Jimmy Page and John Paul Jones have shared stages since losing their friend and bandmate, they have always been at pains to stress that, without Bonham, the band’s heartbeat, there could never again be a truly authentic Led Zeppelin live performance.

Given his long-standing friendship and professional relationship with Robert Plant, Phil Collins would have known this, and therefore would have been fully aware that he was on a hiding to nothing when he accepted an invitation to be a part of Zeppelin’s ‘reunion’ performance at Live Aid. Even so, it appears that Collins was unprepared for the sheer scale and fury of the criticism which followed in the wake of their 22 minutes onstage at Philadelphia’s John F. Kennedy Stadium on July 13, 1985.

Queen’s standing as one of rock’s greatest ever live bands may have been amplified by their superb early evening performance at London’s Wembley Stadium, but it’s fair to say that, on the other side of the Atlantic, the mythology around Jimmy Page’s golden gods would be tarnished rather than enhanced by their participation. The members of Led Zeppelin knew it too, and blocked footage of the gig being released, which is why you won’t find any trace of their performance on the official ten hour four-disc DVD set later issued to document ‘The Day The Music Changed The World’. Unfortunately for all involved, deleting every upload of the gig on YouTube isn’t quite so easy. If you’ve never seen it before, it’s quite the eye-opener: if you have, it’s even worse than you remembered.

Led Zeppelin – Live Aid. 1985 07 13. Full Concert. – YouTube Led Zeppelin - Live Aid. 1985 07 13. Full Concert. - YouTube

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When interviewed by MTV’s Alan Hunter immediately after coming off-stage in Philadelphia, Robert Plant admitted that he’d been ‘struggling with the monitor mix”, but rather pointedly added “the three of us know what we’re doing, and everybody that helped us did their very, very best”, a barbed comment rather accentuated by John Paul Jones pointing to Collins, sitting alongside him. In subsequent comments about the gig, Jimmy Page was even less subtle: “We had two hours’ rehearsal, not even that, and the drummer just could not get the beginning of Rock and Roll,” he told The Times in 2021. “We were in real trouble so that was not very clever.” In another interview, Page referred to Collins as “bashing away cluelessly and grinning” when playing Whole Lotta Love.

Collins, however, has absolutely refused to be scapegoated.

“I know the wheels are falling off from early on in the set,” he wrote in his 2016 autobiography Not Dead Yet. I can’t hear Robert clearly from where I’m sat, but I can hear enough to know that he’s not on top of his game. Ditto Jimmy.” Admitting that he felt “very uncomfortable” throughout the performance, Collins added, if I could have left that stage, I would have left, halfway through Stairway... if not earlier. But imagine the coverage of that? Walking off during The Second Coming? Who the fuck does Collins think he is? [Bob] Geldof really would have had something to swear about.”

That same year, he told The Telegraph, “I felt I had been made the scapegoat for what happened at Live Aid and so it was a chance to set the record straight.”

He then proceeded to do so again, in a pretty brutal manner.

“It wasn’t pleasant,” he acknowledged. “If you watch the video, you can see Jimmy dribbling onstage, Robert not hitting the notes, and you can see me miming, playing the air, just to get out of the way…. When Zeppelin get together, something happens. Bad karma.”

“Here’s how it is,” Collins concluded. “Robert on his own: a lovely bloke. Robert and anything to do with Zeppelin: a strange chemistry happens. It’s like a nasty strain of alchemy. Everything becomes very dark – sulphurous even.”

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Ahead of Zeppelin’s Live Aid ‘turn’, it was actually Collins who introduced Plant, Page and Jones, describing the three musicians as “some friends of mine.” We’re going to go out on a limb and suggest that he might not use the word “friend” in conjunction with at least one of the trio today.

A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.

10 Rock Cover Songs More Popular Than The Originals

10 Rock Cover Songs More Popular Than The Originals

Feature Photo: Randy Miramontez / Shutterstock.com

Cover songs have long played a significant role in music history, offering artists the chance to reinterpret the work of their predecessors and sometimes even surpass the original in terms of cultural impact and commercial success. This article isn’t about debating whether the remakes are better or more artistically superior than the originals—that’s a matter of personal taste. Instead, we focus on ten rock covers that undeniably became more popular, culturally ingrained, or commercially successful than the original versions. Of course, the success and popularity of these songs also have much to do with the period in which they were released. The remakes of these songs gained a wider audience, cementing their place in pop culture, often due to the sheer popularity and influence of the artists performing them. After all, it’s hard to argue with the cultural dominance of bands like The Beatles, Led Zeppelin, and other iconic names on this list.

Of course, many fans may still deeply appreciate the originals, preferring their raw emotion or unique artistry. Still, the objective here is to highlight songs that, through their covers, reached new heights of mainstream success. These cover versions often skyrocketed up the charts, helped in part by the fame of the artists performing them, but also because the interpretations resonated with audiences in ways the originals may not have. Whether it’s the infectious energy of The Beatles’ take on “Twist and Shout,” the transformative rock rendition of “All Along the Watchtower” by Jimi Hendrix, or the unforgettable power of Aretha Franklin’s “Respect,” these covers took on a life of their own. They ultimately became the definitive versions in the eyes of many.

Each song on this list became more widely known through its cover. For instance, The Beatles’ version of “Twist and Shout” became a global hit, while Jimi Hendrix’s psychedelic reimagining of Bob Dylan’s “All Along the Watchtower” became synonymous with his legacy. Similarly, Led Zeppelin‘s take on “When the Levee Breaks” transformed an old blues track into a powerful hard rock anthem, and Joan Jett made “I Love Rock ‘n’ Roll” a genre-defining song that still dominates airwaves. The Black Crowes brought Otis Redding’s soulful “Hard to Handle” to a new generation of rock fans. Crosby, Stills, Nash & Young turned Joni Mitchell’s “Woodstock” into a counterculture anthem that echoed across America.

In wrapping up this list, it’s important to remember that music is deeply subjective. While some purists may always favor the original recordings, there’s no denying the lasting impact and success that these cover versions achieved. These remakes didn’t just honor the originals; they reshaped them, allowing the songs to find new life and new audiences, ensuring their place in music history. Whether you prefer the covers or the originals, there’s no question that these ten songs have made an indelible mark, often overshadowing the songs that first inspired them.

# 10 – Jersey Girl – Bruce Springsteen  

The first song on this list is Bruce Springsteen’s cover of Tom Waits’ “Jersey Girl.” Springsteen’s version became more widely known than Waits’ original, although their respective fan bases love both. Tom Waits originally released the track on his 1980 album Heartattack and Vine. The song reflects Waits’ distinctive, gritty sound, with raspy vocals and raw, stripped-down instrumentation. Waits paints a romanticized, yet grounded picture of everyday life with a ‘Jersey Girl,’ capturing love in simple moments, from a carnival ride to walking down the street together.

Springsteen, known for his deep connection with New Jersey and his ability to tell blue-collar stories, made “Jersey Girl” his own when he began performing it live in 1981. It quickly became a fan favorite and resonated deeply with his audience, eventually making its way onto his 1986 live album Live/1975–85. Springsteen stayed faithful to the romantic essence of Waits’ original, but added his own flair, making it more polished, with a slightly more polished production. His version includes an additional verse that reflects his narrative style, where he brings in the character of a woman who works hard, and they plan to go dancing after dropping her daughter off at her mother’s house. This twist in Springsteen’s version added an extra layer of depth and storytelling that resonated with his fans.

Musically, Springsteen’s rendition is more anthemic than Waits’ raw, folksy original. The “sha la la la” refrain, present in both versions, creates a sense of nostalgic romance, but Springsteen’s interpretation comes with a grander, more sweeping feel that connects deeply with his live audience, especially given his iconic New Jersey roots. Waits’ original is beloved for its intimacy. Still, Springsteen’s version became more commercially successful, gaining him wider recognition with mainstream audiences, partly because it echoed the themes of working-class love and joy that made him a legend.

While Waits’ version remains a hidden gem cherished by his dedicated fans, many more associate Springsteen’s “Jersey Girl” with the title. It embodies that universal longing for love and home that became a staple of Springsteen’s live performances.

Read More: Complete List Of Bruce Springsteen Albums And Songs

Read More: Complete List Of Tom Waits Albums And Songs

The original Tom Waits version was released on the Heartattack And Vine album in 1981.

# 9 – Hard To Handle – The Black Crowes

The Black Crowes’ cover of Otis Redding’s “Hard to Handle” is a prime example of a rock cover achieving greater commercial success than the original. Originally written and recorded by Otis Redding in 1968, the song was released posthumously as the B-side to “Amen” and appeared on his album The Immortal Otis Redding. Despite Redding’s legendary status, his version of “Hard to Handle” only reached number 38 on the Billboard R&B chart and number 51 on the pop chart, making it one of his less commercially prominent tracks.

Redding’s original version of “Hard to Handle” is a soul powerhouse, characterized by his signature gritty, emotive vocals and a tight, energetic arrangement. With his soulful delivery, Redding brought a raw authenticity to the song’s boastful lyrics, which feature a man confidently declaring his irresistibility. Despite its relatively modest chart performance, Redding’s “Hard to Handle” has become a beloved deep cut in his discography, representing the boldness and soul of his work during the 1960s.

In 1990, The Black Crowes brought “Hard to Handle” to new heights when they covered it for their debut album Shake Your Money Maker. Their rock-infused rendition added a layer of Southern rock grit, driven by Chris Robinson’s raspy vocals and a dynamic guitar-heavy arrangement. The Crowes’ version of the song was a major hit, reaching number 26 on the Billboard Hot 100, far surpassing the chart success of Redding’s original. The song also gained significant radio play, helping propel Shake Your Money Maker to multi-platinum status and establishing the band as a key player in the early ’90s rock scene.

The Black Crowes’ interpretation of “Hard to Handle” maintained the core swagger of Redding’s version but amplified it with a more aggressive and bluesy rock energy. While Redding’s version shines with soulful restraint and sharp brass accents, the Crowes’ rendition is louder and more forceful, making it a crowd favorite at live shows. The contrast between the soul legend’s original and the Crowes’ Southern rock revival approach highlights the song’s versatility, showing how a great track can transcend genres and generations.

When comparing these two versions, the Black Crowes’ rendition undoubtedly achieved more widespread popularity, becoming a staple of ’90s rock radio and live performances. However, the cover’s success doesn’t diminish the original’s historical and musical importance, as Otis Redding’s influence remains undeniable. Ultimately, The Black Crowes’ version of “Hard to Handle” stands as one of the best rock covers that both honors its soulful roots and brings the song to a new audience with a fresh, rock-driven edge.

Read More: Top 10 Black Crowes Songs We Love The Most

Read More: Top 10 Otis Redding Songs Loved By Fans

The original Otis Redding version was released on the album The Immortal Otis Redding in 1968.

# 8 – I Love Rock And Roll – Joan Jett & The Blackhearts

Joan Jett & The Blackhearts’ cover of “I Love Rock ‘n’ Roll” became one of the most iconic anthems in rock history, far surpassing the popularity of the original version by The Arrows. The original song, written by Alan Merrill and Jake Hooker, was first recorded by the British band The Arrows in 1975. Initially released as a B-side, it eventually gained enough attention to be promoted to the A-side, but despite some TV exposure and a dedicated UK following, the song didn’t achieve significant commercial success. The Arrows’ version, produced by Mickie Most, is more of a straightforward rock song, with Merrill’s vocals providing a gritty edge, but it never gained the widespread recognition that Joan Jett’s rendition later did.

Joan Jett first encountered “I Love Rock ‘n’ Roll” while touring in the UK with her band The Runaways in 1976, where she saw The Arrows perform the song on TV. Jett, instantly attracted to the raw energy of the track, initially recorded it in 1979 with Paul Cook and Steve Jones from The Sex Pistols, but it was her 1981 re-recording with The Blackhearts that turned the song into a massive hit. Released as the first single from her album I Love Rock ‘n’ Roll, Jett’s version hit number one on the Billboard Hot 100, holding that position for seven weeks. It became one of the defining tracks of the early ’80s rock scene, resonating with a generation of fans. The success of this cover catapulted Jett to rock stardom, and the song became a staple of her live performances, as well as a permanent fixture in rock music culture.

The differences between the two versions are notable. The Arrows’ original version features a more relaxed and less aggressive delivery, while Joan Jett’s take on the song is gritty, rebellious, and fueled by raw energy. Her version injects the track with a heavier rock sound, thanks to her raspy vocals and the powerful backing of The Blackhearts. The anthemic quality of the chorus in Jett’s rendition, combined with its hard-driving rhythm, made it an instant classic. Jett’s performance gave the song a new life, making it an empowering rock anthem that outshined its predecessor.

While the original by The Arrows remains a respected track within its niche, Joan Jett’s cover not only became more popular but also solidified her as a key figure in rock history. Her version of “I Love Rock ‘n’ Roll” is now synonymous with the genre itself and stands as one of the most successful rock covers ever, showing how a reinterpretation of a lesser-known song can transcend its origins to become a cultural phenomenon.

Read More: Our 10 Favorite Joan Jett Songs

The original version released by the Arrows in 1975.

# 7 –  Some Kind of Wonderful – Grand Funk

“Some Kind of Wonderful,” originally recorded by the Soul Brothers Six in 1967, was a modest hit in the R&B world, peaking at number 91 on the U.S. Billboard Hot 100. Written by John Ellison, the song features a soulful groove and heartfelt lyrics about being head-over-heels in love. The original version is grounded in the rhythm and blues style, driven by a smooth vocal delivery and the band’s laid-back instrumentation. While it gained some recognition, the Soul Brothers Six version never became a mainstream hit and remained relatively obscure until Grand Funk Railroad reintroduced it to a wider audience.

Grand Funk Railroad’s 1974 cover of “Some Kind of Wonderful” became the definitive version of the song, transforming it into a rock anthem that reached number three on the Billboard Hot 100. This rendition, included on their album All the Girls in the World Beware!!!, brought a raw, energetic sound to the track, significantly amplifying its appeal. Grand Funk’s version has a heavier rhythm, with powerful guitar riffs and a dynamic vocal performance by Mark Farner, which helped elevate the song’s intensity. The band’s rock-oriented approach gave the track a broader crossover appeal, allowing it to resonate with both rock and pop audiences, making it far more commercially successful than the original.

When comparing the two versions, the most notable difference is the shift in genre. The original Soul Brothers Six version leans into its R&B roots with a smoother, more laid-back vibe, while Grand Funk’s take is electrified with a rock-and-roll edge. The cover’s high-energy delivery, complete with Jimmy Ienner’s production that emphasizes the band’s bold instrumentation, catapulted the song into the top three on the charts, whereas the original only scratched the surface of mainstream success. Grand Funk’s version also found a lasting legacy, with continued radio play, inclusion in media like Grand Theft Auto: San Andreas, and it even outshone other cover attempts by artists like Joss Stone and Huey Lewis and the News.

Lyrically, both versions retain the simple, yet powerful message of love and admiration, with the chorus proclaiming, “My baby, she’s some kind of wonderful.” The straightforward and relatable nature of the lyrics is a key factor in the song’s enduring popularity across different eras and genres. Grand Funk’s rendition, however, transformed the song from an R&B groove into a rock classic, solidifying its place as one of the most successful rock covers of all time.

In summary, while the Soul Brothers Six introduced “Some Kind of Wonderful” to the world, Grand Funk Railroad’s energetic and rock-infused interpretation made the song a chart-topping hit, leaving a lasting impact on rock history and achieving a level of success far beyond the original.

Read More: An Interview With Don Brewer Of Grand Funk Railroad

The original version was released by Soul Brothers Six in 1967

# 6 – All Along The Watchtower – Jimi Hendrix Experience

“All Along the Watchtower” was first recorded and written by Bob Dylan for his 1967 album John Wesley Harding. The original version is a stark, minimalist track with acoustic guitar, harmonica, and Dylan’s signature nasal delivery. Its cryptic lyrics, featuring a conversation between a joker and a thief, have been analyzed extensively over the years, with some drawing biblical parallels, particularly to verses in the Book of Isaiah. Dylan’s version is revered for its lyricism and storytelling, though it was not initially released as a single and didn’t achieve major commercial success on its own.

The song took on new life when Jimi Hendrix recorded his cover for the 1968 album Electric Ladyland. Hendrix’s rendition, released just six months after Dylan’s original, drastically reimagined the song by infusing it with his signature electric guitar work, layering psychedelic rock over Dylan’s folk composition. The Hendrix version reached the top 20 on the Billboard Hot 100, becoming an immediate hit and earning a Grammy Hall of Fame award in 2001. Hendrix’s searing guitar solos and the intensity of the performance brought a new energy to the song, making it a defining moment of his career and forever linking “All Along the Watchtower” to his legacy.

Comparing the two versions reveals just how transformative a cover can be. Dylan’s original is haunting and introspective, with a sense of foreboding, while Hendrix turned it into a full-blown rock anthem. Hendrix’s electric interpretation expanded the song’s reach beyond the folk and rock audiences of the time, making it a mainstream hit. The heavy guitar riffs, along with his meticulous production, add layers of complexity and urgency to the song’s message, making Hendrix’s version the definitive rendition in the minds of many listeners.

Dylan himself has acknowledged the impact of Hendrix’s version, going so far as to alter his live performances of the song to echo Hendrix’s interpretation. In interviews, Dylan has expressed admiration for Hendrix’s cover, stating that Hendrix found things in the song that he didn’t realize were there, further elevating the song’s mystique.

In terms of cultural significance, Hendrix’s “All Along the Watchtower” far surpassed Dylan’s original recording. While the Dylan version laid the foundation, Hendrix’s electrifying performance turned the song into a classic rock staple, ingrained in rock history and recognized as one of the greatest covers ever recorded.

Read More:  Why Jimi Hendrix Called Chicago’s Terry Kath The Best Guitarist In The Universe

Read More: Best Bob Dylan Songs Of The 1980’s

# 5 – Respect – Aretha Franklin

“Respect” was originally recorded and written by Otis Redding in 1965 for his album Otis Blue/Otis Redding Sings Soul. Redding’s version conveys a man asking for respect from his woman, both at home and in their relationship. His delivery is intense, driven by raw emotion, and reflects the traditional male perspective of the time. Redding’s original was successful, reaching number 35 on the Billboard Hot 100 and number 4 on the R&B chart, but it didn’t reach the level of cultural impact it would later achieve.

In 1967, Aretha Franklin recorded and reinterpreted “Respect,” turning it into an anthem that demanded respect not only in romantic relationships but also in society at large. Franklin’s version was a feminist and civil rights declaration, resonating strongly with the changing social climate of the 1960s. She flipped the gender perspective of the song, adding her famous “R-E-S-P-E-C-T” chorus, background vocals, and the demand for dignity and equality. Her version shot to number one on the Billboard Hot 100 and became an international hit, reaching top positions in countries such as Canada and the UK.

The two versions of “Respect” differ not only in their narratives but also in their musical arrangement. While Redding’s original is more of a gritty soul number, Franklin’s version introduces a fuller, more polished sound. The addition of her powerhouse vocals, the iconic spelling-out of “R-E-S-P-E-C-T,” and the “sock it to me” background vocals created a sense of urgency and celebration that resonated deeply with listeners. Franklin’s rendition is often cited as one of the greatest recordings of all time, earning her two Grammy Awards in 1968 and becoming her signature song.

The popularity of Franklin’s cover far surpassed that of Redding’s original. While Redding’s version was respected in its own right, Franklin’s interpretation became a cultural phenomenon. Franklin’s “Respect” is widely regarded as a feminist and civil rights anthem, a song that captured the spirit of empowerment and change. In contrast, Redding’s version, though significant in soul music, lacked the same cultural weight. It is Aretha Franklin’s version that has endured across generations, becoming one of the most iconic songs in music history.

The transformation from Redding’s earnest plea to Franklin’s assertive demand highlights how the same song can be adapted to fit different times, perspectives, and movements. Like other covers on this list, Franklin’s “Respect” illustrates how a reinterpretation of an original can take on new meaning, often outshining its predecessor in both popularity and cultural relevance.

Read More: 10 Essential Aretha Franklin Songs

Read More: Top 10 Otis Redding Songs Loved By Fans

# 4 – When the Levee Breaks – Led Zeppelin

The original version of “When the Levee Breaks” was written and recorded by the blues duo Memphis Minnie and Kansas Joe McCoy in 1929. Their song was a response to the devastating Great Mississippi Flood of 1927, which left a profound impact on the Mississippi Delta. The lyrics recount a personal struggle, detailing the flood’s destruction and the toll it takes on a man who loses everything. Minnie and McCoy’s version is a raw, acoustic blues number that captures the despair and resilience of those affected by the flood. While it was a moderate hit at the time, it was primarily known within blues circles and did not achieve widespread mainstream recognition.

In contrast, Led Zeppelin’s 1971 reimagining of the song for their untitled fourth album (commonly referred to as Led Zeppelin IV) elevated the track to an entirely new level of popularity. Led Zeppelin transformed “When the Levee Breaks” from a traditional acoustic blues song into a hard-hitting rock anthem. Robert Plant kept many of the original lyrics, but Jimmy Page introduced a new, thunderous guitar riff, while John Bonham’s drumming became the defining characteristic of the song. Bonham’s massive, echo-laden drum sound—achieved by recording in a stairwell with unconventional microphone placement—became iconic and is often regarded as one of the greatest drum performances in rock history.

While Minnie and McCoy’s version focused on the intimate and personal effects of the flood, Zeppelin’s cover brought an apocalyptic intensity, with a droning, sludgy arrangement that conveyed a sense of impending doom. The heavier rock treatment resonated with a broader audience, and the song became one of the standout tracks on Led Zeppelin IV, an album that is now considered one of the greatest rock records of all time. Zeppelin’s version of “When the Levee Breaks” remains far more popular than the original, having been covered by numerous artists and featured in film and television.

Led Zeppelin’s reinterpretation of this blues classic not only brought the song to a global audience but also highlighted the band’s ability to take traditional blues influences and make them their own. It also set the standard for how modern rock bands could rework blues tracks, placing it alongside other iconic covers that surpassed their original versions in terms of popularity and cultural significance. The song’s enduring appeal is largely due to its innovative production and Bonham’s legendary drumming, which continues to inspire musicians to this day.

Read More: Our 10 Favorite Led Zeppelin Album Covers

# 3 – Blinded By The Light – Manfred Man’s Earth Band

“Blinded by the Light” was originally written and recorded by Bruce Springsteen as the opening track on his 1973 debut album Greetings from Asbury Park, N.J.. It was a song born out of necessity, as Columbia Records president Clive Davis told Springsteen the album needed a hit single. Springsteen, always a lyrical virtuoso, wrote “Blinded by the Light” using a rhyming dictionary, creating a barrage of eccentric and vivid imagery. The autobiographical nature of the song shines through lines like “Madman drummers, bummers, and Indians in the summers with a teenage diplomat,” referencing his drummer, Vini “Mad Dog” Lopez, and his Little League team, the Indians. Despite the creative wordplay and evocative storytelling, Springsteen’s version did not gain much commercial traction, with the single failing to chart.

In 1976, British rock band Manfred Mann’s Earth Band reimagined the song for their album The Roaring Silence, transforming Springsteen’s folk-rock number into a progressive rock hit. Their version became far more popular than Springsteen’s original, reaching number one on the Billboard Hot 100 in February 1977 and also topping the charts in Canada. Mann’s rendition is notable for its rich, synthesized arrangement and the famous “Chopsticks” piano melody that appears during the song’s bridge. The band’s creative instrumentation added a new dynamic to the song, making it a memorable anthem of the era. This cover was not only more commercially successful, but it also became a radio staple and remains a signature song for Manfred Mann’s Earth Band.

A point of infamy in Mann’s version comes from the alteration of Springsteen’s original lyric “cut loose like a deuce” to “revved up like a deuce.” The pronunciation in the Earth Band’s rendition led to widespread confusion, with listeners mishearing it as “wrapped up like a douche.” Springsteen himself has joked that this lyrical change helped the song gain popularity, turning it into the iconic hit it became.

While Springsteen’s version of “Blinded by the Light” is appreciated by his core fans for its lyrical complexity and storytelling, Manfred Mann’s Earth Band’s cover stands out as the more commercially successful version, cementing its place in rock history. The two versions highlight the power of reinterpretation, showing how a song can take on new life and appeal in different musical contexts.

Read More: Chris Slade of Manfred Man’s Earth Band: The ClassicRockHistory.com Interview

Read More: Top 10 Bruce Springsteen Albums

# 2 – Twist And Shout – The Beatles

“Twist and Shout” was originally written by Phil Medley and Bert Berns (credited as Bert Russell) and first recorded by The Top Notes in 1961. However, it was the Isley Brothers’ 1962 version that truly introduced the song to a wider audience, infusing it with a powerful blend of rock and gospel-fired R&B. The Isley Brothers’ rendition became their first Top 20 hit on the U.S. Billboard Hot 100, peaking at number 17, and established the song’s blueprint for future covers.

The Beatles’ 1963 version of “Twist and Shout” took the song to new heights. Recorded as the final track during a grueling 12-hour session for their debut album Please Please Me, John Lennon’s raw, raspy vocals became a defining characteristic of the song. Famously recorded in just one take due to Lennon’s strained voice, the Beatles’ rendition has since been lauded as one of the most iconic performances in rock history. When released as a single in the United States in 1964, it reached number two on the Billboard Hot 100, only held back by another Beatles single, “Can’t Buy Me Love.” In contrast to the Isley Brothers’ smoother, soulful approach, the Beatles gave the song a frenzied, urgent energy, making it a defining moment of Beatlemania.

While the Isley Brothers’ version brought the song moderate success, it was the Beatles who propelled “Twist and Shout” into the stratosphere. Their version became a cultural phenomenon, making them the first band to hold all five top spots on the Billboard Hot 100 during one week. Over time, the Beatles’ rendition has far eclipsed the original in terms of popularity and enduring influence. Both versions remain beloved, but it is the Beatles’ raw, electrifying take on “Twist and Shout” that stands as one of the most celebrated rock covers in music history.

The song’s infectious rhythm and energy have kept it alive in pop culture, from being featured in films like Ferris Bueller’s Day Off to continued radio play. The Beatles’ version, in particular, has become synonymous with youthful exuberance, firmly planting it among the most successful covers of all time.

Read More:  Top 10 Beatles Love Songs

The original version by The Top Notes

# 1 –  Woodstock – Crosby, Stills, Nash & Young

“Woodstock” is a song deeply embedded in the spirit of the 1960s counterculture, capturing the idealism and cultural significance of the famous Woodstock Music and Arts Festival held in August 1969. Originally written and recorded by Joni Mitchell, the song reflects her experience of the festival through the lens of her then-boyfriend, Graham Nash, who had performed there with Crosby, Stills, Nash & Young. Mitchell herself did not attend the festival, a decision prompted by her manager, who advised that it would be better for her to appear on The Dick Cavett Show instead. Her inability to attend gave her a unique perspective, writing the song as an outsider reflecting on the massive cultural event that symbolized peace and unity.

Joni Mitchell’s original version of “Woodstock,” released on her 1970 album Ladies of the Canyon, is a haunting, introspective piece that focuses on spiritual and personal transformation. Using a minimalist arrangement of piano and layered vocals, Mitchell emphasizes the inner journey of the narrator, yearning for a return to innocence and a utopian vision of the world. Her lyrics weave sacred imagery, most notably the line “we’ve got to get ourselves back to the garden,” which compares the festival to the Garden of Eden. The mood is subdued, melancholic, and reflective, capturing the complexity of the 1960s idealism and its intersections with the realities of war, environmental destruction, and social upheaval.

While Mitchell’s version is deeply moving, Crosby, Stills, Nash & Young’s 1970 rendition transformed “Woodstock” into a rock anthem. Their version, featured on their critically acclaimed album Déjà Vu, brought the song to a much larger audience, and it quickly became the most well-known version. Where Mitchell’s version was meditative, CSNY’s arrangement is upbeat, driven by Neil Young’s electric guitar riffs and Stephen Stills’ impassioned lead vocals. Their hard-rock arrangement emphasizes the communal celebration and energy of the festival, contrasting with the quiet introspection of Mitchell’s take. The harmonized chorus, “We are stardust, we are golden,” became iconic, and the band’s version reached #11 on the Billboard Hot 100, solidifying its place in rock history.

In terms of popularity, Crosby, Stills, Nash & Young‘s version undeniably became the more commercially successful and culturally pervasive interpretation, regularly played on classic rock radio stations and appearing in the 1970 documentary Woodstock. However, both versions remain highly respected for their distinct interpretations of the same source material. Mitchell’s original has a quieter, more contemplative following, celebrated for its lyricism and emotional depth. At the same time, the CSNY cover stands as one of the definitive songs of the rock era, capturing the vibrant energy of the late 1960s. As the closing song of this list, “Woodstock” is a perfect capstone, embodying the spirit of rock, the power of musical reinterpretation, and the lasting cultural significance of a generation-defining event.

Read More: Top 10 Crosby, Stills, Nash & Young Songs

Read More: Top 10 Joni Mitchell Songs

Original Joni Mitchell version.

10 Rock Cover Songs More Popular Than The Originals article published on Classic RockHistory.com© 2025

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Gene Simmons Had to Be Talked Out of Naming a Kiss Song ‘S—‘

Gene Simmons says he once had to be talked out of using a swear word as the title of a Kiss song.

“I originally wrote a song called ‘Shit’ — ‘Doesn’t mean shit to me’ was the tagline,” Simmons told UCR. “Bob Ezrin, who produced that record, said, ‘You can’t call a song ‘Shit.’ Wal-Mart won’t put it out. So I said, ‘How about ‘Spit?’ ‘Doesn’t mean spit to me?’ Same vibe, different word.”

The impressively gonzo “Spit,” which borrows some lyrics from Spinal Tap‘s “Big Bottom” and mixes them with guitar solo quotes from “The Star-Spangled Banner,” wound up on 1992’s Revenge.

Read More: Kiss Band Member Power Rankings

Simmons and his new band have added “Spit” and other curiosities from Simmons’ songbook into the freewheeling set lists of his post-Kiss solo concerts. They’ll be back on the road for six weeks of dates starting April 3 in Anaheim, you can see the schedule below.

“The shows are almost never alike,” Simmons adds. “We toss around songs; if somebody in the band says, ‘Hey, why don’t you do [Cream‘s] ‘Sunshine of Your Love?’ we look at each other and go, ‘What key?’ and there you go.”

Why Gene Simmons Named His Solo Album ‘Asshole’

Twelve years after the release of “Spit” and Revenge, Simmons defied Ezrin’s advice by naming giving his 2004 solo album the eye-raising title Asshole. “It’s just another way of me saying, ‘I don’t care what anyone says about me,” he told Q Magazine at the time. “I’m preempting what people say and therefore diffusing the power of my detractors.”

Hear Kiss Perform ‘Spit’

Gene Simmons Band 2025 Tour Dates

April 3 – Anaheim, CA @ House of Blues
April 4 – Temecula, CA @ Pechanga Resort Casino
April 5 – Rohnert Park, CA @ The Event at Graton Resort & Casino
April 8 – Auburn, WA @ Muckleshoot Casino Resort
April 10 – Magna, UT @ The Great Saltair
April 11 – Denver, CO @ Paramount Theatre
April 25 – Clearwater, FL @ Ruth Eckerd Hall
April 26 – Miami Beach, FL @ Fillmore
April 28 – Tallahassee, FL @ The Moon
April 29 – Jacksonville, FL @ Florida Theater
April 30 – Orlando, FL @ Hard Rock Live
May 2 – Peachtree City, GA – The Fred Amp
May 3 – Beaver Dam, KY @ Beaver Dam Amphitheater
May 5 – Red Bank, NJ @ Basie
May 6 – Montclair, NJ @ Wellmont
May 8 – Bethlehem, PA @ Wind Creek Casino
May 9 – Huntington, NY @ The Paramount
May 11 – Uncasville, CT @ Mohegan Sun Arena
May 14 – Northfield, OH @ MGM
May 15 – Niagara Falls, ON @ Fallsview Casino
May 17 – Hammond, IN @ The Horseshoe
May 18 – Rockford, IL @ Hard Rock
May 20 – Nashville, IN @ Brown County Music Center
May 22 – Dallas, TX @ House of Blues
May 23 – San Antonio, TX @ Tobin Center
May 24 – Houston, TX @ House of Blues

Kiss Solo Albums Ranked Worst to Best

Counting down solo albums released by various members of Kiss.

Gallery Credit: Matthew Wilkening