“Not safe for work. Or the bus. Or brunch with your parents. Or your jealous boyfriend”: Watch Halsey walk a latex-wearing man around like a dog in their new NSFW music video for Safeword

Halsey has shared the new single Safeword, alongside a NSFW music video inspired by S&M.

The new track follows on from the release of their 2024 album, The Great Impersonator, and is driven by a thumping punk-rock beat, distorted snappy guitar strums and raunchy lyrics that capture the star in an empowered, domineering mood with lines such as ‘I’m not a bad girl, I just like it wild style/I’m tough, I’m mean, I’m rough/Just say the safe word when you’ve had enough’.

Other lyrics include, ‘Pin me to the floor, swing me by the neck / Locked behind a door, is it time yet? Time yet? / Don’t be such a bore, give me respect’.

Directed by Lana Jay Lackey, the video sees Halsey clad in leather and latex, standing on their submissive’s throats, walking individuals around like a dog, hung upside down by their feet in bondage rope, spanking and engaging in various other activities that might make you blush.

When teasing the video, they declared on social media that the footage is “NOT SAFE FOR WORK. OR THE BUS. OR BRUNCH WITH YOUR PARENTS. OR YOUR JEALOUS BOYFRIEND”. Fair enough.

Last October, Louder writer Emily Swingle described The Great Impersonator as a “Stockholm syndrome love-letter to Hollywood” in a glowing four star review.

She writes, “This record feels like a vow to never let Hollywood consume them whole. It’s a testament to Halsey’s individuality and ferocity as an artist – and, beneath each mask, The Great Impersonator is broiling with a confidence that feels utterly Halsey.”

The latest news, features and interviews direct to your inbox, from the global home of alternative music.

Check out the video for Safeword below:

Halsey – safeword (Official Video) – YouTube Halsey - safeword (Official Video) - YouTube

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New Neil Young Concert Film and Soundtrack on the Way

New Neil Young Concert Film and Soundtrack on the Way

A new concert film and soundtrack surrounding Neil Young‘s 2023 solo tour will arrive in the spring.

Coastal will screen in theaters for one night only on April 17, and the 11-track soundtrack album will arrive the next day.

The movie was directed by actress Daryl Hannah, Young’s wife, from footage shot during the singer-songwriter’s 2023 solo Coastal tour of the U.S., where he performed songs throughout his long career accompanied by guitar, piano and harmonica.

READ MORE: Neil Young and Crazy Horse, ‘Barn’ Album Review

More information regarding the Coastal film, including screening times and tickets starting on March 6, can be found at the movie’s website. The album is available for preorder on Young’s site.

What’s on Neil Young’s ‘Coastal’ Soundtrack?

The movie includes performances and backstage shots. Behind-the-scenes footage shows Young as he prepares for his first post-COVID tour. He performs several classic songs in the film, including early cuts such as “Expecting to Fly” and “I Am a Child” from his Buffalo Springfield days.

Other songs featured in the movie and soundtrack range from On the Beach‘s “Vampire Blues” and Comes a Time‘s title track to the more recent “Love Earth” from 2022’s Crazy Horse collaboration World Record.

You can see the track listing for Coastal: The Soundtrack below.

In January, Young released “Big Change,” the first song by his new band, the Chrome Hearts. Earlier this week he announced a world tour with the group that starts on June 18 in Sweden and concludes in September with a concert at the Hollywood Bowl in Los Angeles.

Young also has the latest record in his “Archives” series being released on March 7. Oceanside Countryside was recorded in 1977 but has sat on the shelf since then. A different version of the lost LP surfaced on the Archives Vol. III box set in 2024.

Neil Young, ‘Coastal: The Soundtrack’ Track Listing
Side One
1. I’m The Ocean
2. Comes A Time
3. Love Earth
4. Prime Of Life
5. Throw Your Hatred Down
Side Two
1. Vampire Blues
2. When I Hold You In My Arms
3. Expecting To Fly
4. Song X
5. I Am A Child
6. Don’t Forget Love

Neil Young Albums Ranked

He’s one of rock’s most brilliant, confounding, defiant and frustrating artists.

Gallery Credit: Michael Gallucci

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Watch R.E.M. Play ‘Pretty Persuasion’ in Rare Live Performance

Watch R.E.M. Play ‘Pretty Persuasion’ in Rare Live Performance

R.E.M. gave a rare live performance on Thursday night, playing their 1984 song “Pretty Persuasion” at the 40 Watt Club in their hometown of Athens, Georgia.

The evening’s main act was actor Michael Shannon and indie rock musician Jason Narducy, who are currently on a tour that pays tribute to R.E.M.’s 1985 album Fables of the Reconstruction. Shannon and Narducy have been performing that album in full, plus other selections from across R.E.M’s catalog. On Thursday, however, they were joined by guitarist Peter Buck, drummer Bill Berry on tambourine and bassist Mike Mills on backing vocals, with lead singer Michael Stipe trading vocals with Shannon.

You can watch the performance via fan-filmed footage below.

R.E.M.’s Most Recent Public Performance

The last time R.E.M. performed together was in June of 2024 — their first public performance since 2007 — as they marked their induction into the Songwriters Hall of Fame. But fans should probably not expect any sort of elaborate or long-term reunion plans.

READ MORE: R.E.M.’s ‘Automatic for the People’: The Story Behind Every Song

“We decided when we split up that that would be really tacky and probably money grabbing, which might be the impetus for a lot of bands to get back together,” Stipe said to WNYC in 2021, one decade after R.E.M. broke up. “We don’t really need that. And I’m really happy that we have the legacy of 32 years of work that we have from 1980 to 2011.”

’90s Bands That Deserve More Respect

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Top 40 Songs of 1985

Stuck between the ’70s and ’90s, literally and figuratively, the ’80s reached its midpoint in a melting pot of styles: rock, pop, metal, new wave, alternative, soul, dance and more.

As selected by the UCR staff, the Top 40 Songs of 1985 were both from the past and looking forward in their sound. The old wave made room for the new, and artists who dominated the charts and concert stages just a decade earlier found themselves remade for a new era.

In only a few years, the playing field opened up even more, as alternative rock, electronic music and hip-hop discovered new ways to express themselves within the guidebooks laid out for them by previous generations. 1985 was not a turning point but a transitional year in which the promise of bold new frontiers was beginning to be mapped out. These records helped discover the path.

40. Stevie Wonder, “Part-Time Lover” (From In Square Circle)

Stevie Wonder‘s hitting streak didn’t end in the ’70s. He chalked up three more No. 1s in the first half of the ’80s, including a duet with Paul McCartney (“Ebony and Ivory”) and “Part-Time Lover,” the last of his nine chart toppers. The first single from In Square Circle – Wonder’s first proper album since 1980’s Hotter Than July – was a tribute to the singer and songwriter’s past – specifically, to fellow Motowners the Supremes‘ ’60s hits.

39. Eurythmics, “Would I Lie to You?” (From Be Yourself Tonight)

After three albums of synth-spiked new wave, Eurythmics dove straight into the R&B waters they had been testing at the start, thanks to Annie Lennox’s warm, soulful voice. Be Yourself Tonight was the duo’s genre crossover, tuning into tougher guitars and meatier arrangements while coaxing even more heat from Lennox. The album’s lead single is pushed along by trumpet, organ and a full-band backing that’s new-gen Stax.

38. USA for Africa, “We Are the World” (From We Are the World)

Inspired by the recently issued “Do They Know It’s Christmas?,” a group of American artists – corralled by Michael Jackson, Lionel Richie and Quincy Jones – gathered in a Los Angeles studio after a music awards show and recorded a charity single for Ethiopian famine relief. Cyndi Lauper, Bruce Springsteen and Tina Turner were among the era’s biggest artists. “We Are the World” brought them together and made millions.

36. (tie) David Bowie and Pat Metheny Group, “This Is Not America” (From The Falcon and the Snowman: Original Motion Picture Soundtrack)

Nobody was all that happy with David Bowie‘s Tonight, the 1984 follow-up to comeback record Let’s Dance, not even Bowie. So he began pairing with artists for temporary situations, like soundtrack recordings. “This Is Not America,” a collaboration with jazz guitarist Pat Metheny for the Sean Penn spy film The Falcon and the Snowman, is the best of them, a moody, noir-like setpiece that foreshadows Blackstar‘s similar course.

36. (tie) John Cougar Mellencamp, “R.O.C.K. in the U.S.A. (A Salute to ’60s Rock)” (From Scarecrow)

Much was made about John Cougar Mellencamp‘s shift to socially conscious music that accompanied his reclaiming his birth name a few years earlier. Scarecrow surveys the plight of the American farmer affected by Reaganomics during the first part of the ’80s and its impact on the community at large. The album’s last cut, the tossed-off “R.O.C.K. in the U.S.A.,” is a throwback to his and music’s past, a name-checking of ’60s greats.

35. ‘Til Tuesday, “Voices Carry” (From Voices Carry)

MTV’s influence could still be felt in 1985. The debut album from the Boston new wave band ‘Til Tuesday sounds like a record from a few years earlier that probably would have gone unnoticed by most in 1985 if not for its push by the four-year-old music video network. The title track “Voices Carry” went Top 10, but follow-up records weren’t as successful. By the early ’90s, leader Aimee Mann was stirring buzz as a solo artist.

34. R.E.M., “Can’t Get There From Here” (From Fables of the Reconstruction)

After two albums of jangle-inspired college rock, R.E.M. ditched their producer and regional studio to record in London with Englishman Joe Boyd, who worked with folk-rock royalty Fairport Convention and Nick Drake, among others, in the ’70s. Fables of the Reconstruction reset the American band’s methodology, from dark, meaty rockers to the positively weird and horn-dotted “Can’t Get There From Here,” its first single.

33. The Pogues, “A Pair of Brown Eyes” (From Rum Sodomy & the Lash)

With producer Elvis Costello at the helm, the Pogues‘ second LP is where their identity was defined: rowdy punk softened by traditional folk music. Composed by singer Shane MacGowan, “A Pair of Brown Eyes” reveals a writer with a nostalgic heart and knack for musical and lyrical tribute (the tune is centuries old, Johnny Cash pops up on a jukebox). Rum Sodomy & the Lash is a key ’80s album; this song helped make it one.

32. R.E.M., “Driver 8” (From Fables of the Reconstruction)

Unlike Fable of the Reconstruction‘s first single, the follow-up is textbook R.E.M. Where “Can’t Get There From Here” was brassy and much unlike the Americana-leaning indie rock of the group’s earlier records, “Driver 8” falls into a familiar pattern, down to the evocative imagery set by the words and music. It’s since become one of R.E.M.’s most covered songs, with Hootie and the Blowfish to Jason Isbell giving it a go over time.

READ MORE: Top 50 New Wave Songs

31. The Firm, “Radioactive” (From The Firm)

While Jimmy Page‘s Led Zeppelin bandmate Robert Plant jumped into a solo career after the band’s 1980 dissolution, the guitarist, save for a soundtrack recording, laid low during the first part of the decade. Then in 1985 he returned with former Bad Company singer Paul Rodgers in the Firm, a short-lived supergroup that broke up after just one more album. “Radioactive,” their only Top 40, is a reminder of their unified strengths.

30. Tears for Fears, “Head Over Heels” (From Songs From the Big Chair)

It’s no small achievement that Tears for Fears managed to score a No. 1 album and song with a conceptual piece about sociopolitical and psychological conflict at a time when the pop charts were mostly dancing away problems inside and out. “Head Over Heels,” Songs From the Big Chair‘s third U.S. single, fourth in their native U.K., is no less complicated: a love song about emotional fragility. It made it to No. 3 in the States.

29. Husker Du, “Makes No Sense at All” (From Flip Your Wig)

Minneapolis punk trio Husker Du didn’t rest after their breakthrough 1984 LP, sprawling double Zen Arcade. They released two albums in 1985, New Day Rising and the quickly turned-around Flip Your Wig, which includes one of the band’s best singles, the 2:43 blitzkrieg “Makes No Sense at All.” The 7″ was paired with a cover associated with another Minneapolis legend: The Mary Tyler Moore Show theme, “Love Is All Around.”

28. Faith No More, “We Care a Lot” (From We Care a Lot)

The first version of “We Care a Lot,” with original Faith No More singer Chuck Mosley, might be the definitive version of the often rerecorded song (Mosley had another go at it in 1987, and the band continued to play it with Mosley’s replacement, Mike Patton). Lyrics changed over the years to fit the times: References to Madonna and Cabbage Patch Kids were later swapped for lines about Transformers and Garbage Pail Kids.

27. Ratt, “Lay It Down” (From Invasion of Your Privacy)

“Round and Round” almost took Los Angeles’ Ratt into the Top 10 in 1984 – quite the accomplishment for a glam-metal band during the era of Michael Jackson, Prince and Bruce Springsteen. For their follow-up record a year later, they stuck close to their debut’s playbook of slinky riffs and catchy choruses. “Lay It Down,” the lead single from Invasion of Your Privacy, made it to No. 40, the band’s last appearance in the Top 40.

26. The Waterboys, “The Whole of the Moon” (From This Is the Sea)

The Waterboys’ most popular song didn’t start with the enthusiastic support it receives today, though its place in the Scottish band’s canon was pretty much set from the beginning. Bandleader Mike Scott has cited The Chronicles of Narnia author C.S. Lewis as inspiration for “The Whole of the Moon”: an artist who sees things on different levels. Musically, the Beatles, Prince and U2 show up for the rousing bigger-than-life anthem.

25. The Firm, “Someone to Love” (From The Firm)

Written by guitarist Jimmy Page and singer Paul Rodgers, the architects behind the blink-and-you’ll-miss-’em ’80s supergroup the Firm, “Someone to Love” is one of their self-titled debut‘s sturdiest tracks. Over a driven, Zeppelin-like riff, the former Bad Company singer closes in on Robert Plant territory as the rhythm section of bassist Tony Franklin and drummer Chris Slade build a solid foundation for the top-billed pair.

24. The Cure, “Close to Me” (From The Head on the Door)

The Cure was coming off one of their most dismal periods as they headed into their sixth album, The Head on the Door, in 1985. Bandleader Robert Smith‘s private issues plus the underwhelming 1984 LP, The Top, led to restructuring within the Cure. The result was their highest-charting record at the time and a newer, lighter approach to the music. “Close to Me” blends bubbly new wave, murky post-punk and irresistible pop.

23. Madonna, “Crazy for You” (From Vision Quest)

Like a Virgin proved that Madonna was around for the long run. In addition to carryover singles from her 1984 album, the only new songs she released in 1985 were found on movie soundtracks: “Into the Groove” from Desperately Seeking Susan, which she starred in, and this sultry ballad from the high school wrestling drama Vision Quest. “Crazy for You” became her second No. 1; Madonna was untouchable after this.

22. A-ha, “Take On Me” (From Hunting High and Low)

Known as much for its groundbreaking video as its musical merit, a-ha’s “Take On Me” helped break the Norwegian synth-pop trio worldwide upon its wide release in 1985 (a different, earlier version hit No. 3 in their homeland the year before). The group had one more chart single off Hunting High and Low before disappearing from the U.S. radar at the end of the ’80s. They’ve continued to release and chart records elsewhere.

21. Huey Lewis and the News, “The Power of Love” (From Back to the Future: Music From the Motion Picture Soundtrack)

Like other artists in 1985, Huey Lewis and the News couldn’t resist putting a song on the big screen; unlike the others, that movie, Back to the Future, is an enduring classic from the year. “The Power of Love,” their first No. 1, has little to do with the film’s theme of going back in time and messing with life’s chain of events, though the band has another song on the soundtrack, “Back in Time,” that fits. “Power of Love” is the keeper.

20. Madonna, “Into the Groove” (From single)

“Into the Groove,” one of Madonna’s best songs, was never released as a single in the U.S., even though she was one of her country’s biggest artists following her second album in 1984, Like a Virgin. Instead, the song – written as a dance number with nothing deeper suggested – was issued as a B-side to the 12″ of “Angel,” Virgin‘s middling third single. It was also showcased in Madonna’s film debut, Desperately Seeking Susan.

READ MORE: Top 30 Albums of 1975

19. Robert Palmer, “Addicted to Love” (From Riptide)

Robert Palmer had been making music for two decades when he went supernova in 1985 with the third single from Riptide, his eighth album. Produced by Chic bassist Bernard Edwards and featuring guitar from Duran Duran‘s Andy Taylor – both were Palmer bandmates in the Power Station side project – “Addicted to Love” was aided by one of the era’s most popular and duplicated videos. It’s a great song, too.

18. The Cult, “She Sells Sanctuary” (From Love)

The Cult‘s defining sound begins to take shape on their second album, Love, a record as steeped in post-punk goth as it is in balls-out hard rock. “She Sells Sanctuary,” the album’s lead single and centerpiece song, starts the transition with a wall of guitar noise that sounds like new doors opening for the band. The Cult’s alternative leanings would be chiseled away more by their next album in 1987. This is where they start to build.

17. Duran Duran, “A View to a Kill” (From A View to a Kill)

Few bands were bigger than Duran Duran when they were tapped to write and record the theme song for the 14th James Bond film. It helped that bassist John Taylor was a big 007 fan. “A View to a Kill” was the last song by the band’s original lineup before a 15-year split and, more importantly, the only Bond song to reach No. 1. Chic’s Bernard Edwards lends a production hand, a carryover from Duran offshoot the Power Station.

16. INXS, “What You Need” (From Listen Like Thieves)

INXS was building buzz outside their native Australia when their fifth album arrived in 1985. Listen Like Thieves catapulted to No. 11 as its first single, “What You Need,” went Top 5, then their highest chart placements in the U.S. The song was written after producer Chris Thomas told the band they needed a hit on their new LP. The new wave funk proved so successful that INXS built their next album, the massive Kick, around it.

15. The Replacements, “Bastards of Young” (From Tim)

After three punk-approved indie albums, Minneapolis’ the Replacements stepped to the big leagues for Album 4, Tim, a record marked by myriad problems, from guitarist Bob Stinson’s increasing unreliability to production conflicts behind the scenes. Meanwhile, singer and songwriter Paul Westerberg was moving beyond the band’s earlier two-minute punk blasts. The all-grown-up “Bastards of Young” sets an alt-rock template.

14. New Order, “The Perfect Kiss” (From Low-Life)

By 1985 New Order‘s transformation from brooding post-punks Joy Division to synth-pop aristocracy was complete. No longer hiding behind their past musical mask, the quartet pushed the pop quotient to the front on their third album, no more so than on the excellent lead single “The Perfect Kiss.” The band claims they have no idea what the song is about; the dark, underlying themes poke through the glossy exterior either way.

13. ZZ Top, “Sleeping Bag” (From Afterburner)

The MTV-driven success of Eliminator in 1983 made ZZ Top one of the year’s surprise breakout bands; the mix of synths and drum machines applied to their ’70s bluesy boogie yielded three popular singles. It wasn’t much of a shock when the Texas trio returned with their ninth album in 1985, with the hit recipe repeated. “Sleeping Bag,” Afterburner‘s first single, hit No. 8, tying “Legs” for their highest charting song.

12. Aerosmith, “Let the Music Do the Talking” (From Done With Mirrors)

With their eighth album in 1985, Aerosmith welcomed a return to their original lineup; it took a couple of more years before it was called a comeback, but Done With Mirrors was a step in that direction. Still shaking off the cobwebs, the band was short on new material, so they dusted off a song first recorded by guitarist Joe Perry‘s solo group in 1980. “Let the Music Do the Talking” led the album as the band’s new manifesto.

11. Talking Heads, “And She Was” (From Little Creatures)

Talking Heads was one of the most restless groups of the ’80s, jumping from world music to club sounds to Americana, on their 1985 album Little Creatures. But this being an art-centric New York City band, the shift toward the heartland amounts to small moments – steel guitar here, accordion there – rather than a grand leap. “And She Was,” a highlight of the LP, turns fanciful and showy – in other words, classic Talking Heads.

10. Dire Straits, “Money for Nothing” (From Brothers in Arms)

“Money for Nothing” is a pure product of its era: distorted guitar tone borrowed from ZZ Top, backing vocals by the freshly solo Sting and a tailor-made video enthusiastically aired by MTV. It made Dire Straits unexpected pop stars in 1985, with parent album Brothers in Arms going to No. 1 and the song – two workers complain about MTV – reaching the same position for three weeks. Multiple Grammy nominations followed.

9. Motley Crue, “Home Sweet Home” (From Theatre of Pain)

Motley Crue was best known for Sunset Strip rockers such as “Looks That Kill” and a cover of “Smokin’ in the Boys Room” when they released “Home Sweet Home” as a single in the fall of 1985. The song about life on the road, and accompanied by a verite video of the band on- and backstage, helped launch the ’80s power ballad, giving previously brittle hard-rock groups license to let down their guards once in a while.

8. John Cougar Mellencamp, “Small Town” (From Scarecrow)

“Pink Houses” helped John Mellencamp shed some of the manufactured image he’d been bristling under since the late ’70s; 1985’s Scarecrow is where he finally finds his voice. Heartland rock made in the American heartland, with an original singer-songwriter at the reins, the LP paved a way for like-minded artists to follow. “Small Town” sums up Mellencamp’s ethos in less than four minutes: “I can be myself here.”

READ MORE: Top 40 Songs of 1975

7. The Cure, “In Between Days” (From The Head on the Door)

Shedding the doom-and-gloom tag that had hounded them from the early part of the ’80s, the Cure is in pure jubilation mode in the first single from The Head on the Door. Robert Smith follows the springy acoustic guitar note for note as he glides along a Day-Glo melody. It was an obvious bid and choice for a pop single; it worked: “In Between Days” was the Cure’s first song to crack Billboard’s Hot 100. More was to come.

6. Bangles, “Manic Monday” (From Different Light)

Prince was so hot in 1985 that even the songs he gave away were huge. “Manic Monday” was originally slated for his female trio Apollonia 6 before he gave it to another all-women group, Los Angeles power pop quartet the Bangles. Released as a single at the tail end of 1985 and included on the group’s 1986 album Different Light, the paisley-colored “Manic Monday” made Bangles stars and furthered Prince’s hit streak.

5. Prince and the Revolution, “Raspberry Beret” (From Around the World in a Day)

Prince could do no wrong in 1985. He emerged as 1984’s biggest artist, quite a coup considering Michael Jackson and Bruce Springsteen dominated the charts. So when it came time to make Purple Rain‘s follow-up, Around the World in a Day, he filled it with leftover studio tracks, longish experimental pieces and pop candy such as “Raspberry Beret,” a sex-in-the-barn psychedelic romp complete with finger cymbals and strings.

4. Tom Petty and the Heartbreakers, “Don’t Come Around Here No More” (From Southern Accents)

Problems plagued Tom Petty‘s sixth album from the start. Originally conceived as a concept LP about the South, Southern Accents lost its theme partway through; then Eurythmics’ Dave Stewart was brought in to produce some new songs. And then Petty smashed his hand in a fit of rage. Stewart’s glistening synth-pop is out of place with the Heartbreakers, but resistance to “Don’t Come Around Here No More” is futile.

3. Kate Bush, “Running Up That Hill” (From Hounds of Love)

Make no mistake: “Running Up That Hill” was always a great song from Kate Bush‘s best album. But its return success in 2022, thanks to its placement in the Stranger Things TV show, made it an even bigger and greater song. Methodically built over five musically intense minutes – notice how the drums and Bush’s voice compete for space by the song’s end – “Running Up That Hill” is a masterclass in record construction.

2. Simple Minds, “Don’t You (Forget About Me)” (From The Breakfast Club [Original Motion Picture Soundtrack])

Soundtracks were the go-to destination for many artists in 1985, with films – and quickly sourced music videos from them – an easy means of delivering new work that didn’t have more permanent spots in artists’ catalogs. Glasgow band Simple Minds couldn’t even crack the Billboard Hot 100 before “Don’t You (Forget About Me)”; their U.S. debut went straight to No. 1 with help from the box-office Brat Pack hit The Breakfast Club.

1. Tears for Fears, “Everybody Wants to Rule the World” (From Songs From the Big Chair)

A deep, sometimes overbearing theme conceptualizing and pulling together their second album; a synth-pop duo from England that barely cracked the U.S. charts their first time around. It isn’t exactly the ingredients to make up not only one of the best songs of the ’80s but a No. 1 hit in places that didn’t even know the group existed a year before. But Tears for Fears became a huge success in 1985 with their sophomore album, Songs From the Big Chair, and its run of hit singles, starting with “Everybody Wants to Rule the World,” a seemingly unassuming pop song that gets heavier and more complex upon investigation. Maybe that’s why it became one of the year’s biggest hits. Or perhaps it’s just a great song, an instantly likable and a melodically precise work that comes around only a few times every decade.

25 Under the Radar Albums From 1975

You already know the Dylan, Springsteen and Zeppelin classics that came out that year. Now it’s time to go deeper.

Gallery Credit: Michael Gallucci

The sons of Kiss icons Paul Stanley and Gene Simmons have recorded 10 songs together

Evan Stanley and Nick Simmons, the sons of Kiss legends Paul Stanley and Gene Simmons, have recorded 10 songs together. The news arrives two months after Simmons Sr. shared footage of the pair casually performing a cover of Simon & Garfunkel’s folk classic The Sound of Silence.

Now it seems the Kiss Kids have taken the relationship further. Sharing pictures that included a laptop with a track called Tail Lights open in Apple’s Logic Pro recording software, Evan Stanley wrote, “One song turned into 10 real quick.”

Another post featured Evan and Nick playing an original track with guitarist Jacob Bunton – who’s previously worked with Mariah Carey, Steven Tyler, Pop Evil, The Doors, Billy Idol and Mick Mars – and drew praise from Paul Stanley, who simply commented “magic!!!”, his enthusiasm confirmed by those bonus exclamation marks.

Stanley Jr. fronts Amber Wild, who supported Kiss on some of those final dates, while Nick Simmons has sung with Bruce Kulick in the studio and with Wolfmother on stage, and is also one half of the mysterious electronic duo Sym Fera.

In related news, Paul Stanley has revealed why no former members of the band were invited to be part of Kiss’s final show at Madison Square Garden in 2023.

Speaking with the Talk Is Jericho podcast with wrestler and musician Chris Jericho, Stanley says, “To be somewhat diplomatic, there were people who made unrealistic demands of what they required. And it’s not about that. It wasn’t, for example, a celebration of the beginning of the band. It was a celebration of 50 years of a band, as opposed to a tribute to the start.

“What are we gonna have? Videos up on the screen or draped photos? The fact that we were there, we were there because of everybody who participated – some more than others, but the tribute to everyone is us existing.”

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Get new Skunk Anansie album The Painful Truth on white splatter vinyl, exclusively through Classic Rock

Skunk Anansie have announced their long-awaited new album The Painful Truth, and you can get it on white splatter vinyl exclusively through Classic Rock.

The British rock icons will put out their first LP in nine years on May 23 via Frontier Records. You can pre-order your exclusive vinyl to ship on that date now through the Louder webstore – and there are only 300 copies in stock, so act fast!

Vinyl copy of new Skunk Anansie album The Painful Truth

(Image credit: Future)

Skunk Anansie formed in London back in 1994 and quickly became figureheads of the UK rock scene. Their debut album, 1995’s Paranoid & Sunburnt, mixed alt-rock melodies with the urgent messaging of punk and reached number eight on the British charts. It also cracked the top 20 in four other countries.

The even more in-your-face Stoosh doubled down on that success, spawning the band’s three highest-charting singles: All I Want, Hedonism (Just Because You Feel Good) and Brazen (Weep).

Since then, led as always by uber-charismatic frontwoman Skin, Skunk Anasie have retained their status as one of their country’s most successful rock acts. In 2004, they were recognised in The Guinness Book Of British Hit Singles & Albums for spending an overall 142 weeks in the charts, and they continue to tour.

The band will precede The Painful Truth’s release with a tour of the UK and Europe that starts at the Coliseu Porto Ageas in Porto, Portugal, on February 28. They’ll then hit the British and European festival circuit from May through to August. See all dates and details via their website.

Earlier this month, Classic Rock’s sister mag Metal Hammer interviewed Skin, and she offered a very unfiltered take on social media hate, which the band address in The Painful Truth single An Artist Is An Artist.

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“We are the creators, and sometimes you guys need to [shut the] fuck up and enjoy or not enjoy,” the singer stated. “But you don’t also need to comment and destroy the artist and take something away from the artist. And you don’t need to put out your first ignorant thought and write that down as a comment.”

Vinyl copy of new Skunk Anansie album The Painful Truth

(Image credit: Future)

“We were just boozers and mounds of cocaine. Cocaine eventually is bad, but we were young kids. It didn’t hamper us”: The epic life and crazy times of Mick Fleetwood, the heartbeat of Fleetwood Mac

“We were just boozers and mounds of cocaine. Cocaine eventually is bad, but we were young kids. It didn’t hamper us”: The epic life and crazy times of Mick Fleetwood, the heartbeat of Fleetwood Mac

Mick Fleetwood sitting cross legged by a swimming pool in 1980
(Image credit: Aaron Rapoport/Corbis via Getty Images)

Mick Fleetwood is the only member of Fleetwood Mac who was there from the very beginning (not even bassist John McVie can claim that honour) and the drummer experienced all the highs and lows that journey had to offer. In 2013, Fleetwood looked back over his band’s incredible journey and all the highs and lows – commercial, chemical and romantic – that came with it.

Classic Rock divider

First impressions of Mick Fleetwood are usually something like (to paraphrase the Harry Nilsson song): “Jesus Christ, you’re tall.” Fleetwood doesn’t so much inhabit his swanky Berkeley Hotel suite as loom across the available space. From head to toe, he’s immaculately groomed: the silver hair, the Maui suntan, the crisp striped shirt and hand-stitched brown brogues are evidence of his post-psychedelic dandyism. His socks are box fresh and match his scarf. His trademark headwear – today it’s a burnt orange flat cap – lies on the table underneath a CD copy of his band Fleetwood Mac’s reissued Rumours – the elephant in the room. His ponytail, a reminder of longer-haired days, is constantly teased, as are the opulent Native American bangles on his wrists. He offers water. “Usually I’d have got through half a bottle of good wine by now, but since we’re about to go on tour I’m trying to stay fit.”

Mick Fleetwood has been an American citizen since 2006. He’s lived in California and Hawaii for 40 years, and understandably speaks with a transatlantic accent. Pleasingly, there‘s a detectable trace of West Country burr. He was born in Cornwall in 1947 and educated at a public school in Gloucestershire, at one of those institutions where six-of-the-best corporal punishment was the norm – the bat and the cane. No wonder he became a drummer – take it out on those tom-toms.

Suggestions of a whistle-stop tour of his life are met with: “Go ahead. I’ll talk about anything, as long as I can get through the jet-lag.”

Does he still see the old gang?

Peter Green? Once in a while I’ll ring him. I may do once you’ve left. He doesn’t know it and won’t be expecting it.”

Fleetwood smiles as if to imply that maybe it won’t be a pleasant surprise for Green. Mick once tried to manage his old Bluesbreakers and Fleetwood Mac bandmate in 1977, but was flummoxed by the guitarist’s insistence that both his past and the music business in general had destroyed his life and sent him to psychiatric hell. “It was hard to convince him he wasn’t dealing with the devil.”

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Fleetwood Mac’s second guitarist from their early days, Jeremy Spencer, the joker in the pack who used to decorate the band’s equipment with sex toys, remains in touch. “He lives in Ireland and he’s making music again. His journey is well known. He’s not with the Children Of God any more but some other sect [The Family International]. He’s in good humour, much like the old Jeremy before he got very strange.”

One-time teenage whizz-kid slide guitarist Danny Kirwan also fell off the rails. Just as Spencer flipped after taking mescaline in Los Angeles in 1971, Kirwan and Green are said to have taken dodgy acid at a commune in Munich a year earlier, although Danny’s problems lay in the bottle.

Fleetwood Mac posing for a photograph in 1969

Mick Fleetwood (centre) with Fleetwood Mac in 1969 (Image credit: Michael Ochs Archives/Getty Images))

“I have no contact with Danny. I’m supposed to have fired him in 1972 [after Kirwan smashed his guitar in the dressing room and refused to perform], but I just told him: ‘Enough is enough. You can’t keep on destroying the soundboard and then watch your fellow band members dying the death.’ We didn’t realise Danny wasn’t suited to this business. That wasn’t obvious in the late-60s when he recorded with us, but he became very unpredictable. We should have said no to him joining, because he was already an alcoholic. I don’t know if that’s ever been fixed. I hear from his ex-wife, and it’s not good.”

The cover of Classic Rock magazine issue 182

This feature was originally published in Classic Rock magazine issue 182 (February 2013) (Image credit: Future)

Kirwan ended up living in the St Mungo’s hostel for homeless men in Endell Street in Central London. He wasn’t the only casualty. Kirwan’s replacement, Bob Weston, who played on the Mac albums Penguin and Mystery To Me, was famously sacked by Fleetwood in Nebraska after the drummer’s discovery that Bob was having an affair with his then-wife Jenny Boyd. He was found dead in a grubby flat in Brent Cross in January 2012.

Mac’s American guitarist Bob Welch, whose resignation in 1984 facilitated the arrival of Lindsey Buckingham and Stevie Nicks, committed suicide six months later, shooting himself through the chest

Viewed in black and white, all of this makes the relationship break-up saga of Rumours seem pretty tepid. It’s a depressing past punctuated with sublime moments like Man Of The World, Albatross and the classic albums – Peter Green’s Fleetwood Mac, Mr Wonderful and Then Play On. Mick prefers to accentuate the positive.

“That old band came out of the hatch and we were immediately successful. We were very diverse, playing all that Elmore James blues and having hit singles. John McVie and me always welcomed the new people. We never told them they had to conform to any formula. It was amazing that we kept our audience. Peter was generous too. Even on his last album with us [Then Play On] he gave Danny half the album to write. He didn’t need to do that.”

The original Fleetwood Mac severed ties with Britain when they decamped to the USA in the early 70s. “In England we fell off the map, and a few years on we lost our identity with the massive mismanagement fiasco.”

He’s referring to the bogus Fleetwood Mac of 1974, put together by then-manager Clifford Davis when the band were at an all-time low. Fleetwood has always denied any involvement with this outfit, formed from the blues band Stretch. “We suddenly found we were no longer in our own band!”

The faux Fleetwoods didn’t survive a lawsuit, however, and Mick was amazed that “Warner’s didn’t drop us. There were lots of ifs-and-buts. If Peter hadn’t left and he’d been emotionally on track, I honestly believe we’d have been up there with Led Zeppelin and that thing that happened in America at the time. We were a funny-looking bunch of guys, but we were a phenomenally fucking good band.”

Lovers of the old Mac might say that here was the real tragedy – if that’s not too strong a word.

“They were tough times. It’s funny how things happen. If Bob Welch hadn’t left, we’d never have made the next jump. But Danny was influential too; before him there was no melody and no harmony. And then there’s this…”

Rumours package the 40-million-selling gift that just keeps on giving. Now available in various permutations of CD, DVD and vinyl, the recorded soap opera that accompanied the splits between John and Christine McVie and Buckingham-Nicks refuses to go away. Here it is again, shipping 40,000 copies in the UK and forming the basis for a 50-date tour of America, followed by an autumn visit to European stages that will see an estimated box office and merchandise revenue pumping well in excess of $70 million into the group. Where did it all go wrong?

“It’s part of our legacy. We’ve nurtured talent and they’ve all left their mark, some more important than others. It’s a big story, should you delve into how we got here. This album is interesting for us, if not a little frightening. How did we survive making it with all these ex-lovers blowing up in each other’s faces? It was emotionally charged – cause and effect. We don’t complain any more, and we shouldn’t, but dreadful things were happening. There were tragedies everywhere, with Peter and Danny, and then this album,where everyone is miserable.”

A band waging war with itself may be deemed a vicarious pleasure, although the often physical nature of Lindsey and Stevie’s disagreements were hard for Fleetwood to witness. During early rehearsals for Rumours at the Producer’s Workshop in LA, Mick saw his band disintegrating. Christine McVie was having an affair with the band’s lighting director, Curry Grant. John McVie was on perma-sozzle, and everyone was imbibing vast amounts of pharmaceutical cocaine dished out by the mirror-load. Meanwhile, Mick recited the lines of poet Robert Frost: ‘The woods are lovely, dark and deep… And miles to go before we sleep.’

Mick Fleetwood playing drums onstage in 1977

Mick Fleetwood onstage with Fleetwood Mac in 1977 (Image credit: Ed Perlstein/Redferns/Getty Images)

The drummer still felt impelled to rally the troops, and was heard to implore: “Hey, guys, why don’t we chill out here and do some transcending and just write music about all this hassle.” These days Mick takes a more sanguine view.

“We were only like every other band of that era. I’ve given up all that now. John and Christine were… hmmm. Well, the whole band was at it. We weren’t misjudged; we were in with the worst of them. But when I talk war stories with other bands, I think we weren’t so bad. ‘You did what?’ We were lightweights compared to many. Look at the Stones or Johnny Cash, the stuff they took. We didn’t do that, we were just boozers and mounds of cocaine. I thank God we didn’t go to the opiate place. Cocaine eventually is bad, but we were still young kids. It didn’t hamper us, it just meant we stayed up for three or four days and did some good music.”

The lingering aftermath saw them all go their own way into rehab and therapy, because there’s no such thing as an ex-alcoholic or ex-drug addict. McVie eventually gave up drinking in the 1990s. Mick and Stevie Nicks both faced other battles. “Fifteen years after Rumours, we were still going strong. And that wasn’t fun. It turned out boring, and impossible for health reasons.”

Mick developed diabetes and thought he was dying of a brain tumour. Despite the apparent wealth generated by Rumours, Tusk et al, he declared himself bankrupt thanks to some disastrous property deals and failed restaurant endeavours.

“Did all that affect me? Yes it did. Stevie says she doesn’t remember a whole 10 years of her life because she was doing weird stuff – she battled with tranquilliser dependency – but us rock’n’rollers have strong constitutions. We were lucky. Enough was enough.”

From a position of great health and wealth, Fleetwood is prepared to be candid. “The romance of it all is voyeuristic. People want to hear it, and I can talk about it. But looking back? No, it wasn’t a great thing to have done. I’m torn between not talking about it, which is defensive and stupid, or do I answer? We could cope because we were young. Is that the reason why we spent over a year making Rumours? No, it wasn’t. People said: ‘Oh you’re so indulgent.’ But it was our money, our waste, and our drugs.

“On a creative level we were thrilled because we were blessed to pay for studio time. We could have made a quick album – get the fuck out and hope they buy it anyway. People assume we were a depraved, drug-crazed group pissing money down the studio sink. No. We worked hard. The money was our advance – which we never saw again.”

Fleetwood Mac – Go Your Own Way (Official Music Video) [HD Remaster] – YouTube Fleetwood Mac - Go Your Own Way (Official Music Video) [HD Remaster] - YouTube

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In Mac’s defence, it wasn’t their fault Rumours became a behemoth. “We had no idea. We lived in a focused world of five individuals. We weren’t super-unique, but we were fairly unique because we forced ourselves into a one-on-one, 24/7, pressing creative world. That’s a lot to ask when every time you look at someone your heart is in your mouth, or you’re feeling so hurt you just want to get a dagger and stick it in his or her back. That’s what we were doing.”

Though often cast as the calming influence, Fleetwood felt as rotten as everyone else.

“I was miserable because my wife left me for my best friend [Weston] but I had to be the piggy in the middle. We were all fucked up. But you know my history: got to keep this band going at all costs. Someone had to do it, and it’s in my nature. Maybe I’m insecure. I got that from my dad.”

Fleetwood Mac isn’t Mick’s only family. He’s the father of four daughters, two of them grown-up children from his 1970 marriage to Jenny Boyd, sister of Pattie Boyd, who was married to George Harrison and later Eric Clapton. Being George Harrison’s brother-in-law gave him a unique insight into the extraordinary world of The Beatles circa 1969. He knew the Dutch hippie designers The Fool, who designed The Beatles’ Apple shop and decorated stage sets for The Move, Cream and Procol Harum, and he’d hear about the Beatles’ trip to Rishikesh first-hand from Jenny, since she’d sat at the Maharishi’s feet with John, Paul, George and Ringo when she was with Donovan, who wrote Jennifer Juniper in her honour.

“I had a vicarious window into the greatest talent pool I’ll ever know. I went to the Abbey Road album sessions. I saw them doing Maxwell’s Silver Hammer, using the anvil and the horseshoes, and I spent a lot of time hanging by default in their Rolls-Royces or sitting down at tables in the Scotch Of St James. London was cooking then. I was just a little blues musician. To this day, Paul McCartney always calls me ‘young Michael’, and to George I was ‘little Mick’. Just before I got on the plane to come here, Jenny sent me a note George once gave her which had his Indian squiggle on it and a P.S: ‘Don’t forget to tell Mick that I love him.’”

Given the overarching success of Rumours, it’s sometimes hard to remember that beneath the trappings, cosmic minstrel Mick Fleetwood is but a humble drummer, mentioned in dispatches rather than at the front line.

Mick Fleetwood posing for a photograph in 2011

Mick Fleetwood in 2011 (Image credit: Duffy-Marie Arnoult/WireImage)

“My reputation? I get checked a lot by fellow players. John Bonham’s sister [Deborah] told me I was one of his favourite drummers. I thought he’d think I was a piece of shit! Apparently not. The Fleetwood Mac rhythm section is better than we think, so I get kudos. I’m a feel-meister, like Charlie Watts; I’m not a technician. I don’t know what I’m doing half the time. But without puffing up, I’m not an unknown personality. I’m not the world’s forgotten drummer. John McVie couldn’t give a shit whether anyone likes him. He doesn’t care about me as Mick the drama queen or Mick the flag-waver. His attitude is: ‘How do you do all that? I couldn’t give a shit. Phone me when they’ve all stopped crying. It’s pissing me off.’”

McVie lives near to Fleetwood on Maui and remains his friend and ally. They don’t socialise that much, but the bass player will order him to take it easy. ‘Why are you opening another restaurant? Stop stressing out. Stop selling your soul for this thing.’

“I tell him: ‘Why should you complain? I’ve kept you in a band for 45 years!’” Fleetwood says. “He appreciates that. My main function is creating the stage for me and John, so he’d better.”

If Fleetwood Mac are now a nostalgia act, at least they didn’t end up in Las Vegas. Christine McVie says she’ll never come back, but there are three new tracks in the pipeline created by Fleetwood, Buckingham and Nicks – the latter pair being permanent road fixtures thanks to Stevie’s touring schedule and Lindsey’s One Man Show. Making a band album is probably a thing of the past.

“It’s all about the tour – a humongous tour that’s gone ballistic. We’re in good fettle. Stevie’s in voice. Lindsey’s fighting fit. I play a lot on Maui but I need to step it up. John only has to move his fingers.”

Ask him what his favourite Mac albums are and the man whose name is on the tin cites Tusk – “More ground-breaking than Rumours, and I know because I was managing the band at the time” – and 1969’s Then Play On. “I came up with the title, and it was a lovely creative mix. That album is the signpost of what could have been; a vision of the band if Peter hadn’t been ill.”

He owns the original of the artwork used for the album. The painting, which features a naked man on a horse, is called Domesticated Mural Painting and is by the artist Maxwell Armfield. It was originally designed for a London mansion.

Fleetwood Mac – The Chain (Official Music Video) [HD] – YouTube Fleetwood Mac - The Chain (Official Music Video) [HD] - YouTube

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Fleetwood admits that he misses the old days. “They were good times. Playing the Nag’s Head in Battersea or out-of-town pubs in High Wycombe was like a fantastic boot camp. There’s something about the slog that helps the creative ethic. Doing this tour is only plugging into a muscle memory; it’s a psychic recollection of what I’ve done my whole fucking life. Too many bands come out of nowhere and become rich and famous and unpleasant. They buy into the bullshit. I say: ‘You need to go and set up an amplifier, jacko! Then drive to fucking Scotland and back for five quid.’ I sound like an old fuddy duddy.”

While he’s dishing out advice, Fleetwood mentions something that keeps him going. “In 1971, Tom Johnston, from the Doobie Brothers, and Steve Miller both told me: ‘Play the colleges, whatever you do. Even if it’s for peanuts.’ That’s what kept the band afloat in America in the early 70s. If we didn’t draw a great crowd, I’d pay the money back. Before that, in England, I learnt from Peter Green. He had Jewish blood so he knew how to tell people to fuck off – and give me the fucking money, you fucking liar. I went with him to the counting house after the gig, so I knew how tough he could be. But on a bad night Peter would give the guarantee back.

“A lot of my shit about running Fleetwood Mac comes from Peter Green. He taught me how to recognise talent. He was the king of that band. All these individuals who turned up along the way were welcomed because Peter let me into the secret. Welcome to the realms of madness.”

Originally published in Classic Rock issue 182, February 2013

Max Bell worked for the NME during the golden 70s era before running up and down London’s Fleet Street for The Times and all the other hot-metal dailies. A long stint at the Standard and mags like The Face and GQ kept him honest. Later, Record Collector and Classic Rock called.

Black Sabbath’s Last Stand: Metal Legends Will Unite For One Night

Black Sabbath’s Final Bow: Back to the Beginning Brings Metal’s Greatest Names Together for One Unforgettable Nig

Feature Photo: Tinseltown / Shutterstock.com

A monumental chapter in heavy metal history will come to a close this summer when Black Sabbath reunites for their final performance at Back to the Beginning, a one-day festival set for July 5 at Villa Park in Birmingham. This historic event will not only mark the farewell of the band that defined heavy metal, but it will also serve as Ozzy Osbourne’s last-ever live appearance, bringing his legendary career full circle in the city where it all began. The original Black Sabbath lineup—Osbourne, Tony Iommi, Geezer Butler, and Bill Ward—will take the stage together for the first time since 2005, offering fans one last chance to see the founding fathers of metal play side by side.

More than just a Sabbath reunion, Back to the Beginning is a once-in-a-lifetime event featuring an all-star lineup of some of the biggest names in rock and metal. Alongside Sabbath, the festival will showcase performances from Metallica, Guns N’ Roses, Slayer, Tool, Pantera, Gojira, Alice In Chains, Halestorm, Lamb of God, Anthrax, Mastodon, and Rival Sons. The sheer magnitude of talent assembled for this event makes it one of the most significant rock gatherings in decades, promising an unforgettable experience for fans of all generations.

Black Sabbath’s road to this final performance has been a long and storied one. The band officially retired in 2017 after The End tour, which saw Osbourne, Iommi, and Butler performing together without Ward, whose absence was a point of contention among both fans and the band members themselves. However, Osbourne has long expressed his belief that Black Sabbath’s farewell felt incomplete without its original drummer. After years of speculation, the reunion was finally confirmed in February 2025, when all four members agreed to come together for one last show, making this the first time they will share a stage since Ozzfest 2005.

Adding even more excitement to the event, Back to the Beginning will also feature a special all-star jam session, bringing together some of rock and metal’s most revered musicians. The lineup includes Billy Corgan (The Smashing Pumpkins), Tom Morello (Rage Against the Machine), David Ellefson (ex-Megadeth), Fred Durst (Limp Bizkit), Jonathan Davis (Korn), KK Downing (ex-Judas Priest), Wolfgang Van Halen, and many more. With a lineup curated by Morello, the musical director of the event, fans can expect unique collaborations and once-in-a-lifetime performances that will make this festival truly historic.

For Ozzy Osbourne, this final appearance is especially poignant. The singer has been battling severe health issues in recent years, including Parkinson’s disease and spinal injuries that forced him to retire from touring in 2023. Despite these challenges, he remains determined to deliver a memorable farewell performance. “My singing voice is fine,” Osbourne assured fans, “but my body is still physically weak.” While he has hinted that he will only perform select parts of the Sabbath set, the significance of his final bow cannot be overstated.

Sharon Osbourne has revealed that the event will be more than just a concert—it will be a celebration of Black Sabbath’s legacy, with unique collaborations and special moments throughout the day. “Then you’re going to see one icon playing with another icon, doing a Sabbath song and one or two of their own songs,” she teased, hinting at unexpected pairings that will make Back to the Beginning an unmissable spectacle.

The choice of venue is also deeply symbolic. Villa Park, home to the band members’ beloved Aston Villa football team, is the perfect setting for Sabbath’s farewell. Tony Iommi and Geezer Butler have long been passionate Villa supporters, and the connection between the band and their hometown of Birmingham has always remained strong. This homecoming show ensures that the band’s final performance will take place where their journey first began, making it a truly full-circle moment.

Tickets for the event were in immediate, overwhelming demand. Reports indicate that over 60,000 people were in the queue for tickets when they went on sale, and the entire festival sold out in under ten minutes. With such high demand, resale prices have skyrocketed, with some fans paying thousands to secure their spot at this historic concert.

Adding to the event’s significance, all proceeds from Back to the Beginning will go to charitable causes, including Birmingham’s Children’s Hospital, Acorn Children’s Hospice, and Cure Parkinson’s. This ensures that Black Sabbath’s farewell show will not only be a celebration of their immense legacy but also a way to give back to their community, further cementing their impact beyond music.

As the final notes of Black Sabbath’s performance ring out across Villa Park, Back to the Beginning will stand as more than just a farewell show—it will be a defining moment in rock history. A celebration of the genre, a tribute to a band that revolutionized heavy music, and a last hurrah for one of the most iconic frontmen in rock, this concert will remind the world that the influence of Black Sabbath and Ozzy Osbourne will never fade. For those fortunate enough to attend, it will be an unforgettable night, and for those watching from afar, it will be a moment when rock and roll history was made one last time.

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Black Sabbath’s Last Stand: Metal Legends Will Unite For One Night article published on Classic RockHistory.com© 2025

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Complete List Of The Offspring Songs From A to Z

Complete List Of The Offspring Songs From A to Z

Feature Photo: Richard Abrahamson (RoundKid Photography), CC BY 2.0 , via Wikimedia Commons

The Offspring, a punk rock powerhouse from Garden Grove, California, emerged in 1984, carving their place as one of the most enduring and influential bands in the genre. Originally formed by vocalist Bryan “Dexter” Holland and bassist Greg Kriesel while they were high school classmates, the band quickly expanded with the addition of guitarist Kevin “Noodles” Wasserman and drummer James Lilja. This lineup laid the foundation for The Offspring’s early sound, which drew heavily on the energy and ethos of Southern California punk rock. In 1987, Ron Welty replaced Lilja on drums, solidifying the lineup that would carry the band through their rise to prominence in the 1990s.

The Offspring’s journey began humbly, with the band releasing a self-titled debut album in 1989 through the small independent label Nemesis Records. While the album did not achieve commercial success, it showcased their raw potential and relentless drive. Their second album, Ignition (1992), released on Epitaph Records, gained them modest recognition within the punk scene, setting the stage for their explosive breakthrough.

The release of Smash in 1994 catapulted The Offspring to international fame. Anchored by hit singles such as “Come Out and Play,” “Self Esteem,” and “Gotta Get Away,” Smash became the best-selling album ever released on an independent label, with over 11 million copies sold worldwide. The album’s blend of punk energy, catchy hooks, and socially charged lyrics resonated with a generation, cementing their place in alternative rock history. The unprecedented success of Smash earned the band critical acclaim and set a new standard for independent punk rock.

In 1997, The Offspring released Ixnay on the Hombre, which marked their first album on Columbia Records. Featuring tracks like “Gone Away” and “All I Want,” the record showcased their ability to maintain their punk roots while experimenting with more polished production. Their next album, Americana (1998), propelled them even further into mainstream success with hits like “Pretty Fly (for a White Guy),” “Why Don’t You Get a Job?,” and “The Kids Aren’t Alright.” The album sold over 10 million copies and solidified their reputation as a band capable of creating crossover anthems that appealed to punk fans and a broader audience alike.

Over the years, The Offspring have released ten studio albums, including Conspiracy of One (2000), Splinter (2003), Rise and Fall, Rage and Grace (2008), and Days Go By (2012). Their most recent album, Let the Bad Times Roll (2021), reflects their enduring relevance and ability to evolve while staying true to their punk rock roots. Each album highlights the band’s knack for crafting energetic, memorable songs that tackle topics ranging from personal struggles to societal issues.

The Offspring have experienced lineup changes throughout their career. Greg Kriesel departed in 2018, with Todd Morse joining as bassist. Despite these changes, Holland and Noodles have remained the band’s core creative forces, ensuring continuity in their sound and vision.

The Offspring’s influence extends beyond their music. They have been recognized with multiple awards, including accolades from MTV and Billboard. Their music videos, often characterized by humor and sharp social commentary, have become iconic within the alternative rock scene. Additionally, the band’s commitment to philanthropy is evident through their support of various charitable causes, including AIDS research and disaster relief efforts.

Outside of music, Dexter Holland has pursued notable endeavors, including earning a Ph.D. in molecular biology and creating the popular hot sauce brand Gringo Bandito. Noodles has been active in advocating for music education, reflecting the band’s commitment to inspiring the next generation of musicians.

(A-D)

“52 Girls”Contains No Caffeine compilation (1991)
“80 Times”Conspiracy of One (2000, vinyl-only bonus track)
“All Along”Conspiracy of One (2000)
“All I Have Left Is You”Days Go By (2012)
“All I Want”Ixnay on the Hombre (1997)
“Amazed”Ixnay on the Hombre (1997)
“Americana”Americana (1998)
“Army of One”Let the Bad Times Roll (2021)
“A Thousand Days”The Offspring (1989)
“Autonomy”Want You Bad Single (2000; Buzzcocks cover)
“Bad Habit”Smash (1994)
“Baghdad”Baghdad (1991)
“Ballroom Blitz”5 Songs demo (1986; Sweet cover)
“Beheaded”The Offspring (1989)
“Beheaded (1999)”Why Don’t You Get A Job Single (1999)
“Bells Will Be Ringing (Please Come Home For Christmas)” – Single (2022)
“Behind Your Walls”Let the Bad Times Roll (2021)
“Behind Your Walls (acoustic)”Behind Your Walls Single (2022)
“Blackball”The Offspring (1989)
“Bloodstains”Ready to Rumble Soundtrack (2000; Agent Orange cover)
“The Blurb”Baghdad (1991)
“Breaking These Bones”Let the Bad Times Roll (2021)
“Burn It Up”Ignition (1992)
“Call It Religion”5 Songs demo (1986)
“(Can’t Get My) Head Around You”Splinter (2003)
“Can’t Repeat”Greatest Hits (2005)
“Change the World”Ixnay on the Hombre (1997)
“Christmas (Baby Please Come Home)” – Single (2020)
“Come Out and Play”Smash (1994)
“Come Out Swinging”Conspiracy of One (2000)
“Coming for You” – Single (2015); Let the Bad Times Roll (2021)
“Conspiracy of One”Conspiracy of One (2000)
“Come to Brazil”Supercharged (2024)
“Cool to Hate”Ixnay on the Hombre (1997)
“Crossroads”The Offspring (1989)
“Cruising California (Bumpin’ in My Trunk)”Days Go By (2012)
“Da Hui”Splinter (2003)
“Dammit, I Changed Again”Conspiracy of One (2000)
“Days Go By”Days Go By (2012)
“Days Go By (You Will Find a Way)” – Unreleased (2012)
“Defy You”Orange County Soundtrack (2001)
“Demons”The Offspring (1989)
“Denial, Revisited”Conspiracy of One (2000)
“Dirty Magic”Ignition (1992; original); Days Go By (2012; re-recorded)
“Disclaimer”Ixnay on the Hombre (1997)
“Dividing by Zero”Days Go By (2012)
“Do What You Want”Summer Nationals (2014)
“Don’t Pick It Up”Ixnay on the Hombre (1997)
“Down” – Single (2018)
“D.U.I.”I Know What You Did Last Summer (1997)

(E-L)

“Elders”The Offspring (1989)
“The End of the Line”Americana (1998)
“The Fall Guy”Supercharged (2024)
“Feelings”Americana (1998)
“Fire and Ice”5 Songs demo (1986)
“Fix You”Rise and Fall, Rage and Grace (2008)
“Forever and a Day”Ignition (1992)
“The Future Is Now”Days Go By (2012)
“Genocide”Smash (1994)
“Get It Right”Ignition (1992)
“Get Some”Supercharged (2024)
“Gone Away”Ixnay on the Hombre (1997); Let the Bad Times Roll (2021, re-recorded)
“Gotta Get Away”Smash (1994)
“Guerre Sous Couvertures”Let the Bad Times Roll (2021, Japanese bonus track)
“Half-Truism”Rise and Fall, Rage and Grace (2008)
“Halloween”5 Songs demo (1986)
“Hammerhead”Rise and Fall, Rage and Grace (2008)
“Hand Grenades”Short Music for Short People (1999)
“Hanging By a Thread”Supercharged (2024)
“Hassan Chop”Let the Bad Times Roll (2021)
“Have You Ever”Americana (1998)
“Hey Joe”Baghdad (1991); The Offspring (1989, cassette-only bonus track)
“Hey Kitty Kitty” – Released on YouTube (2020)
“Hit That”Splinter (2003)
“Hopeless”Party Animal (1985)
“Huck It”Conspiracy of One (2000, Australian and European bonus track)
“Hurting as One”Days Go By (2012)
“Hypodermic”Ignition (1992)
“I Choose”Ixnay on the Hombre (1997)
“I Wanna Be Sedated”Why Don’t You Get a Job Single (1999, Ramones cover)
“I Wanna Secret Family (With You)”Days Go By (2012)
“I’ll Be Waiting”I’ll Be Waiting Single (1986); The Offspring (1989)
“Intermission”Ixnay on the Hombre (1997)
“In the Hall of the Mountain King”Let the Bad Times Roll (2021)
“Intro”Conspiracy of One (2000)
“It’ll Be a Long Time”Smash (1994)
“It’s Quick It’s Easy It’s The Law”6 Songs demo (1986)
“Jennifer Lost the War”The Offspring (1989)
“Kick Him When He’s Down”Ignition (1992)
“The Kids Aren’t Alright”Americana (1998)
“Kill the President”The Offspring (1989; removed in the 2001 reissue)
“Killboy Powerhead”Smash (1994, Didjits cover)
“Kristy, Are You Doing Okay?”Rise and Fall, Rage and Grace (2008)
“L.A.P.D.”Ignition (1992)
“Leave It Behind”Ixnay on the Hombre (1997)
“Let the Bad Times Roll”Let the Bad Times Roll (2021)
“Let’s Hear It for Rock Bottom”Rise and Fall, Rage and Grace (2008)
“Light It Up”Supercharged (2024)
“Lightning Rod”Splinter (2003)
“Living in Chaos”Conspiracy of One (2000)
“Long Way Home”Splinter (2003)
“Looking Out for #1”Supercharged (2024)
“A Lot Like Me”Rise and Fall, Rage and Grace (2008)
“Lullaby”Let the Bad Times Roll (2021)

(M-S)

“Make It All Right”Supercharged (2024)
“Me & My Old Lady”Ixnay on the Hombre (1997)
“The Meaning of Life”Ixnay on the Hombre (1997)
“Million Miles Away”Conspiracy of One (2000)
“Mission From God”Punk-O-Rama Vol. 10 (2005)
“Mota”Ixnay on the Hombre (1997)
“Neocon”Splinter (2003)
“Never Gonna Find Me”Splinter (2003)
“Next to You”Greatest Hits (2005, The Police cover)
“Nitro (Youth Energy)”Smash (1994)
“No Brakes”Americana (1998)
“No Control”Summer Nationals (2014, Bad Religion cover)
“No Hero”Ignition (1992)
“The Noose”Splinter (2003)
“Not the One”Smash (1994)
“Nothing from Something”Ignition (1992)
“Nothingtown”Rise and Fall, Rage and Grace (2008)
“OC Guns”Days Go By (2012)
“O.C. Life”Rise and Fall, Rage and Grace (2008, Japanese bonus track, D.I. cover)
“Ok, But This Is the Last Time”Supercharged (2024)
“One Fine Day”Conspiracy of One (2000)
“One Hundred Punks”Defy You Single (2001, Generation X cover)
“The Opioid Diaries”Let the Bad Times Roll (2021)
“Original Prankster”Conspiracy of One (2000)
“Out on Patrol”The Offspring (1989)
“Pay the Man”Americana (1998)
“Pretty Fly (for a White Guy)”Americana (1998)
“Prophecy”5 Songs Demo (1986, later became “Demons”)
“Race Against Myself”Splinter (2003)
“Rise and Fall”Rise and Fall, Rage and Grace (2008)
“Secrets from the Underground”Days Go By (2012)
“Self Esteem”Smash (1994)
“Session”Ignition (1992)
“Sharknado (Gigantor Theme)”Sharknado 4: The 4th Awakens Soundtrack (2016)
“She’s Got Issues”Americana (1998)
“Sin City”Million Miles Away Single (2001, AC/DC cover)
“Slim Pickens Does the Right Thing and Rides the Bomb to Hell”Days Go By (2012)
“Smash”Smash (1994)
“Smash It Up”Batman Forever Soundtrack (1995, The Damned cover)
“So Alone”Smash (1994)
“Something to Believe In”Smash (1994)
“Spare Me the Details”Splinter (2003)
“Special Delivery”Conspiracy of One (2000)
“Staring at the Sun”Americana (1998)
“Stuff Is Messed Up”Rise and Fall, Rage and Grace (2008)

(T-Z)

“Take It Like a Man”The Big One compilation (1991)
“Take It Like a Man”Ignition (1992)
“Takes Me Nowhere”Rise and Fall, Rage and Grace (2008)
“Tehran”The Offspring (1989)
“Totalimmortal”Me, Myself & Irene Soundtrack (2000, AFI cover)
“A Thousand Days”The Offspring (1989)
“This Is Not Utopia”Let the Bad Times Roll (2021)
“Time to Relax”Smash (1994)
“Tonight I Do”6 Songs Demo (1986)
“Trust in You”Rise and Fall, Rage and Grace (2008)
“Truth in Fiction”Supercharged (2024)
“Turning into You”Days Go By (2012)
“Vultures”Conspiracy of One (2000)
“Walla Walla”Americana (1998)
“Want You Bad”Conspiracy of One (2000)
“Way Down the Line”Ixnay on the Hombre (1997)
“We Are One”Ignition (1992)
“Welcome”Americana (1998)
“We Never Have Sex Anymore”Let the Bad Times Roll (2021)
“What Happened to You?”Smash (1994)
“When You’re in Prison”Splinter (2003)
“Why Don’t You Get a Job?”Americana (1998)
“The Worst Hangover Ever”Splinter (2003)
“You Can’t Get There From Here”Supercharged (2024)
“You’re Gonna Go Far, Kid”Rise and Fall, Rage and Grace (2008)

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

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Complete List Of The Offspring Songs From A to Z article published on Classic RockHistory.com© 2025

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“The lyrics were hastily written in the pub, hence the fact that it lacked a final verse”: Recorded in secret, Sweet’s Fox On The Run was given a second life by the Guardians Of The Galaxy

It’s 1974, and the members of Sweet are fed up. On paper their string of hits, including the previous year’s UK chart-topper Block Buster! and a run of No.2s (Hell Raiser, The Ballroom Blitz and Teenage Rampage) appears enviable, but the band are increasingly walled-in by a perception of them as just puppets of their songwriters Mike Chapman and Nicky Chin and producer Phil Wainman; indeed until Wig Wam Bam a couple of years earlier they’d had to battle to play on their own singles.

Having written the B-sides of those singles, Sweet were enjoying success as credible hard rockers in Germany, where their 1974 album Sweet Fanny Adams had briefly outsold Deep Purple’s Burn, but at home they remained viewed, as drummer Mick Tucker once put it so memorably, as “four dissipated old whores, mincing about on Top Of The Pops and churning out computerised pop”.

Tired of being fed inferior songs and tumbling down the pecking order on Chin and Chapman’s roster (which included Suzi Quatro and Mud), dissatisfaction boiled over as the songwriting pair, who were also Sweet’s managers, spent more and more time in California.

“They’d tried to pass us off with a couple of [sub-par] offerings, including Dyna-mite,” guitarist Andy Scott, remembers, referring to a song that Mud took into the top five, “but we needed something more in the vein of what we used to call ‘German marching songs’.”

Sweet – Fox On The Run – Top Of The Pops 13.03.1975 (OFFICIAL) – YouTube Sweet - Fox On The Run - Top Of The Pops 13.03.1975 (OFFICIAL) - YouTube

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The ditty that enabled Sweet to break free from ChinniChap (as the writers were known collectively) and also elude Wainman’s clutches already languished as an album track on Desolation Boulevard, the follow-up to Sweet Fanny Adams. Their record label, RCA, had recognised the potential of Fox On The Run, which, as Scott observes, “had been recorded [by Wainman] in the style of a live band”.

Although Sounds magazine later hailed Sweet Fanny Adams as “perhaps the finest collection of glam-metal mayhem ever laid down on vinyl”, the album – written mostly by the band – did not add to their tally of hits, so pressure was building.

“Just before Christmas [1974],” Scott recalls, “everybody just happened to be at my house when the managing director of RCA called to say: ‘We’re not getting the right answers from Mike and Nicky, but we really believe that Fox On The Run could be a hit’. And a week later we were in Ian Gillan’s studio, where nobody knew us; keeping things cloak and dagger was vital.”

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Although the song is credited to the entire group, really it was Scott’s baby. The subject matter was an unspecified groupie, hence the couplet: ‘You talk about just every band/But the names you drop are second-hand’.

“Those lyrics were hastily written in the pub before recording the song for the album, hence the fact that it lacked a final verse,” Scott says, laughing. “We vowed that when we re-recorded it we would re-write the words, but never did.”

Sweet – Fox On The Run – 45 (OFFICIAL) – YouTube Sweet - Fox On The Run - 45 (OFFICIAL) - YouTube

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As a “budding producer”, Scott oversaw the session (but again the label said: ‘Produced by Sweet’). His primary goal was to sex up the track for radio. In the end, however, the guitarist actually added an element that would prove crucial: “The rest of the band had gone to the pub when I incorporated that pulse-type synthesiser sound at the start and stuck it onto the end as well,” he remembers. “Everyone loved it.”

RCA rush-released the reboot of Fox On The Run without bothering to notify Chinn and Chapman, who promptly jumped onto a plane back to England.

“Mike’s words: ‘Well, you’ve finally done it, haven’t you?’ were the best compliment anyone could have paid me,” a smiling Scott says now.

Subsequent albums would see Sweet relish their independence, and despite upping the hard rock quota the flow of hits continued for quite a while, although singer Brian Connolly’s growing alcoholism led to him being fired in 1979.

Fox On The Run has been covered by, among others, the Red Hot Chili Peppers, Girlschool, Sweet Savage and the Scorpions (in German). Thanks also to exposure in films, Sweet’s singles are now enjoying a dramatic upturn in popularity. In 2016 The Ballroom Blitz featured in the film Suicide Squad, and Fox being even in just a trailer for Guardians Of The Galaxy Vol 2 generated such a surge in online sales that it topped the iTunes Top 40 US Rock Song chart.

The original version of this feature appeared in Classic Rock in 2017.