“!Franchesckaar!” – 14 (2008) “1 Night” – Mura Masa (2017) “100 Bad” (Remix) – Tommy Genesis (2018) “14” – 14 (2008) “1999” – Charli (2019) “2 Die 4” – AR (2023) “2099” – Charli (2019) “360” – Brat (2024) “365” – Brat (2024) “3AM (Pull Up)” – Number 1 Angel (2017) “5 in the Morning” – Non-album single (2018) “7 Years” – how i’m feeling now (2020) “911” (Remix) – Dawn of Chromatica (2021) “After the Afterparty” – Non-album single (2016) “Alcoholic” – 14 (2008) “Ali” – Unreleased “Angry All the Time” – Unreleased “Anthems” – how i’m feeling now (2020) “Apple” – Brat (2024) “Atomic” – Unreleased
(B)
“B2B” – Brat (2024) “Baby” – Crash (2022) “Babygirl” – Number 1 Angel (2017) “Backseat” – Pop 2 (2017) “Bad Tattoo” – Unreleased “Bang Bang” – Non-album single (2016) “Be Right Here” – Non-album single (2018) “Beg for It” – Reclassified (2014) “Beg for You” – Crash (2022) “Bel Air” – Unreleased “Black Roses” – True Romance (2012) “Blame It on U” – Number 1 Angel (2017) “Blame It on Your Love” – Charli (2019) “Block” – Candyland (2024) “Blow You Up” – Non-album single (2016) “Body of My Own” – Sucker (2014) “Boom Clap” – Sucker (2014) “Bounce” – Unreleased “Boyfriend Material” – Jersey (2014) “Boys & Girls” – Non-album single (2016) “Break the Rules” – Sucker (2014) “Breaking Up” – Sucker (2014) “Bricks” – Non-album single (2019) “Britpop” – Britpop (2024) “Bullets” – Soft Rock (2023)
(C)
“c2.0” – how i’m feeling now (2020) “Call Him” – Unreleased “Can You Hear Me” – Unreleased “Caught in the Middle” – Sucker (2014) “Charger” (Charli XCX Rework) – The Remixes (2021) “Chas’s Song” – Unreleased (2008) “Cherry Pie” – Unreleased “claws” – how i’m feeling now (2020) “Click” – Charli (2019) “Cloud Aura” – Super Ultra / True Romance (2012) “Club Classics” – Brat (2024) “Come to My Party” – Unreleased “Cold Nites (Remix)” – Super Ultra (2012) “Constant Repeat” – Crash (2022) “Crash” – Crash (2022) “Crazy Crazy” – Digital Native (2017) “Cross You Out” – Charli (2019)
(D)
“Dance 4 U” – Super Ultra (2012) “Dance for Me” – Heavy Rules Mixtape (2018) “Deadstream (Rostam Version)” – It’s Jim-ee (2017) “Delicious” – Pop 2 (2017) “Destiny’s Child” – Unreleased “detonate” – how i’m feeling now (2020) “Diamonds” – Déjà Vu (2015) “Die Tonight” – Sucker (2014) “Dirty Sexy Money” – 7 (2017) “DIV” – Unreleased “Doing It” – Sucker (2014) “Drama” (Remix) – Good Luck (Deluxe Edition) (2021) “Dream Glow” – BTS World: Original Soundtrack (2019) “Dreamer” – Number 1 Angel (2017) “Dreams Money Can Buy” – Heartbreaks and Earthquakes (2012) “Drop That Kitty” – Non-album single (2015) “Drugs” – Number 1 Angel (2017) “Drum” – Non-album single (2016)
(E)
“Emotional” – Number 1 Angel (2017) “End of the World” – Non-album single (2011) “Enemies” – Unreleased “enemy” – how i’m feeling now (2020) “Every Rule” – Crash (2022) “Everything Is Romantic” – Brat (2024) “Explode” – The Angry Birds Movie (Original Motion Picture Soundtrack) (2016) “Eyes Wide” – Unreleased
(F)
“Famous” – Sucker (2014) “Fancy” – The New Classic (2014) “February 2017” – Charli (2019) “Flash Pose” – 111 (2019) “Float On” – Old (2013) “Focus” – Non-album single (2018) “forever” – how i’m feeling now (2020) “Forgiveness” – Super Ultra (2012) “Four by Four” – Unreleased “Friends” – In the End It Always Does (2023) “Friss Meine Shorts” – Unreleased “Fruit Salad” – Unreleased
(G)
“Genjitsu Camera” – Unreleased (2021) “Girl, So Confusing” – Brat (2024) “Girls Like Us” – Fancy You (2019) “Girls Night Out” – Non-album single (2018) “Glow” – Super Ultra (2012) “Gold Coins” – Sucker (2014) “Gone” – Charli (2019) “Good Girls” – Unreleased “Good Ones” – Crash (2021) “Got No Love” – Unreleased “Gravity” – Pollinator (2017) “Grins” – Heartbreaks and Earthquakes / True Romance (2012) “Guess” – Brat and It’s the Same but There’s Three More Songs So It’s Not (2024)
(H)
“Hand in the Fire” – All Wet (2015) “Hanging Around” – Sucker (2014) “Hard 2 Love” – Unreleased “Haunt” – Unreleased “Heal My Heart” – Unreleased “Heatwave” – Super Ultra (2012) “Heavy” – Soft Rock (2023) “Hell Yeah Baby” – Unreleased “Hello Goodbye” – Brat and It’s the Same but There’s Three More Songs So It’s Not (2024) “Her Body” – The Movie (2021) “Here to Stay” – Unreleased “High Maintenance” – Unreleased “Hot Girl” – Bodies Bodies Bodies (2022) “Hot in It” – Drive (2022) “How Can I” – Heartbreaks and Earthquakes / True Romance (2012) “How Can I Not Know What I Need Right Now” – Crash (2022) “Hurts Like Hell” – Non-album single (2018)
(I)
“I Don’t Care” – Unreleased “I Don’t Wanna Know” – Charli (2019) “i finally understand” – how i’m feeling now (2020) “I Got It” – Pop 2 (2017) “I Love It” – Icona Pop (2012) “I Might Say Something Stupid” – Brat (2024) “I Think About It All the Time” – Brat (2024) “I Wanna Be with You” – Unreleased “I Wish” – Unreleased “I’ll Teach You a Lesson” – Unreleased (2008) “I’m a Dream” – Bicycle (2017) “I’m Not Sorry” – Unreleased “I, U, Us” – Second (2016) “If It’s Over” – Forever Neverland (2018) “Illusions” – Unreleased “ILY2” – Number 1 Angel (2017) “In the City” – Non-album single (2023)
(J-L)
“Jealous” – I Remember (2016) “Joan of Arc” – Non-album single (2017) “Jungle” – Unreleased “Just Desserts” – Non-album single (2013) “Kingdom” – The Hunger Games: Mockingjay, Part 1 (2014) “Ladder” – Unreleased “Leave Me” – Unreleased (2008) “Light It Up” – Unreleased “Lightning” – Crash (2022) “Like This” – Unreleased “Lipgloss” – Number 1 Angel (2017) “Live Forever” – Season 1 (2019) “Live Life” – Unreleased (2008) “Lock You Up” – Heartbreaks and Earthquakes / True Romance (2012) “London Queen” – Sucker (2014) “Love Gang” – Non-album single (2017) “Lucifer” – Britpop (2024) “Lucky” – Pop 2 (2017) “Lucy” – Unreleased (2008)
“It got bad because it just turned into this weird dark thing. It became cloak and dagger shit”: Toto’s Steve Lukather on how cocaine took over Los Angeles in the 1980s
(Image credit: Alex Solca)
Toto guitarist Steve Lukather has spoken about how he was turned onto cocaine. Lukather was speaking with The Daily Telegraph in advance of Toto’s UK tour, which began on Saturday at the OVO Hydro in Glasgow, Scotland.
“It was unbelievable how [cocaine] overtook the city,” Lukather tells The Telegraph. “I didn’t even realise what was going on. I didn’t realise why there were five guys in the bathroom stall. I didn’t understand. I’d walk into the bathroom to take a leak and there’s all these guys in the stall. ‘Hey, what the fuck are you guys doing in there?’ ‘Nothing man, nothing kid.’
“And then one night, two in the morning, I’m going, ‘I’ve got a 10am [session], how am I fucking going to get through this?’ And some guy goes, ‘Come here man, have some of this’. And I go, ‘Oh man, it’s drug shit’… but they sold me the whole lot. They sold us all the lies: it’s not addictive, it’s better than coffee, it’s no problem.
“And all my heroes were doing it so I said, ‘Okay’. And it started out fine… but it got bad because it just turned into this weird dark thing. It became cloak-and-dagger shit… It was the addiction thing that people lied to us about.”
Toto frontman Bobby Kimball was fired by the band in 1984 during the recording of Isolation, the follow-up to 1982’s enormously successful Toto IV album, reportedly because he’d attempted to sell drugs to an undercover police officer. Others maintain that Kimball was let go because his cocaine use was negatively impacting his studio work.
“The bottom line was Bobby couldn’t sing,” keyboardist Steve Porcaro told Classic Rock in 2015. “I stayed up all night. We all did. The next day my throat would be like ribbons. But I didn’t have to sing. Bobby had to, and he just wasn’t delivering.”
Elsewhere in the interview, Lukather remembers his first impressions of punk fashion, reveals why he’s stopped dying his hair, and looks back on the continued, generation-straddling success of Africa.
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The next show on Toto’s Dogs Of Oz tour takes place at Manchester’s AO Arena on February 4. Full dates below.
Toto: Dogs Of Oz Tour 2025
Feb 04: Manchester AO Arena, UK Feb 05: London Wembley Arena, UK Feb 07: Brussels Forest National, Belgium Feb 08: Arnhem GelreDome, Netherlands Feb 10: Esch Alzette Rockhal, Luxembourg Feb 11: Lille Zénith, France Feb 12: Paris Zénithm, France Feb 14: Lyon-Décines LDLC Arena, France Feb 15: Geneva Geneva Arena, Switzerland Feb 16: Zurich Hallenstadion, Switzerland Feb 18: Stuttgart Porsche Arena, Germany Feb 19: Dusseldorf Mitsubishi Electric Halle, Germany Feb 21: Horsens Forum Horsens, Denmark Feb 22: Copenhage Royal Arena, Denmark Feb 25: Oslo Spektrum, Norway Feb 26: Gothenburg Scandinavium, Sweden Feb 28: Helsinki Espoo Metro Arena, Finland Mar 02: Tampere Nokia Arena, Finland
Apr 16: Melbourne John Cain Arena, Australia Apr 18: Byron Bay Bluesfest, Australia Apr 19: Sydney ICC Theatre, Australia Apr 23: Auckland Spark Arena, New Zealand Apr 24: Wellington TSB Arena, New Zealand Apr 26: Christchurch Wolfbrook Arena, New Zealand
Jul 18: West Palm Beach iTHINK Financial Amphitheatre, FL Jul 19: Tampa MIDFLORIDA Credit Union Amphitheatre, FL Jul 21: Birmingham Coca-Cola Amphitheater, AL Jul 22: Alpharetta Ameris Bank Amphitheatre, GA Jul 24: Burgettstown The Pavilion at Star Lake, PA Jul 25: Holmdel PNC Bank Arts Center, NJ Jul 26: Boston Leader Bank Pavilion, MA Jul 28: Gilford BankNH Pavilion, NH Jul 30: Bridgeport Hartford HealthCare Amphitheater, CT Aug 01: Atlantic City Hard Rock Live at Etess Arena, NJ Aug 03: Cincinnati Riverbend Music Center, OH Aug 05: St. Louis Hollywood Casino Amphitheatre, MO Aug 06: Noblesville Ruoff Music Center, IN Aug 08: Cuyahoga Falls Blossom Music Center, OH Aug 09: Tinley Park Credit Union 1 Amphitheatre, IL Aug 11: Clarkston Pine Knob Music Theatre, MI Aug 13: Bristow Jiffy Lube Live, VA Aug 14: Charlotte PNC Music Pavilion, NC Aug 15: Nashville Ascend Amphitheater, TN Aug 17: Oklahoma City The Zoo Amphitheatre, OK Aug 18: Irving The Pavilion at Toyota Music Factory, TX Aug 21: Phoenix Arizona Financial Theatre, AZ Aug 23: Las Vegas Fontainebleau, NV Aug 24: Inglewood Kia Forum, CA Aug 25: Concord Toyota Pavilion at Concord, CA Aug 27: Salt Lake City Utah First Credit Union Amphitheatre, UT Aug 29: Puyallup Washington State Fair, WA Aug 30: Ridgefield Cascades Amphitheater, WA
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
Feature Photo: Mercury Records, Public domain, via Wikimedia Commons
There’s a certain magic to Thin Lizzy’s catalog—an electrifying mix of razor-sharp riffs, poetic storytelling, and a rhythm section that hits with the force of a speeding train. While some bands defined themselves by excess, Thin Lizzy made their mark through precision, crafting anthems that demand to be played at full volume. Whether it’s the swagger of a streetwise hustler, the tension of an outlaw on the run, or the camaraderie of a gang returning to town, their music thrives in the space between melody and muscle, blending rock, blues, and Celtic influences into a sound entirely their own.
The songs on this list aren’t just essential Thin Lizzy tracks—they are the ones built for maximum impact, the kind that ignite a crowd or turn a quiet room into a makeshift concert. From Phil Lynott’s evocative lyricism to the band’s legendary twin-guitar attack, each track carries its own brand of intensity, whether it’s the thunderous energy of “Jailbreak” or the razor-edged urgency of “Cold Sweat.” These are the moments where Thin Lizzy wasn’t just making music—they were making statements, commanding attention with every note.
To turn these songs down would be a disservice. This is Thin Lizzy at their loudest, most exhilarating, and most undeniable.
# 10 – Whiskey In The Jar – Vagabonds of the Western World
Thin Lizzy’s electrified take on the traditional Irish folk song “Whiskey in the Jar” became an unexpected breakthrough for the band, propelling them into the mainstream. Recorded in 1972 and released as a stand-alone single before appearing on Vagabonds of the Western World in 1973, the song showcased the group’s ability to fuse Celtic heritage with hard rock. Produced by Nick Tauber and recorded at De Lane Lea Studios in London, the track features Phil Lynott’s emotive vocals, Eric Bell’s fluid guitar work, and Brian Downey’s steady drumming. The song climbed to number six on the UK Singles Chart and topped the Irish charts, cementing Thin Lizzy’s reputation far beyond their Dublin roots.
Lyrically, “Whiskey in the Jar” tells the tale of a highwayman betrayed by his lover, a story that had been passed down through generations in Irish folk tradition. Lynott’s delivery adds layers of anguish to lines such as, “I took all of his money and it was a pretty penny”, emphasizing the doomed outlaw’s fatal greed. The betrayal cuts deeper as he laments, “I first produced my pistol and then produced my rapier,” setting the stage for the song’s tragic turn. This lyrical storytelling, combined with the band’s dynamic instrumentation, gave the track a sense of urgency absent from its more traditional renditions. While Thin Lizzy’s version retained the melody’s folk roots, the soaring electric guitar lines and Lynott’s distinct phrasing transformed the song into something uniquely their own.
Despite its success, “Whiskey in the Jar” did not fully represent the direction Thin Lizzy would later take. The song’s folk-rock feel contrasted with the twin-guitar attack that would define albums like Jailbreak, yet its impact was undeniable. Other Thin Lizzy songs on this list showcase the band’s signature sound, but “Whiskey in the Jar” remains their most widely recognized hit, later covered by Metallica in 1998. It introduced audiences to the band’s ability to reinterpret tradition with a modern edge, making it a perfect song to turn up to eleven.
# 9 – Cowboy Song – Jailbreak
Thin Lizzy captured the restless spirit of the open road with “Cowboy Song,” a track that blends their signature hard rock sound with an evocative Western narrative. Featured on Jailbreak, the band’s 1976 breakthrough album, the song was recorded at Ramport Studios in London and produced by John Alcock. Phil Lynott, the band’s bassist and primary songwriter, penned the lyrics alongside guitarist Brian Robertson, crafting a tale of a wandering cowboy searching for meaning beyond the horizon. Lynott’s smooth yet impassioned vocal delivery, combined with the twin-guitar interplay of Robertson and Scott Gorham, created a track that seamlessly balances melodic storytelling with driving rock energy.
Lyrically, “Cowboy Song” follows a weary drifter who finds solace in movement, a theme reinforced by lines like “I am just a cowboy, lonesome on the trail” and “Sometimes at night, I see their faces, I feel the traces they left on my soul.” Lynott’s poetic phrasing paints a vivid picture of solitude, longing, and the weight of memories that accompany a life in constant motion. The song’s structure mirrors this journey, starting with a reflective acoustic intro before launching into an explosive, galloping riff that propels the track forward. As the song reaches its climax with the repeated cry of “Roll me over and turn me around”, it embodies the relentless pursuit of freedom that defines both the cowboy’s life and the rock ‘n’ roll ethos of Thin Lizzy.
Musically, “Cowboy Song” is an essential piece of Jailbreak, standing alongside other high-energy anthems that make the album a defining moment in the band’s career. The seamless guitar harmonies of Robertson and Gorham elevate the track, foreshadowing the dueling lead style that would influence countless hard rock and metal acts. Compared to other Thin Lizzy songs on this list, “Cowboy Song” leans heavily into storytelling, making it one of the most cinematic tracks in their catalog. Its infectious energy and powerful narrative make it a song built to be played at full volume, earning its place among the Thin Lizzy songs that demand to be turned up to eleven.
# 8 – Johnny the Fox Meets Jimmy the Weed – Johnny The Fox
With a groove that snakes through the speakers and a storyline that plays out like a crime drama, “Johnny the Fox Meets Jimmy the Weed” is one of Thin Lizzy’s most compelling narrative-driven songs. Recorded in the summer of 1976 at Ramport Studios in London and produced by John Alcock, the track appears on Johnny the Fox, an album written largely while Phil Lynott was recovering from a bout of hepatitis. The lineup featured Lynott on bass and vocals, Scott Gorham and Brian Robertson on guitars, and Brian Downey on drums, creating the tight yet fluid instrumentation that gives the song its distinctive swagger.
Lynott’s lyrics paint a vivid picture of a streetwise hustler and his smooth-talking counterpart, with lines like “Johnny the Fox he called to Jimmy the Weed / He said ‘Hey man, I know your name’” setting the tone for a shady backroom deal. The song’s underworld setting is enhanced by imagery such as “Tuned into and listen to the voodoo Rhythm Devils / Around the Bay,” giving it an almost mystical aura. The reference to “the beating drum for the lonely one” adds a sense of inevitability, as if the song’s characters are caught in a cycle of crime and deception they can’t escape. This storytelling element, mixed with the band’s signature twin-guitar attack, makes it a perfect track to crank up, standing alongside other high-energy selections on this list.
Comparing “Johnny the Fox Meets Jimmy the Weed” to “Bad Reputation,” both songs showcase Lynott’s ability to craft tales of rebellious figures, though this track leans more into noir-style storytelling, while “Bad Reputation” is a more straightforward rock anthem. The song’s laid-back yet sinister groove also contrasts with the upbeat, saxophone-driven energy of “Dancing in the Moonlight,” showing Thin Lizzy’s versatility. Though it was never released as a single, “Johnny the Fox Meets Jimmy the Weed” remains a deep cut that resonates with fans who appreciate Lynott’s knack for blending street poetry with rock and roll muscle.
# 7 – Chinatown – Chinatown
Blazing forward with an aggressive edge, “Chinatown” is a no-holds-barred rocker that captures Thin Lizzy’s ability to combine streetwise storytelling with an electrifying twin-guitar attack. Released in 1980 as the title track to Chinatown, the song marked a transitional period for the band, introducing guitarist Snowy White alongside longtime members Phil Lynott, Scott Gorham, and Brian Downey. The album was recorded at Good Earth Studios in London, with Lynott taking on production duties alongside Kit Woolven. Though the record didn’t reach the commercial heights of previous Thin Lizzy albums, it still charted respectably, hitting number seven in the UK and solidifying the band’s reputation for delivering high-energy rock anthems.
Lynott’s lyrics paint a dark and ominous picture of a dangerous underworld, warning, “Man, you don’t stand a chance if you go down in Chinatown.” The repetition of that phrase throughout the song reinforces the idea of an unforgiving environment where survival is anything but guaranteed. Lines like “Living and dying, there is no release” and “There is no relief, there is no beliefs” add to the song’s fatalistic tone, making it one of the grittier entries in the Thin Lizzy catalog. Compared to “Johnny the Fox Meets Jimmy the Weed,” which also tells a story of urban crime, “Chinatown” leans more into paranoia and doom rather than the slick confidence of a street hustler.
Musically, “Chinatown” is driven by a relentless rhythm section and fierce guitar interplay, a hallmark of the band’s sound. While the song’s structure is more straightforward than “Bad Reputation,” it carries a sense of urgency that makes it an essential track to turn up to eleven. The addition of Snowy White gave Thin Lizzy a slightly different dynamic, but the song still exudes the raw energy that had been their signature throughout the ’70s. Though it wasn’t released as a single, “Chinatown” remains a deep cut that showcases Lynott’s ability to merge storytelling with hard-hitting rock.
# 6 – Rosalie – Fighting
“Rosalie” is a powerhouse in Thin Lizzy’s catalog, blending their signature twin-guitar attack with a high-energy tribute to a legendary radio tastemaker. Originally written by Bob Seger and recorded for his 1973 album Back in ’72, Thin Lizzy reworked the song for their 1975 album Fighting, adding a harder edge that transformed it into one of their most electrifying live staples. The album was recorded at Olympic Studios in London, produced by Phil Lynott and Nick Tauber, and marked a turning point for the band as they refined their sound into the twin-guitar-driven rock that would define their career.
Lyrically, “Rosalie” pays homage to Rosalie Trombley, the influential music director of CKLW, a Windsor, Ontario radio station that helped break countless artists in North America. The song captures her power in the music industry, with lines like “She got the power, the teen queen, Rosalie”, highlighting her ability to make or break careers. The repeated chorus reinforces her dominance in the industry, as Lynott sings “She knows music, I know music too, you see”, acknowledging her deep knowledge and impact. The reference to “From Chattanooga to good old Booga Loosa, you can hear her fine” further cements her reach, demonstrating her influence beyond just one region. Compared to the storytelling grit of “Johnny the Fox Meets Jimmy the Weed,” this track is more celebratory, exalting a figure in music rather than depicting the dangers of street life.
Musically, Thin Lizzy’s version of “Rosalie” is more aggressive and dynamic than Seger’s original, thanks to the dueling guitar work of Scott Gorham and Brian Robertson, along with Lynott’s commanding vocal delivery. The track became a setlist staple, with a live version appearing on Live and Dangerous, where it took on an even more explosive presence. While it differs in tone from the dark atmosphere of “Chinatown,” it still carries the band’s signature swagger, making it an essential Thin Lizzy song to turn up to eleven.
# 5 – Dancing In The Moonlight – Bad Reputation
Thin Lizzy brought an infectious groove to Bad Reputation with “Dancing in the Moonlight (It’s Caught Me in Its Spotlight),” a track that stands apart from the band’s hard-hitting rock anthems by embracing a smooth, almost jazz-infused rhythm. Recorded in 1977 at Toronto Sound Studios and produced by Tony Visconti, the song features Phil Lynott’s signature melodic bass playing alongside the twin guitar work of Scott Gorham and Brian Robertson. The track also benefits from the addition of a saxophone solo by Supertramp’s John Helliwell, giving it a unique sound within Thin Lizzy’s catalog.
Lynott’s lyrics capture the carefree exhilaration of youthful nights spent out under the city lights, with lines like “When I passed you in the doorway, well, you took me with a glance” painting the image of an impulsive, romantic encounter. Yet beneath the surface, there’s a bittersweet undercurrent, hinted at when he sings, “I should have took that last bus home, but I asked you for a dance.” The tension between youthful recklessness and the looming consequences of staying out too late adds depth to what might otherwise be a simple love song. The chorus, with its hypnotic repetition of “I can’t stop it now, it’s caught me in its spotlight,” reflects the intoxicating feeling of being completely lost in the moment, a theme that resonates across Thin Lizzy’s best tracks.
Compared to the driving energy of “Cowboy Song,” “Dancing in the Moonlight” takes a more relaxed approach, proving that Thin Lizzy was as adept at crafting groove-heavy rock as they were at delivering powerful guitar-driven anthems. The track charted at number 14 on the UK Singles Chart, making it one of the band’s most commercially successful songs.
# 4 – The Boys Are Back In Town – Jailbreak
No Thin Lizzy song commands attention quite like “The Boys Are Back in Town,” a track that became the band’s defining anthem and a rock radio staple. Released in 1976 as part of Jailbreak, the song was recorded at Ramport Studios in London and produced by John Alcock. Featuring Phil Lynott on bass and lead vocals, Scott Gorham and Brian Robertson on twin guitars, and Brian Downey on drums, the track encapsulates the band’s signature blend of hard rock swagger and melodic storytelling. Upon release, it became Thin Lizzy’s commercial breakthrough, reaching number 12 on the Billboard Hot 100 and number 8 on the UK Singles Chart.
The lyrics center around a rowdy group returning to their favorite haunt, painting images of a night filled with revelry and reunion. Lines like “Guess who just got back today? Them wild-eyed boys that had been away” set the stage for an electrifying homecoming, while “Friday night they’ll be dressed to kill” captures the anticipation of a long-awaited night out. Unlike the grit of “Chinatown” or the outlaw narrative of “Johnny the Fox Meets Jimmy the Weed,” this track thrives on sheer celebration, making it one of the most high-energy selections on the list. The song’s anthemic quality is amplified by the call-and-response structure of the chorus and the infectious guitar harmonies that solidified Thin Lizzy’s reputation as masters of the dual-guitar attack.
Critically, “The Boys Are Back in Town” remains one of Thin Lizzy’s most praised compositions. The song earned a Grammy nomination for Best Rock Performance by a Duo or Group with Vocal in 1977 and has since been included in countless lists of the greatest rock songs of all time. Its influence extends far beyond its initial release, appearing in films, commercials, and sporting events, making it a track that continues to resonate with new generations. Among the songs in this article, it stands as one of the most definitive examples of Thin Lizzy’s ability to craft larger-than-life rock anthems that demand to be played at full volume.
# 3 – Jailbreak – Jailbreak
When Thin Lizzy unleashed “Jailbreak” in 1976, they delivered more than just an adrenaline-charged rock anthem—it became a defining moment in their career. Recorded at Ramport Studios in London and produced by John Alcock, the track appeared on Jailbreak, the album that propelled the band into mainstream recognition. The lineup of Phil Lynott on bass and vocals, Scott Gorham and Brian Robertson on dual lead guitars, and Brian Downey on drums provided the signature Thin Lizzy sound, blending hard rock with cinematic storytelling. Upon release, “Jailbreak” gained traction on rock radio and helped the album reach number 18 on the Billboard 200. Though not released as a single in the U.S., it has since become one of the band’s most enduring songs.
Lyrically, “Jailbreak” captures the urgency of a prison break, with Lynott setting the scene in the opening line: “Tonight there’s gonna be a jailbreak somewhere in this town.” The song’s narrative unfolds with tension, warning “don’t you be around,” reinforcing the sense of rebellion and escape. The high-energy delivery aligns it with tracks like “The Boys Are Back in Town,” but whereas that song celebrates a rowdy homecoming, “Jailbreak” revels in danger and desperation. The lyrics’ outlaw imagery echoes the themes in “Johnny the Fox Meets Jimmy the Weed,” further cementing Thin Lizzy’s ability to weave streetwise storytelling into their hard-rock framework.
Critically, “Jailbreak” remains one of Thin Lizzy’s most recognized tracks, regularly appearing on classic rock playlists and compilations. Its heavy riff, coupled with Lynott’s charismatic vocal delivery, has made it a fan favorite at live shows. The song also inspired a music video featuring the band acting out the song’s storyline in a dystopian setting. Alongside other tracks on Jailbreak, it showcases the band’s ability to merge hard rock aggression with vivid lyricism, securing its place as a track that begs to be blasted at full volume.
# 2 – Cold Sweat – Thunder And Lightning
By the time Thin Lizzy released Thunder and Lightning in 1983, the band was embracing a heavier, more aggressive sound, and “Cold Sweat” epitomized that shift. Recorded at Lombard and Boathouse Studios in Dublin and produced by Chris Tsangarides, the track was one of the standout moments from the band’s final studio album. The lineup featured Phil Lynott on bass and vocals, Scott Gorham and the late John Sykes on guitars, Darren Wharton on keyboards, and Brian Downey on drums. Sykes, who had recently joined the band, played a key role in shaping the song’s hard-edged, almost proto-metal sound. “Cold Sweat” was released as a single and charted in the UK, reaching number 27, making it one of Thin Lizzy’s last hits before their dissolution.
The lyrics of “Cold Sweat” reflect a sense of urgency and risk-taking, fitting the song’s aggressive tone. Lynott delivers lines like “I got my money in a suitcase, and I’m ready to go” and “I got nothing to lose but my life,” which emphasize a life lived on the edge, a theme that had been present throughout Thin Lizzy’s catalog but took on a more reckless, desperate feel here. The song’s pounding rhythm and rapid-fire guitar work mirror the tension in the lyrics, creating a track that stands apart from the more melodic, storytelling-driven songs like “The Boys Are Back in Town” or “Rosalie.” Instead of celebrating camaraderie or adventure, “Cold Sweat” exudes a raw energy that aligns more closely with the album’s title.
Critically, “Cold Sweat” was praised for its intensity and for Sykes’ blistering guitar work, which foreshadowed his later success with Whitesnake. The song remains one of the heaviest in Thin Lizzy’s discography and is frequently cited as a highlight of Thunder and Lightning. Compared to earlier Thin Lizzy tracks, which often featured the band’s signature dual-guitar harmonies, “Cold Sweat” strips the sound down to a more straightforward, riff-driven attack. As one of the final defining moments of the band’s career, it captures Thin Lizzy at their most urgent, a song designed to be blasted at maximum volume.
# 1 – Bad Reputation – Bad Reputation
With relentless energy and a defiant attitude, “Bad Reputation” captures Thin Lizzy at their most rebellious. Recorded in May and June of 1977 at Toronto Sound Studios and produced by Tony Visconti, the track became the defining statement of the album of the same name. Phil Lynott’s commanding bass lines drive the song forward, while Scott Gorham’s fiery guitar work injects an urgency that perfectly complements the song’s unapologetic stance. Brian Downey’s precise drumming locks everything into place, underscoring the song’s raw power, though it’s notable that Brian Robertson, due to injuries, was largely absent from the recording process and did not contribute guitar parts.
Lynott’s lyrics reinforce the song’s untamed spirit, with lines like “You got a bad reputation, that’s the word out on the town” setting the tone for a narrative of someone who refuses to conform. The protagonist seems unbothered by the whispers and judgments of others, a theme emphasized in “It follows you around, just like a ghost,” suggesting that once a reputation is established, it’s nearly impossible to shake. However, there’s also an underlying sense of isolation in “You got a bad, bad reputation, but I don’t care what they say about you,” which adds depth by implying that, despite the rumors, someone is still willing to stand by them. The song’s lyrics, coupled with its hard-hitting instrumentation, make it a natural addition to this list of Thin Lizzy songs meant to be played at full volume.
In comparison to “Dancing in the Moonlight,” which leans into a smoother groove with its saxophone-infused sound, “Bad Reputation” is unfiltered rock aggression. It captures the same spirit of independence found in “Cowboy Song,” but instead of longing for escape, it confronts the outside world head-on. Though not released as a single, the song remains a fan favorite and a staple in the band’s live performances, further cementing Bad Reputation as one of Thin Lizzy’s defining albums.
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Before the fourth album, Katy Lied, Donald Fagen and Walter Becker had retained control of Steely Dan while the live band members were mostly replaced by session guys. One of the fresh hirings was a kid prodigy, Jeff Porcaro on drums. On the previous record, Pretzel Logic, they had outed themselves a major jazz fans, and so the new tunes had permission to experiment with wry chord changes, novel moods and Fagen’s twisted character studies.
He was at his best with Black Friday, the confessions of a white-collar felon, planning a financial heist and a hasty escape to Australia. There was a return to the landscapes of New York on Bad Sneakers, a moneyed freak on the streets of Manhattan, guessing that he’s set for a tragic end.
The record was produced in Los Angeles by Gary Katz. The tunes are rich and assured, bringing the listeners over the shiny, FM listening threshold. Often, the talent seems nonchalant. Doctor Wu starts modestly and then pulls out a splendid chorus from nowhere that entertains well.
Hindsight tells us that the record was front-loaded with big tunes and that side two is not so stellar. Fagen introduces a creepy figure for Everyone’s Gone to the Movies, planning his abuse against an expressly cheerful arrangement. Any World (That I’m Welcome To) is a study in disappointment and the yearning for a reboot. As such, it’s like a sketch for the exemplary Deacon Blue, two years later.
By 1975, Steely Dan had the capacity to be both inscrutable and popular, an enviable place to be. Walter Becker plays tremendous guitar, a practice he relegated on subsequent records. Katy Lied also marked the appearance of Michael McDonald on backing vocals, a sweet balance to Fagen’s careworn style. All of this would find perfect expression on the Aja album in 1977, but much of the adventure began here.
The quest for sonic perfection led Steely Dan to experiment with new audio formatting that went awry, stressing their deadline and causing the authors to be “mental puddles”, loath to actually listen to the final pressing. For this landmark vinyl reissue (apparently the first in 40 years), Fagen supervised the process. Hopefully, he liked the result.
Stuart Bailie is a journalist and broadcaster based in Belfast. He is the editor of the quarterly Dig With It magazine, and his work has appeared in NME, Mojo, Uncut, Q, The Times, The Sunday Times, The Mirror, The Irish Times, Classic Rock and Hot Press. He was Assistant Editor of NME from 1992 to 1996 and is the author of Philip Lynott: The Ballad of the Thin Man, Trouble Songs: Music and Conflict In Northern Ireland, and 75 Van Songs: Into the Van Morrison Songbook.
Jerry Cantrell kicked off his 2025 I Want Blood tour in Niagara Falls Friday night with a 17-song set largely devoted to his solo career.
The Alice in Chains star is supporting his recent solo album of the same name, and played five I Want Blood songs during the show, including the singles “Vilified” and “Afterglow.”
You can see the full set list and fan-shot video from the show below.
In addition to performing at least two songs from each of his previous three solo albums – 1998’s Boggy Depot, 2002’s Degradation Trip and 2021’s Brighten – Cantrell also played five Alice in Chains songs including “Them Bones,” “Would?” and a set-closing “Rooster.” He performed “Hate to Feel,” from 1992’s Dirt, for the first time in over 30 years.
The I Want Blood tour continues Saturday night at Sayreville, New Jersey’s Starland Ballroom and is currently scheduled to conclude on March 9 in Seattle. You can see the complete itinerary below.
Watch Jerry Cantrell Perform ‘Down in a Hole’
Jerry Cantrell Jan 31, 2025 Niagara Falls Set List
“Psychotic Break” “Them Bones” “Vilified” “Afterglow” “Atone” “Off the Rails” “Cut You In” “My Song” “I Want Blood” “Had to Know” “Down in a Hole” “Angel Eyes” “Hate to Feel” “Would?” “Brighten” “Hold Your Tongue” “Rooster”
Jerry Cantrell, ‘I Want Blood’ 2025 North American Tour Feb. 1 – Sayreville, NJ @ Starland Ballroom Feb. 2 – Portland, ME @ Aura Feb. 4 – Boston, MA @ Citizens House of Blues Boston Feb. 5 – New York, NY @ Irving Plaza Feb. 7 – Silver Spring, MD @ The Fillmore – Silver Spring Feb. 8 – Bensalem, PA @ Parx Xcite Center Feb. 11 – Huntington, NY @ The Paramount Feb. 12 – Norfolk, VA @ The NorVa Feb. 14 – Raleigh, NC @ The Ritz Feb. 15 – Atlanta, GA @ Buckhead Theatre Feb. 16 – Louisville, KY @ Mercury Ballroom Feb. 18 – Columbus, OH @ The Bluestone Feb. 19 – Indianapolis, IN @ Murat Egyptian Room at Old National Centre Feb. 22 – St. Louis, MO @ The Hawthorn Feb. 23 – Chicago, IL @ The Vic Theatre Feb. 25 – Tulsa, OK @ Tulsa Theater Feb. 26 – Houston, TX @ House of Blues Houston Feb. 27 – San Antonio, TX @ The Aztec Theatre March 1 – Mesa, AZ @ The Nile Theater March 2 – Las Vegas, NV @ House of Blues Las Vegas March 4 – Los Angeles, CA @ The Belasco March 5 – Ventura, CA @ The Majestic Ventura Theater March 7 – Spokane, WA @ Knitting Factory – Spokane March 8 – Portland, OR @ Wonder Ballroom March 9 – Seattle, WA @ Moore Theatre
In the years since Richie Sambora left Bon Jovi unexpectedly in 2013, it’s been guitarist Phil X, his replacement, who has had the duty of replicating some of the band’s most famous riffs.
After more than a decade, the philosophy to his approach remains a simple one. “There isn’t anything that’s really technically difficult as far as the guitar playing, but there’s an intended emotion that could be a challenge to capture,” he shares in an upcoming episode of the UCR Podcast. “A perfect example is the beginning of ‘Bed of Roses.’ Anybody can play those notes, but to play those notes right before Jon [Bon Jovi’s] voice [comes in with] that lyric, to capture that emotion [is important].”
“I knew I had to do it [that way]. It wasn’t like, ‘Oh, I can just learn it and play it.’ I thought, ‘No, I can’t just learn and play this part,” he explains. “This part means so much. It’s just the piano and a soaring guitar and it’s got to be the right tone and it’s got to be the right feel, kind of laid back in the beat. That kind of thing is a challenge sometimes, for sure. Some of the parts, singing and playing at the same time, that could be a little difficult.”
The guitarist says it’s important to be in the right zone. “You have to get into the music and you have to become a part of it. I always say that if Richie is on this side of the scope and Phil X is on the other side of the scope, there’s a guy in the middle that shows up and delivers every night,” he says. “Because I can’t do exactly what Richie does — and there’s an element [also] of too much Phil X. So they’re that way and this guy, he’s the one.”
Now that he’s spent so many years in the group, he’s very comfortable with the route he chose. “I think I made the correct decision and it’s all about respect,” he notes. “You have to respect the band. I respected Richie [with my choices]. You have to respect the songs — and the fans, man, of course! You can’t do a different solo in ‘Livin on a Prayer‘ or ‘Wanted Dead or Alive.’ You can’t change that. I do what the record did. Even later on, I’d listen to live versions and studio versions, the solo in ‘Born to Be My Baby‘ is amazing. Somehow, playing it for 30 years, when Richie was still around, he was changing the solo and he can do that, because he’s the original guy. But I was like, I’m not doing that, I’m doing the record! Because the record just spoke to me.”
Watch Bon Jovi Perform ‘Wanted Dead or Alive’
“I do get to spread my wings with songs like ‘Keep the Faith‘ live. There’s newer stuff like ‘This House is Not for Sale,’ we do a coda on stage and that’s a moment for me to just do what I do and be Phil X, which is really exciting,” he adds.” I get a lot of comments about it. You know, it’s really cool. They’re like, ‘Hey, it’s really cool to hear you stretch out.’ But still, when it’s time to do the job, you do the job.”
He’s celebrating the pending arrival of POW! Right in the Kisser, the latest album from Phil X and the Drills, which will be released on March 28. The explosive set of songs will be pleasing to fans who love hard rock, but there’s also material with more of a power pop vibe. The 11 tracks feature contributions from a variety of guest drummers, including legendary former Billy Joel drummer Liberty DeVitto, who came in to play on “Broken Arrow,” a song that the guitarist wrote while processing the news of the death of his friend, Soundgarden’sChris Cornell. Longtime collaborator and friend Tommy Lee of Motley Crue also makes an appearance on the new album and Phil is quick to praise his cohort, calling him “underrated.”
“The songs kept coming,” he says. “There are so many songs on this record that I wrote a long time ago that never got recorded. Then, I just kept writing.” His frequent travel and touring commitments with Bon Jovi, found him tapping different drummers to play on the songs as time progressed — including his bandmate, Tico Torres, who added his signature sound to “Find a Way” during an off day in Las Vegas.
Bon Jovi Tour Plans Will Affect His Solo Show Schedule
Time will reveal what his prospective touring plans might look like. Currently, Phil X and the Drills are set to play some dates in Texas once the record is released — and he hints that any possible commitments to Bon Jovi in 2025 will dictate the way the rest of his year unfolds. “I’m waiting for the the ‘other schedule’ to be [confirmed] anytime soon. Then, I’ll totally fill the gaps.”
Listen to Phil X & the Drills’ ‘Moving to California’
Totally ’80s: The Pictures That Take You Back
Take a nostalgic journey through the ’80s with these iconic photos—capturing the fashion, toys, and unforgettable news events that left a lasting impact on a generation. Keep scrolling to relive the moments that defined the decade.
Alice Cooper played his first show of 2025 Friday night, and welcomed a new guitarist to his band.
Former Guns N’ Roses star Gilby Clarke joined Cooper at the show. The shock rock legend’s longtime guitarist Nita Strauss is currently on a solo tour and taking a temporary break from the band. Former Cooper guitarist Orianthi was originally set to fill in for Strauss, but had to back out due to a series of injuries.
So Clarke stepped in to complete Cooper’s typical three-guitar attack, which also features longtime vets Ryan Roxie and Tommy Henriksen.
You can see the complete set list and fan-shot video from the show below.
The show opened with a brief version of “Lock Me Up” from 1987’s Raise Your Fist and Yell, followed by “Welcome to the Show” from 2023’s Road. He then quickly brought out the big guns, peeling off “No More Mr. Nice Guy,” “I’m Eighteen” and “Under My Wheels.”
Watch the Opening of Alice Cooper’s First 2025 Concert
Clarke later joined Roxie and Henricksen on an instrumental version of “Black Widow,” before the show concluded with the one-two punch of “School’s Out” and “Feed My Frankenstein.”
Watch Gilby Clarke, Ryan Roxie and Tommy Henricksen Play ‘Black Widow’
Alice Cooper Jan. 31, 2025 Augusta, Georgia Set List
“Lock Me Up” “Welcome to the Show” “No More Mr. Nice Guy” “I’m Eighteen” “Under My Wheels” “Bed of Nails” “Billion Dollar Babies” “Snakebite” “Be My Lover” “Lost in America” “He’s Back (The Man Behind the Mask)” “Hey Stoopid” “Welcome to My Nightmare” “Cold Ethyl” “Go to Hell” “Poison” “Black Widow” (instrumental) “Ballad of Dwight Fry” “Killer” “I Love the Dead” “School’s Out” “Feed My Frankenstein”
Def Leppard have released a cover version of Stand By Me, the soul classic that was originally a hit for Ben E. King in 1961. Proceeds from sales of the song will be donated to FireAid, the charity dedicated to rebuilding communities devastated by the Californian wildfires.
“Los Angeles and its surrounding area has always played a central role in Def Leppard’s career,” says frontman Joe Elliott, “from it being where some of us are based and it being our US hub for rehearsals, to being the city where we played our first-ever American gig.
“We feel blessed to be able to dedicate this song and give all the royalties to the amazing heroes in LA helping those affected by the fires. No better song.”
The concert also featured performances from a reunited No Doubt, Stevie Nicks, Green Day, Olivia Rodrigo, Sting, Lady Gaga and more.
The worst of the ongoing wildfires is the Palisades fire, which broke out on January 7 west of downtown Los Angeles, and is the third most destructive in Californian history. It has burned more than 23,400 acres but is now 98% contained. Overall, the fires are known to have killed 29 people and forced more than 200,000 to evacuate.
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“We touch on it, of course,” he told the UCR Podcast during a recent interview. “Right now, the goal is to honor this King Crimson music the best we can and play anywhere that’ll take us. But that has a shelf life, obviously. Because once you’ve toured the world with it, I wouldn’t want to go back out and tour the whole world again doing the same thing. Because there’s way too many things to do.”
Vai’s schedule alone speaks to just how much there is on their collective plate. Beat will reconvene in May for a short run of dates in Argentina, Chile and Brazil. As we spoke with him, he was reviewing video of the livestream the group did in Los Angeles this past October. “I’m listening through and working on [that] right now,” he shares. “We’re working to make [it] a video [for future release].”
He’s also celebrating the arrival of G3 Reunion Live, the new concert recordings that commemorate the 2024 tour dates which brought him back together with his longtime friends Joe Satriani and Eric Johnson to replicate the original lineup of G3 that first toured in 1996. The most recent live dates segued into further road work for Satriani and Vai, who revealed a new single last year, “The Sea of Emotion, Pt. 1” and plans for their first-ever collaborative album (a milestone, considering they had worked together for 50 years without ever teaming up in the studio).
But he was openly enthusiastic, talking about the perspective he’d gained looking at the livestream footage of the Los Angeles performance. “Adrian Belew is a totally unique artist,” Vai explains. “He has really great ears and intonation, but his ability to create unique sounds from a guitar and make them musical and appropriately fit them into a piece of music is quite amazing. I’d just marvel at him every night, you know, because he’s so different than anybody or anything I’ve ever co-created or worked with. Nobody’s like anybody else, really. But there’s nobody even in Adrian Belew’s playground. There’s nobody even trying.”
He has kudos for his other bandmates as well. “Tony, you’ve got to hear those parts. You have to listen to them in solo in order to realize that he’s playing what he’s playing. It’s just fantastic,” he says. “There’s so much personality [the way he plays the Chapman] Stick. All of the phrases, they have an attitude to them. And what a wonderful man, my goodness. It’s the same thing with Danny. I knew Tool and I was aware. I loved the music. There’s something very rich and deep in it. But Danny is a marvel. I mean, he can play all of the complex stuff. But the most remarkable things I would see him do was when he would solo. This is a guy that he just never repeated himself.”
The Challenges of Creating New Music as Beat
Vai is looking forward to what the future might hold, even if it takes a few moments to play out. “Going out there and playing this music was an evolution for us in the first place. So if we do it again, it would be nice to do something additional. So we talk about it. The challenge in my mind is the foundation of the band is a King Crimson kind of attitude,” he explains. “There’s all these accouterments that go into a King Crimson song. Now we’re not King Crimson because, you know, I’m not Robert Fripp and my musical mind works very differently. But I’m a fan. I understand and I know certain parameters of what might work in something that could work for Beat, but also not be too far removed from King Crimson.”
“So it’s a fun challenge. You know, way back years ago when Adrian first asked me [about joining the band], it created an idea in my head. It created an overview of the kind of music I might contribute to something like Beat,” he continues. “I immediately just started playing this riff, grabbed my iPhone and recorded it. It just sat on the shelf until Adrian got here, years later. I picked up my guitar and started playing it and he goes, “Alright, that’s it. Let’s keep that on the shelf.” So things like that work best when they happen organically. We’re hoping that will organically develop — and that’s just one riff that I’m talking about. You know, once you open the can of worms, everything’s going to start flowing. But right now, it’s just flowing in a different direction.”
Listen to Steve Vai on the ‘UCR Podcast’
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Feature Photo: Staffan Vilcans, CC BY-SA 2.0 , via Wikimedia Commons
Survivor is an American rock band formed in Chicago in 1978. With a career spanning several decades, the band has undergone various lineup changes while maintaining its signature sound. Their most well-known songs, such as “Eye of the Tiger,” became anthems of the 1980s, cementing their place in rock history. Over the years, Survivor has released multiple albums, with Eye of the Tiger (1982) being their most commercially successful release, thanks to its title track which gained worldwide recognition, especially after being featured in Rocky III. The band’s musical contributions go beyond their chart successes, influencing rock’s landscape in the ’80s. Survivor has seen both breakups and reunions, but despite these changes, they have continued to release music and perform for fans.
The members of Survivor have each contributed to the band’s evolution, with key individuals playing essential roles in the shaping of their sound and success. These musicians have diverse experiences, both within and outside of Survivor, and their work has helped define the band’s identity in rock music.
Frankie Sullivan
Frankie Sullivan is the founding member of Survivor, having joined the band in 1978 as the lead guitarist and backing vocalist. He was instrumental in the creation of the band’s sound, particularly through his songwriting, and his contributions are heavily featured in their biggest hits, such as “Eye of the Tiger.” Sullivan’s long tenure with the band spans from its inception until his departure in 1988, and his return in 1993 marked his continued involvement in Survivor’s musical direction until 2019. He played on every Survivor album, contributing to their signature hard rock sound, and his work on Eye of the Tiger was pivotal in defining the band’s success during the 1980s. Beyond Survivor, Sullivan has worked with various artists in the rock and pop scenes, producing and songwriting for several projects, but his most notable contribution remains his work with Survivor, which remains a lasting legacy.
Jim Peterik
Jim Peterik co-founded Survivor in 1978, contributing to the band’s distinctive sound with his roles as a keyboardist, rhythm guitarist, and backing vocalist. His collaboration with Frankie Sullivan in songwriting was a key factor in the band’s success, particularly with the iconic “Eye of the Tiger,” which he co-wrote. Peterik was a member of Survivor from its inception until 1988, and he briefly returned to the band in 1993, staying until 1996. He played a key role in the band’s albums Survivor (1980), Premonition (1981), and Eye of the Tiger (1982), bringing a mix of pop and rock sensibilities to their sound. After leaving Survivor, Peterik went on to achieve success with other projects, most notably the Ides of March and writing for bands like .38 Special, as well as a solo career that expanded his influence in the music industry.
Dave Bickler
Dave Bickler joined Survivor in 1978 as the lead vocalist and was a key part of the band’s early sound. His distinctive voice helped shape the band’s rock anthems, and his most memorable contribution was on the Eye of the Tiger album, where he provided the powerful lead vocals for the iconic title track. Bickler remained with the band until 1983, before leaving to pursue other musical endeavors. He returned to Survivor in 1993, where he remained a member until 2000, and later made a brief appearance in 2014 and 2015-2016, where he again provided co-lead vocals on select tracks. Bickler also enjoyed a successful solo career and worked with various artists, though his legacy remains most strongly tied to his work with Survivor, particularly his contribution to their defining hits.
Dennis Keith Johnson
Dennis Keith Johnson was the original bassist for Survivor, joining the band in 1978. He played a significant role in the band’s early years, contributing to their debut album Survivor (1980) and their follow-up Premonition (1981). Johnson’s bass playing helped to anchor the band’s rhythm section, providing the foundation for their hard rock sound. He was part of the lineup during the band’s rise to prominence with Eye of the Tiger, but left the band in 1981. After his time with Survivor, Johnson continued to work in various musical capacities but did not find the same level of commercial success that he enjoyed with Survivor. His early contributions remain an integral part of the band’s legacy.
Gary Smith
Gary Smith was the original drummer for Survivor, playing with the band from 1978 to 1981. He was part of the band during their formative years, contributing to the rhythm section of their debut album Survivor (1980) and Premonition (1981). Smith’s drumming helped define the band’s early sound, laying the groundwork for their later success with albums like Eye of the Tiger. After leaving Survivor in 1981, Smith’s drumming career continued, though he did not achieve the same level of fame that he did during his time with the band. His contributions during the band’s early years remain a significant part of Survivor’s development, and his time with the group helped shape their early musical identity.
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
