Some major names were turned away from Smashing Pumpkins‘ first Los Angeles show in 1991.
During a recent episode of his Magnificent Others podcast, frontman Billy Corgan reflected upon the landmark gig, which took place at a since shuttered club called English Acid.
“That was one of those gigs where we had been touring, doing the van thing. And this is like our first L.A. gig, English Acid,” Corgan recalled. “And all the intelligentsia of L.A. was there that night. And I know now because I’ve met everybody that was at that gig.”
The Smashing Pumpkins first LA show was such a hard ticket that even major rock stars couldn’t get in.
“So it’s sold out. And we’re at capacity, whatever, it’s 450 [people]. And all four members of R.E.M. show up. And they tell them, ‘Can’t get in,’” Corgan remembered. “So they turn all of R.E.M., all four of them, away from the door.”
Smashing Pumpkins’ Drummer Couldn’t Get Into Their First LA Show
R.E.M. weren’t the only ones battling with the doorman that night. Smashing Pumpkins drummer Jimmy Chamberlin almost didn’t make his own gig because security was so tough.
“So Jimmy Chamberlin shows up. And the guy’s like, ‘Sold out, can’t get in.’ And Jimmy goes, ‘But I’m the drummer of the Pumpkins,’” Corgan explained. “[The bouncer] goes, ‘Yeah, and I’m Jesus Christ.’ He couldn’t get in the gig. The guy wouldn’t let him in.”
While Chamberlin was struggling to get inside, the rest of the band was backstage wondering what was happening.
“We’re all in the dressing room. We’re like, ‘Where the fuck’s Jimmy? This is the biggest gig of our lives!’” Corgan admitted.
The drummer eventually made it inside and Smashing Pumpkins took the stage. According to Corgan, the anxiety of the situation ended up helping the band.
“It was one of those magical nights where we were on fucking point. Because I think we were so stressed out,” the singer explained. “L.A., the delay, the vibe, the typical L.A. staff treating you like crap. Because, you know, who cares who the fuck you are? … So by the time we got up, and I think we launched into ‘Shiva’ first off of Gish. It was like, all right, fuck you. Chicago time.”
Top 100 ’90s Rock Albums
Any discussion of the Top 100 ’90s Rock Albums will have to include some grunge, and this one is no different.
Feature Photo: Begoña from Errenteria, España, CC BY-SA 2.0 , via Wikimedia Commons
What began as a group of Cheshire teenagers covering punk songs in high school assembly halls would eventually evolve into one of the most genre-blurring and conversation-starting acts in modern British music. The 1975, formed in 2002 in Wilmslow, England, started as an afterschool hobby between friends Matty Healy, Adam Hann, Ross MacDonald, and George Daniel. Nearly a decade of writing, performing, and name changes followed before they settled on their final moniker and began officially releasing music in 2012 through the indie label Dirty Hit. That year saw a steady rollout of EPs—Facedown, Sex, Music for Cars, and IV—that laid the foundation for their genre-hopping blend of pop, rock, electronica, and R&B.
Their debut album, The 1975, arrived in September 2013 and debuted at number one in the UK. Propelled by the success of singles like “Chocolate,” “Sex,” and “Robbers,” the album introduced listeners to the band’s lyrical mix of romantic disillusionment, youthful chaos, and glossy indie-pop hooks. The album’s success positioned them as a serious force on both sides of the Atlantic and led to extensive international touring that rapidly expanded their fan base.
Their sophomore effort, I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It, released in 2016, was a bold stylistic leap. Combining ambient textures, gospel choirs, jazzy interludes, and ’80s-inspired synth-pop, the album debuted at number one in both the UK and the US. Songs like “Love Me,” “The Sound,” and “Somebody Else” dominated streaming platforms and radio, while the album earned critical acclaim and a Grammy nomination for Best Boxed or Special Limited Edition Package.
In 2018, the band raised the stakes with A Brief Inquiry into Online Relationships, a conceptually ambitious record that tackled everything from internet addiction to modern alienation. Its lead single, “Give Yourself a Try,” earned a Grammy nomination for Best Rock Song, while the full-length won British Album of the Year at the 2019 Brit Awards. Critics praised the album for its eclecticism and relevance, hailing it as a defining record of the digital age.
They followed up in 2020 with Notes on a Conditional Form, a sprawling and experimental project that further pushed genre boundaries with nods to UK garage, punk, orchestral arrangements, and ambient soundscapes. The album, delayed due to the pandemic, still debuted at number one in the UK but drew a more polarized response. Nonetheless, it reinforced their refusal to conform to pop expectations, showcasing the band’s restless creativity.
October 2022 saw the release of their fifth album, Being Funny in a Foreign Language, which tightened their scope and leaned into emotionally driven songwriting. Produced by Jack Antonoff, the record was met with acclaim for its cohesion and warmth. Tracks like “Part of the Band” and “I’m In Love With You” marked a return to more concise, melody-forward writing. The album debuted at number one in the UK and reaffirmed the band’s relevance and adaptability.
The 1975 have accumulated multiple Brit Awards, Ivor Novello Awards, and Grammy nominations, bolstered by their reputation as innovators in the space between alternative rock and mainstream pop. They’re known not only for their unpredictable albums but also for their theatrical live shows and outspoken frontman. Matty Healy, in particular, has become a polarizing figure—lauded for his willingness to address social and political topics in interviews and onstage, while also drawing criticism for controversial remarks.
Outside the studio, the band has supported causes ranging from environmentalism to mental health awareness, and they’ve frequently used their platform to promote activism. As of 2024, The 1975 have released five studio albums, all of which reached number one on the UK Albums Chart. They continue to tour internationally, blurring lines between high-concept art and chart-topping appeal with each new phase of their career.
Complete List Of The 1975 Songs From A to Z
102 – A Brief Inquiry into Online Relationships (Japanese Edition) – 2018
12 – The 1975 – 2013
A Change of Heart – I Like It When You Sleep… – 2016
A Change of Heart (Demo) – I Like It When You Sleep… (Target Edition) – 2016
About You – Being Funny in a Foreign Language – 2022
All I Need to Hear – Being Funny in a Foreign Language – 2022
All I Need to Hear (Demo) – Being Funny in a Foreign Language (Japanese Edition) – 2022
An Encounter – The 1975 – 2013
Anobrain – Music for Cars EP – 2013
Antichrist – Facedown EP – 2012
Bagsy Not in Net – Notes on a Conditional Form – 2020
Be My Mistake – A Brief Inquiry into Online Relationships – 2018
Chocolate – The 1975/Music for Cars EP – 2013
Chocolate (Jonas LR Remix) – The 1975 (iTunes Deluxe) – 2013
Don’t Worry – Notes on a Conditional Form – 2020
Facedown – Facedown EP – 2012
Fallingforyou – IV EP – 2013
Frail State of Mind – Notes on a Conditional Form – 2020
Girls – The 1975 – 2013
Give Yourself a Try – A Brief Inquiry into Online Relationships – 2018
Guys – Notes on a Conditional Form – 2020
Happiness – Being Funny in a Foreign Language – 2022
Haunt // Bed – IV EP – 2013
Having No Head – Notes on a Conditional Form – 2020
Head.Cars.Bending – Music for Cars EP – 2013
Heart Out – The 1975 – 2013
HNSCC – Music for Cars EP – 2013
How to Draw – I Like It When You Sleep… (Target Edition) – 2016
How to Draw / Petrichor – A Brief Inquiry into Online Relationships – 2018
Human Too – Being Funny in a Foreign Language – 2022
I Always Wanna Die (Sometimes) – A Brief Inquiry into Online Relationships – 2018
I Couldn’t Be More in Love – A Brief Inquiry into Online Relationships – 2018
I Like America & America Likes Me – A Brief Inquiry into Online Relationships – 2018
I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It – I Like It When You Sleep… – 2016
I Think There’s Something You Should Know – Notes on a Conditional Form – 2020
I’m in Love with You – Being Funny in a Foreign Language – 2022
If I Believe You – I Like It When You Sleep… – 2016
If You’re Too Shy (Let Me Know) – Notes on a Conditional Form – 2020
Inside Your Mind – A Brief Inquiry into Online Relationships – 2018
Intro/Set3 – Sex EP – 2012
Is There Somebody Who Can Watch You – The 1975 – 2013
It’s Not Living (If It’s Not with You) – A Brief Inquiry into Online Relationships – 2018
Jesus Christ 2005 God Bless America – Notes on a Conditional Form – 2020
Looking for Somebody (To Love) – Being Funny in a Foreign Language – 2022
Lostmyhead – I Like It When You Sleep… – 2016
Love It If We Made It – A Brief Inquiry into Online Relationships – 2018
Me & You Together Song – Notes on a Conditional Form – 2020
Me – Music for Cars EP – 2013
Menswear – The 1975 – 2013
Milk – Sex EP – 2012
Mine – A Brief Inquiry into Online Relationships – 2018
Nana – I Like It When You Sleep… – 2016
Nothing Revealed / Everything Denied – Notes on a Conditional Form – 2020
Oh Caroline – Being Funny in a Foreign Language – 2022
Paris – I Like It When You Sleep… – 2016
Part of the Band – Being Funny in a Foreign Language – 2022
People – Notes on a Conditional Form – 2020
Playing on My Mind – Notes on a Conditional Form – 2020
Please Be Naked – I Like It When You Sleep… – 2016
Pressure – The 1975 – 2013
Pressure (Artful Remix) – The 1975 (iTunes Deluxe) – 2013
Roadkill – Notes on a Conditional Form – 2020
Robbers – The 1975 – 2013
Settle Down – The 1975 – 2013
Settle Down (Dan Lissvik Remix) – The 1975 (iTunes Deluxe) – 2013
Sex – The 1975 – 2013
Sex (EP Version) – Sex EP – 2012
She Lays Down – I Like It When You Sleep… – 2016
She Way Out – The 1975 – 2013
She Way Out (Cid Rim Remix) – The 1975 (iTunes Deluxe) – 2013
She’s American – I Like It When You Sleep… – 2016
Shiny Collarbone – Notes on a Conditional Form – 2020
Sincerity Is Scary – A Brief Inquiry into Online Relationships – 2018
So Far (It’s Alright) – IV EP – 2013
Somebody Else – I Like It When You Sleep… – 2016
Streaming – Notes on a Conditional Form – 2020
Surrounded by Heads and Bodies – A Brief Inquiry into Online Relationships – 2018
Talk! – The 1975 – 2013
Talk! (Hackman Remix) – The 1975 (iTunes Deluxe) – 2013
The 1975 – The 1975 – 2013
The 1975 (2016 Version) – I Like It When You Sleep… – 2016
The 1975 (2018 Version) – A Brief Inquiry into Online Relationships – 2018
The 1975 (2020 Version) – Notes on a Conditional Form – 2020
The 1975 (2022 Version) – Being Funny in a Foreign Language – 2022
The Ballad of Me and My Brain – I Like It When You Sleep… – 2016
The Birthday Party – Notes on a Conditional Form – 2020
The City – The 1975 – 2013
The City (EP Version) – Facedown EP – 2012
The City (Single Version) – IV EP – 2013
The End (Music for Cars) – Notes on a Conditional Form – 2020
The Man Who Married a Robot / Love Theme – A Brief Inquiry into Online Relationships – 2018
The Sound – I Like It When You Sleep… – 2016
Then Because She Goes – Notes on a Conditional Form – 2020
This Must Be My Dream – I Like It When You Sleep… – 2016
Tonight (I Wish I Was Your Boy) – Notes on a Conditional Form – 2020
TooTimeTooTimeTooTime – A Brief Inquiry into Online Relationships – 2018
Ugh! – I Like It When You Sleep… – 2016
Undo – Sex EP – 2012
What Should I Say – Notes on a Conditional Form – 2020
When We Are Together – Being Funny in a Foreign Language – 2022
Wintering – Being Funny in a Foreign Language – 2022
Woman – Facedown EP – 2012
Yeah I Know – Notes on a Conditional Form – 2020
You – Sex EP – 2012
Albums/EPs
Facedown EP (2012): 4 songs
Sex EP (2012): 5 songs
Music for Cars EP (2013): 5 songs
IV EP (2013): 4 songs
The 1975 (2013): 16 studio tracks + 6 remixes
I Like It When You Sleep… (2016): 17 tracks + 2 bonus tracks
A Brief Inquiry into Online Relationships (2018): 15 tracks + 1 Japanese bonus track
Notes on a Conditional Form (2020): 22 tracks
Being Funny in a Foreign Language (2022): 11 tracks + 1 Japanese bonus track
Check out our fantastic and entertaining The 1975 articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Sammy Hagar’s new song, “Encore, Thank You,” Goodnight” has a title that suggests he might be thinking about a farewell tour. But think again, because it’s not about that.
“Well, there ain’t going to be a tour. I’m doing a residency, and it’s not a farewell residency,” he laughs in a new interview on the UCR Podcast, which you can listen to below. “But I must tell you, I’ve been hinting at this. I would never say I’m retiring, because I don’t know how to do that, number one, and I don’t want to do that, number two. I’d probably be lying if I said I was and did — and then I’d come back like everybody else. I don’t want to do all that. But I took the residency, which I’d been hesitant about playing the same place, same building, that many nights in a row, early on in my career. But now I love it.”
“I used to hate it when Van Halen played four nights at Madison Square Garden. I’m going, ‘Fuck, I gotta worry about what I said last night.’ You know, I don’t want to play the same songs and we don’t have time to rehearse. I’m one of those kind of guys. I’m very nervous about repeating myself. So a residency sounded like a nightmare for that. I said, ‘Man, we’ve got to play different songs every night,’ but now I’m going, well, if I don’t have to travel, I’ll be fresher, I’ll be able to eat better, I’ll be able to sleep better and I’ll be fresher for the shows. I think maybe it’s time for me to do that and see if that works. If that works, I can continue on.”
Hagar is Open to Further Residencies in Las Vegas
The Red Rocker’s Best of All Worlds Vegas residency kicks off April 30 and runs through May 17 and he says if all goes as planned, he’d love to do it again. He likes the idea of doing “two or three residencies a year,” but says the idea of a full tour is off the table, most likely. “I don’t want to do that to myself, my body and my voice,” he explains. “I’m too emotional. If I get sick and I have to cancel shows, fuck, I lay in bed and cry like a baby. I hate it. I feel so sorry for my fans. I care so much about my fans that I just don’t want to go on tour. Well, [people will say] if you care for your fans, you gotta go and play for me. Yeah, I know, but I care too much to go out there and maybe do a bad show or have to cancel. So the residency, fingers crossed, prayers that everything will be great and I’ll be happy and fresh when it’s over. I’ll feel like, ‘Man, I could do a couple more shows,’ not like when I come off tour and go, ‘I’m never going to do that again.’ So I’m telling you the truth that it’s not a farewell tour, and that’s the last thing [I’d ever want to do]. I would also say a farewell tour, those sound like a money grab to me. I would just do [a tour[ and then I would say bye after I did it.”
What’s Sammy’s New Song About?
Hagar first shared details regarding his latest single with UCR back in 2022, which at the time, had a working title of “Thank You.” Nearly three years later, he finished the track, now known as “Encore, Thank You, Goodnight.” Longtime collaborator Joe Satriani helped him to complete the song, which also features his former Van Halen bandmate Michael Anthony and drummer Kenny Aronoff. Satriani’s involvement was specific, because the song has its origins in a dream where Hagar says the late Eddie Van Halen appeared and showed him the lick that he ended up using as the basis for “Encore, Thank You, Goodnight.”
“I’ve been living with this song for two years. I sing it constantly. I wake up in the morning. I sing it. My wife sees me sitting on the couch, you know, with the guitar, singing the verses and the choruses,” he says. That’s all I had. I had verse/chorus/verse, but I didn’t have all of the lyrics. So after Joe wrote this unbelievable musical piece from it, the intro and the bridges, the exit and the solo section, oh my God. I mean, it’s so channeling Eddie. I can’t believe it. He and I decided to write it about the whole experience.”
The Charlie Daniels Band came straight out of the vibrant musical landscape of Wilmington, North Carolina. Charlie Daniels himself, born Charles Edward Daniels on October 28, 1936, grew up deeply influenced by gospel, bluegrass, country, and rhythm and blues. These early influences planted seeds that later blossomed into Daniels’ distinctive sound—a blend of Southern rock, country, and blues, driven by his unmistakable voice and virtuosic fiddle playing.
Daniels initially stepped into the spotlight as a Nashville session musician in the late 1960s, laying down tracks alongside prominent figures like Bob Dylan and Leonard Cohen. His significant contributions can be heard on Dylan’s influential albums Nashville Skyline and Self Portrait. This exposure gave him valuable experience and credibility within the industry, paving the way for his solo endeavors.
In 1970, Daniels released his debut solo album, simply titled Charlie Daniels, kicking off a prolific career. He subsequently formed the Charlie Daniels Band, whose debut album, Charlie Daniels Band, arrived in 1971. From that moment forward, the band consistently issued recordings, building a discography of over 30 studio albums. Their sound, a fusion of energetic fiddle, electric guitar riffs, and Daniels’ resonant vocals, resonated powerfully with fans across multiple generations.
The band’s breakthrough came with their 1973 album Honey in the Rock, featuring the single “Uneasy Rider,” a humorous narrative song that reached the Top 10 on the Billboard pop charts. However, the Charlie Daniels Band achieved iconic status in 1979 with their signature track, “The Devil Went Down to Georgia,” from the album Million Mile Reflections. This song not only soared to number one on the country charts but also crossed over significantly to pop audiences, peaking at number three on the Billboard Hot 100. The song’s storytelling prowess and electrifying fiddle duel narrative earned the band a Grammy Award for Best Country Vocal Performance by a Duo or Group.
Following that tremendous success, the band produced several other notable hits, including “In America,” a patriotic anthem released in 1980, and “Long Haired Country Boy,” which became an enduring classic thanks to its candid, unapologetic lyrics and Daniels’ charismatic performance. Albums like Fire on the Mountain (1974), Nightrider (1975), and Full Moon (1980) further cemented the band’s status in the realms of country and Southern rock.
Daniels himself received numerous accolades beyond the Grammy Award, notably his induction into the Grand Ole Opry in 2008. This honor underscored his profound influence on country music and validated his place among the genre’s most respected performers. Moreover, his induction into the Country Music Hall of Fame in 2016 further highlighted his lifelong dedication to and impact on American music.
Beyond the music, Charlie Daniels was deeply committed to charitable endeavors, particularly those supporting veterans and active-duty military personnel. Daniels co-founded The Journey Home Project, an organization dedicated to assisting veterans transitioning back into civilian life. His dedication to these causes went far beyond mere advocacy; Daniels personally organized benefit concerts and events, frequently visiting troops overseas to provide comfort and entertainment.
Daniels’ passion also extended into writing; he authored several books, including his memoir, “Never Look at the Empty Seats,” published in 2017. The memoir offered fans an intimate look into his remarkable life, career struggles, triumphs, and unwavering faith. The book was met with praise for its candid and insightful narrative, resonating deeply with his devoted following.
Throughout his life, Daniels remained fiercely dedicated to his Southern roots, often outspoken about his conservative values, patriotism, and religious faith. These themes not only shaped the lyrical content of his music but also endeared him to fans who appreciated his authenticity and conviction. Whether through song, speech, or action, Daniels consistently communicated his genuine commitment to the ideals he held dear.
Tragically, on July 6, 2020, Charlie Daniels passed away due to a hemorrhagic stroke at the age of 83. His death was deeply mourned across the music industry, a testament to the vast influence and enduring respect he commanded from fellow musicians and fans alike. Daniels’ funeral was a significant event, attended by notable figures from across the music industry and public life, reflecting the extensive impact he had made throughout his lifetime.
Ultimately, the Charlie Daniels Band remains beloved because their music encapsulates the spirit of American storytelling, resilience, and heart. Daniels himself was an emblematic figure—a skilled musician whose fiddle defined an era, a songwriter whose narratives were authentic and relatable, and a humanitarian whose generosity went beyond mere charity. These attributes, combined with a distinctive musical legacy, have ensured that the Charlie Daniels Band remains not just admired but revered in American music history.
Bryan Adams has announced the North American leg of his Roll With The Punches tour.
The Canadian leg of the schedule begins at the Sandman Centre in Kamloops, BC, on September 11 and wraps up on October 15 at the Mary Brown’s Centre in St. John’s. Adams then heads south for the first of his US dates at the Mohegan Arena in Uncasville, CT, on October 25, and brings things to a giddy climax on November 26 at the Target Center in Minneapolis, MN.
“I’m so thrilled to be announcing the North American leg of the Roll With The Punches Tour,” says Adams. “We’ll be playing all the classics, some deep cuts, and sharing some brand-new tracks from the forthcoming album.”
Support duties on the Canadian dates will be shared between fellow Canadians The Sheepdogs and Amanda Marshall, while Pat Benatar & Neil Giraldo will open the US shows.
Presales will begin on April 29 at 10am local time, with the general sale kicking off at the same time on May 2.
The North American dates are in addition to Adams’ ongoing European schedule, which includes a run of Bare Bones acoustic shows with pianist Gary Breit, before the European leg of the Roll With The Punches tour begins in the UK next month. Full dates below.
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Bryan Adams: The Bares Bones Tour
Apr 25: Inverness, Empire Theatre, UK Apr 27: Skopje Jane Sandanski Arena, Northern Macedonia Apr 28: Belgrade MTS DVORANA, Serbia Apr 29: Sofia Bulgaria Concert Hall, Bulgaria Apr 30: Bucharest Sala Palatului, Romania May 02: Tirana Palace of Congress, Albania
Bryan Adams: Roll With The Punches Tour 2025
May 08: Newcastle Utilita Arena, UK May 09: Manchester AO Arena, UK May 10: Leeds First Direct Arena, UK May 11: Aberdeen P&J Live, UK May 13: Glasgow OVO Hydro, UK May 15: London The O2, UK May 16: Liverpool M&S Bank Arena, UK May 17: Nottingham Motorpoint Arena, UK May 18: Birmingham BP Pulse Live, UK May 20: Dublin 3Arena, IRELAND May 21: Belfast The SSE Arena, UK May 23: Dublin 3Arena, IRELAND Jun 04: Alicante Area 12, Spain Jun 06: Pamplona Navarra Arena, Spain Jun 07: Avila Musicos en la Naturaleza 2025, Spain Jun 08: Merida Teatro Romando de Merida, Spain Jun 10: Malaga Auditorio Cortijo de Torres, Spain Jun 12: Santiago O Son de Camiño Festival, Spain Jun 14: Sierre Sierre Blues Festival, Switzerland Jun 18: Alesund SBM Arena, Norway Jun 20: Oslo Grefsenkollen, Norway Jun 22: Olpe Biggesee Open Air, Germany Jun 24: Tilburg Spoorpark Live, Netherlands Jun 25: Monchengladbach SparkassenPark, Germany Jun 27: Kunzelsau Wurth Open Air, Germany Jun 28: Werchter TWC Festival, Belgium Jun 29: Uelzen Open R Festival, Germany Jul 01: Kestenholz St. Peter at Sunset, Switzerland Jul 02: Fulda Domplatz, Germany Jul 04: Rattvik Dalhalla, Sweden Jul 05: Toreboda Torebodafestivalen, Sweden Jul 06: Helsingborg Sofiero Slott, Sweden Jul 25: Pompeii Anfiteatro Scavi Di Pompei, Italy Jul 27: Lucca Summer Festival, Italy Jul 29: Pula Pula Arena, Croatia Jul 30: Bratislava Nepala Arena, Slovakia Jul 31: Krakow Tauron Arena, Poland Aug 01: Hradec Kralove 360 Park, Czechia Aug 02: Klam Clam Castle, Austria Aug 03: Schwetzingen Schlosspark, Germany Aug 05: Halle PeiBnitzinsel, Germany Aug 06: Kuchwaldwiese Chemnitz, Germany Aug 08: Copenhagen Tivoli, Denmark Aug 09: Copenhagen Tivoli, Denmark Aug 12: Oulu Hall, Finalnd Aug 13: Helsinki Ice Hall, Finland Aug 14: Tallinn Tallinna Lauluvaljak, Estonia
Sep 11: Kamloops Sandman Centre, BC * Sep 12: Vancouver Rogers Arena, BC * Sep 13: Victoria Save On Foods Memorial Centre, BC * Sep 23: Prince George CN Centre, BC * Sep 24: Kelowna Prospera Place, BC + Sep 26: Calgary Scotiabank Saddledome, AB + Sep 27: Edmonton Rogers Place, AB * Sep 28: Regina Brandt Centre, SK * Sep 29: Winnipeg Canada Life Centre, MB * Oct 02: St. Catharines Meridian Centre, ON * Oct 03: Toronto Scotiabank Arena, ON* Oct 04: Ottawa Canadian Tire Centre, ON* Oct 05: Windsor Caesars, ON* Oct 07: Peterborough Peterborough Memorial Centre, ON * Oct 08: Montreal Bell Centre, QC* Oct 09: Quebec City Videotron Centre, QC* Oct 11: Moncton Avenir Centre, NB * Oct 12: Halifax Scotiabank Centre, NS * Oct 15: St. John’s Mary Brown’s Centre, NL*
Oct 25: Uncasville Mohegan Arena, CT ^ Oct 26: Boston TD Garden, MA ^ Oct 29: Philadelphia Wells Fargo Center, PA ^ Oct 30: New York Madison Square Garden, NY ^ Nov 01: Cleveland Rocket Arena, OH ^ Nov 02: Pittsburgh PPG Paints Arena, PA ^ Nov 03: Roset Allstate Arena, IL ^ Nov 05: Raleigh Lenovo Center, NC ^ Nov 06: Duluth Gas South Arena, GA ^ Nov 07: Nashville Bridgestone Arena, TN ^ Nov 09: Hollywood Hard Rock Live, FL ^ Nov 10: Tampa Amalie Arena, FL ^ Nov 13: Dallas American Airlines Center, TX ^ Nov 15: Phoenix PHX Arena, AZ ^ Nov 16: San Diego Viejas Arena, CA ^ Nov 18: Los AngelesKia Forum, CA ^ Nov 19: San Jose SAP Center, CA ^ Nov 21: Seattle Climate Pledge Arena, WA ^ Nov 22: Portland Moda Center, OR ^ Nov 24: Denver Ball Arena, CO ^ Nov 26: Minneapolis Target Center, MN ^
* With The Sheepdogs ^ With Pat Benatar & Neil Giraldo + With Amanda Marshall
(Image credit: Bryan Adams)
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.
The reunited Alice Cooper Group have released “Black Mamba,” the first track to appear from their upcoming album.
The Revenge of Alice Cooper arrives on July 25 and breaks a 51-year silence from the lineup that formed in 1968, including guitarist Michael Bruce, bassist Dennis Dunaway, drummer Neal Smith and late guitarist Glen Buxton.
The video for “Black Mamba” – which features a guest appearance by the Doors guitarist Robby Kreiger – can be seen below.
Lead singer Cooper described the track as “definitely an Alice Cooper, from-the-ground-up song” in a recent interview with Billboard, adding: “We didn’t know where it was gonna go. At the end we looked at each other and went, ‘Oh, that’s pretty good!’”
“It wasn’t even a song yet,” Dunaway said of the studio session that spawned the track. “[W]e start jamming on the riff and warming up together. The next thing you know we get this swampy feel and decide it’s gonna be about a black mamba snake, which is very deadly, and it fell into place.
“It was so new Alice had to stop us at one point and ask me if I remembered what the melody was. It was very spontaneous.”
Alice Cooper Sings Differently With His Original Band
Producer, co-writer and backing musician Bob Ezrin added: “When we started to play that… I knew the spirit of the Alice Cooper group was back and that what we were making was very much an album that could’ve been [from] the ‘70s, when we were last together.
“It had the psychedelia, it had the artful drumming and bass playing, the great atmospheric guitars. It has Alice telling a really fabulous story, in character.”
Cooper reported that they’d made certain not to approach the record like one of his own. “If we’re gonna do an original Alice record, I want it to sound like the original Alice band,” he said. “The original band has a darker sound, and a heavier sound. It’s a very different personality, and I even sing differently when I sing with those guys.”
Watch the Alice Cooper Group’s ‘Black Mamba’ Video
As the remastered version of Pink Floyd at Pompeii – MCMLXXII makes its way into theaters this week, the band offers an exclusive look at its performance of “A Saucerful of Secrets” from the film.
In the video, Pink Floyd plays a portion of their classic song, which appeared as the title track to their 1968 album, the last to feature work by the band’s cofounder Syd Barrett and the first with David Gilmour, his replacement.
You can watch the clip below.
“A Saucerful of Secrets” was one of the few songs kept in Pink Floyd’s sets from the Barrett years. Running for 12 minutes in the LP’s studio version, the song became a launching pad for the group to improvise the number onstage.
It’s one of eight songs the band played during its performance at the ancient Roman amphitheater in Pompeii in the first week of October 1971.
The movie version of Pink Floyd: Live at Pompeii was initially released in 1972, a year before The Dark Side of the Moon became one of the biggest-selling albums in music history.
A 1974 rerelease of the film included footage of the band working in London’s Abbey Road Studios on songs that appeared on Dark Side – including “On the Run,” “Us and Them” and “Brain Damage” – which came out in March 1973.
When Is ‘Pink Floyd at Pompeii – MCMLXXII’ Playing?
The newly remastered Pink Floyd at Pompeii – MCMLXXII opens in theaters on Thursday and features the band performing a set at the Amphitheatre of Pompeii, the first time a concert was staged at the historic venue.
The quartet performed a set – consisting of favorites “Careful With That Axe, Eugene,” “Set the Controls for the Heart of the Sun” and songs from Meddle, which was released a month after the Pompeii performance – without an audience.
The new film was hand restored, frame-by-frame, from the original 35mm negative found in Pink Floyd’s archives and has been digitally remastered in 4K. Pink Floyd at Pompeii – MCMLXXII also includes a new audio mix by Steven Wilson
On May 2, a live album culled from the Pompeii set will be released on CD, digital audio and vinyl formats along with a Dolby Atmos mix.
More information about the movie, including showtimes and theaters, can be found at the band’s website.
Top 30 Albums of 1975
Classic rock found its voice by the midpoint of the ’70s.
Punk icon Billy Idol has hooked up with pop-punk princess Avril Lavigne on his propulsive new single, 77. The song comes from Idol’s new album Dream Into It, which will arrive via April 25 via Dark Horse Records, and follows the release of Still Dancing in February.
“Avril’s just fantastic on 77, it was great working with her,” Idol told Drew Barrymore on her talk show earlier this year. “With her on it, it got three times better.”
Other guest’s on Idol’s ninth album – the follow-up to 2014’s Kings & Queens of the Underground – include Joan Jett and Alison Mosshart of The Kills.
Idol’s It’s A Nice Day To… Tour Again! tour kicks off on April 30 at the Talking Stick Resort Amphitheatre in Phoenix, AZ, and reaches the UK and Europe in June. Full details and album tracklist below.
Billy Idol feat. Avril Lavigne – 77 (Official Music Visualizer) – YouTube
Apr 30: Phoenix Talking Stick Resort Amphitheatre, AZ * May 03: Houston Cynthia Woods Mitchell Pavilion, TX * May 04: AustinMoody Center, TX * May 07: Fort Worth Dickies Arena, TX * May 09: Alpharetta Ameris Bank Amphitheatre, GA * May 10: Tampa MidFlorida Credit Union Amphitheatre, FL* May 13: Sunrise Amerant Bank Arena, FL * May 16: Charlotte PNC Music Pavilion, NC * May 17: Nashville Bridgestone Arena, TN* May 20: Tinley Park Credit Union 1 Amphitheatre, IL * May 21: Cincinnati Riverbend Music Center, OH * May 23: Toronto Budweiser Stage, ON *
Jun 18: Northeim Waldbuhne, Germany Jun 20: Copenhagen Copenhell, Denmark Jun 22: Milton Keynes Forever Now Festival, UK Jun 24: London Wembley Arena, UK† Jun 27: Munich Koenigsplatz, Germany Jun 29: Bonn Kunstrasen, Germany Jul 02: Wiesbaden Brita-Arena, Germany Jul 04: Klam Clam Rock, Austria Jul 05: Eisenstadt Lovely Days, Austria Jul 08: Budapest Park, Hungary Jul 09: Belgrade Kalemegdan Park, Serbia
Aug 16: Philadelphia TD Pavilion at The Mann, PA * Aug 17: Saratoga Springs Broadview Stage at SPAC, NY * Aug 20: New York Madison Square Garden Arena, NY * Aug 22: Columbia Merriweather Post Pavilion, MD * Aug 23: Mansfield Xfinity Center, MA * Aug 26: Bangor Maine Savings Amphitheatre, ME * Aug 28: Clarkston Pine Knob Music Theatre, MI * Aug 30: Noblesville Ruoff Music Center, IN* Aug 31: Milwaukee American Family Insurance Amphitheatre, WI * Sep 03: Morrison Red Rocks Amphitheatre, CO * Sep 05: Salt Lake City Utah First Credit Union Amphitheatre, UT * Sep 12: Palm Springs Acrisure Arena, CA* Sep 14: Berkeley Greek Theater, CA* Sep 17: Wheatland Toyota Amphitheatre, CA* Sep 19: Ridgefield Cascades Amphitheater, WA * Sep 20: Seattle Climate Pledge Arena, WA * Sep 23: Chula Vista North Island Credit Union Amphitheatre, CA * Sep 25: Los Angeles he Kia Forum, CA *
* with Joan Jett & the Blackhearts † with New Model Army
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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: Tere Baker, Public domain, via Wikimedia Commons
Roy Thomas Baker, the visionary producer who helped shape the sound of rock music across five decades, died on April 12, 2025, at his home in Lake Havasu City, Arizona. He was 78. While best known for his work with Queen and the creation of “Bohemian Rhapsody,” Baker’s career stretched far beyond any one band or song, touching hundreds of records that defined rock, glam, punk, new wave, and arena pop.
Born in Hampstead, London, on November 10, 1946, Baker began his career in the music industry at just 14, taking an entry-level role at Decca Records. He eventually worked his way into assistant engineering roles at Morgan Studios, gaining hands-on experience with the technical side of music production. It was during this period that producer Gus Dudgeon recognized Baker’s potential and encouraged him to join Trident Studios—a hub of experimentation in 1970s London.
At Trident, Baker collaborated with some of the most groundbreaking musicians of the time, including David Bowie, The Rolling Stones, and Frank Zappa. He was present in sessions involving Mick Jagger, Keith Richards, Tony Visconti, and members of The Who. This early exposure to the heart of the rock revolution gave him both the confidence and expertise to lead his own projects.
Baker’s breakthrough came when he co-founded Trident’s record label, Neptune, and began working with a then-unknown band named Queen. That relationship produced five landmark albums: Queen (1973), Queen II (1974), Sheer Heart Attack (1974), A Night at the Opera (1975), and Jazz (1978). His work on “Bohemian Rhapsody” has been widely credited with revolutionizing studio production. The elaborate layering, splicing, and multi-track innovations he engineered helped take the song from an experimental idea to one of the most beloved rock anthems of all time.
Following his success with Queen, Baker relocated to the United States and signed a multi-album production deal with CBS Music, where he launched RTB Audio Visual Productions with offices in both New York and Los Angeles. Under that deal, he produced albums for Journey, including Infinity and Evolution, as well as for Starcastle, Ian Hunter, Reggie Knighton, and even Rolling Stones guitarist Ronnie Wood.
In the late 1970s, Baker was invited by Elektra Records to attend a high school gig in Boston by an unsigned band called The Cars. He agreed to produce their debut album, and that record went on to be certified platinum, spawning hits like “Just What I Needed” and “My Best Friend’s Girl.” Baker stayed on to produce Candy-O, Panorama, and Shake It Up, helping to define The Cars’ slick, synth-laden sound and guiding the band to critical and commercial success.
Baker’s résumé extended far beyond Queen, Journey, and The Cars. He also worked with a sprawling roster that included Alice Cooper (Flush the Fashion), Foreigner (Head Games), Ozzy Osbourne (No Rest for the Wicked), Devo (Oh, No! It’s Devo), Cheap Trick (One on One), T’Pau (Bridge of Spies), and The Stranglers (10), among others. His production style—often rich, layered, and fiercely precise—could be adapted to the needs of hard rock, glam, power pop, or experimental rock.
In the 1980s, Baker transitioned into an executive role, serving as Senior Vice President of A&R at Elektra Records. While at the label, he helped sign and develop artists such as Metallica, Simply Red, Peter Schilling, Yello, and 10,000 Maniacs, further cementing his legacy as not just a producer but a tastemaker with commercial instincts.
He remained active well into the 2000s. In 2005, he produced One Way Ticket to Hell… and Back by The Darkness. He returned to work with The Smashing Pumpkins on Zeitgeist in 2007 and American Gothic in 2008, and later reunited with the progressive rock band Yes, producing their 2014 album Heaven & Earth—35 years after working with them on an earlier session in Paris that remained unreleased.
Baker’s discography includes dozens of essential albums and singles. He engineered or produced early work by Nazareth, Be Bop Deluxe, Free, Gasolin’, Jet, and Pilot, and lent his touch to classic soundtracks like Fast Times at Ridgemont High, Heavy Metal, and Wayne’s World. His name appeared on projects by Guns N’ Roses, Lindsey Buckingham, Josie Cotton, Dokken, Dusty Springfield, Local H, Caroline’s Spine, Dangerous Toys, and even film tie-ins like Transformers: The Album.
Throughout his career, Baker was respected for his high standards, technical brilliance, and commitment to excellence. Artists often noted his attention to sonic texture, structural layering, and studio experimentation. He was known for embracing technological advances while never sacrificing musicality. His productions often bore his signature: complex, bold, and immaculately constructed.
Although he had relocated to Arizona in his later years, Baker remained an active figure in rock circles and was frequently cited in retrospectives on music production. His influence was highlighted once again when he was portrayed in the 2018 film Bohemian Rhapsody, introducing a younger audience to the behind-the-scenes architect of Queen’s biggest hit.
Roy Thomas Baker’s death was officially announced on April 22, 2025, ten days after his passing. In death, as in life, the scale of his contributions to popular music remains immense. He leaves behind a body of work that helped shape the sound of generations, and a legacy that continues to inform and inspire producers and musicians around the world.
(Image credit: Jim Steinfeldt/Michael Ochs Archives/Getty Image)
Legendary producer Roy Thomas Baker, most famous for his work with Queen, has died at the age of 78. The news was confirmed in a statement from his publicist, who revealed that Baker died at his home in Lake Havasu City, AZ on April 12. A cause of death has not been announced.
Baker was born in Hampstead in North London in 1946 and began his career at Decca Records in the late 1960s, where he worked alongside senior producers Tony Visconti and Gus Dudgeon on recordings by Ten Years After, Dr. John, Ginger Baker’s Air Force, Savoy Brown, Moody Blues, Nazareth, Yes, David Bowie, Be Bop Deluxe, The Rolling Stones, The Who, Dusty Springfield, Free, T. Rex and many more.
After making a name for himself Baker became in-house engineer at the Central London studio Trident, where he began a long and fruitful relationship with Queen. After working on the band’s debut album, he also produced Queen II, Sheer Heart Attack, A Night At The Opera (which included the classic Bohemian Rhapsody), A Day At The Races and Jazz.
“It [Bohemian Rhapsody] was the first time that an opera section had been incorporated into a pop record, let alone a Number One,” Baker told Sound On Sound in 1995. “It was obviously very unusual and we originally planned to have just a couple of ‘Galileos‘. But things often have a habit of evolving differently once you’re inside the studio, and it did get longer and bigger.
“The opera bit was getting longer, and so we kept splicing huge lengths of tape on to the reel. Every time Freddie came up with another ‘Galileo‘, I would add another piece of tape to the reel, which was beginning to look like a zebra crossing whizzing by!
“This went on over a three or four day period, while we decided on the length of the section. That section alone took about three weeks to record, which in 1975 was the average time spent on a whole album.”
In the wake of Queen’s success Baker moved to New York to work for Columbia Records, where he produced Journey, Ian Hunter and Ronnie Wood, before being offered a senior A&R role at Elektra Records, where he looked after albums by Lindsey Buckingham, Dokken, Mötley Crüe, Joe Lynn Turner and The Cars.
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Elsewhere, Baker produced recordings by Foreigner, Alice Cooper, Cheap Trick, Devo, Ozzy Osbourne, Sammy Hager, T’Pau, Devo, The Stranglers, Guns N’ Roses, The Darkness and Smashing Pumpkins. Baker also produced Yes’s 2014 album Heaven & Earth, 35 years after the infamous aborted Paris sessions that preceded the band’s Tormato album.
“My whole thing is, the more different you can sound from anything else around but still be commercially successful is great!,” he told MixOnline in 1999. “Over the years, I’ve always hearkened back to that philosophy. Back when I did Bohemian Rhapsody, who would’ve ever thought of having a single with an opera section in the middle?
“If you don’t have that identifiable sound, you are getting merged in. If the DJ isn’t mentioning who it is, then nobody will know who it is. It will just be another band, and nothing is worse than being anonymous. That is exactly what you don’t want.”
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.
