How power couple Paula and Dave Lombardo traded thrash metal for sultry alternative: “Venamoris is a rebirth.”

Sultry, spectral and draped in darkness, Venamoris are a fascinating enigma. On the one hand you have Dave Lombardo, the legendary drummer who helped propel Reign In Blood to everlasting infamy, and who has since collaborated with everyone from Mike Patton and Ice-T to avant-jazz legend John Zorn. On the other is Paula Lombardo, a talented singer and pianist who, prior to the band’s 2023 debut, had essentially given up on music.

She’d left a successful backing gig with legendary Las Vegas entertainer Wayne Newton to pursue her own work in Nashville, only to be broken on the music industry’s unforgiving wheel. With their second album, To Cross Or To Burn, the husband-and-wife duo have expanded their sound while making it harder to quantify: like chasing shadows through a hall of mirrors. Lush and cinematic, yet deeply intimate, it conveys a thrilling sense of freedom despite its gloomy themes.

“Venamoris is definitely a rebirth,” says Paula. “The situations I went through were the same facing many musicians, artists, actors or models. A ton of rejection, a ton of people telling you that what you’re doing is wrong. As you get older, that starts to get really scary.”

“I walked away from a very good, strong income to wondering what I was going to do,” she continues. “And you start realising, ‘OK, this is not even fun anymore.’ But ultimately, when you take that one thing that really forms part of your soul and you stop doing it, you suffocate yourself.”

Despite revealing her musical background to Dave early in their relationship, it took Paula the best part of 10 years to learn how to breathe again.

“During the pandemic, Dave and I had a lot of really deep talks about why I left music and why I didn’t want to return,” says Paula. “He helped me break through all of that.”

Paula describes the duo’s 2023 debut, Drown In Emotion, as “a journal coming to life” – a raw, innocent piece of work exploring the singer’s return from murky waters. Recorded in their home studio, the duo had no plans beyond perhaps sharing it with family and close friends. Dave played the music back to bandmate Justin Pearson (The Locust/Swing Kids) during a Dead Cross mastering session, and the latter offered to release it on his hardcore-skewing Three One G imprint rather than see it quietly disseminated online.

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“I think Justin liked how punk it was for me to step outside what I am normally known for,” Dave suggests.

If Paula is now in a far better, more confident place when it comes to making music, To Cross Or To Burn – released by another of Dave’s collaborators, Fantômas and Dead Cross crooner Mike Patton – is not without its moments of thematic heaviness.

“I wrote a lot of the lyrics when Dave was on tour, and that can be a very dark time,” she admits. “A lot of the songs come from feeling alone and self-reflective.”

Venamoris “Animal Magnetism” – YouTube Venamoris

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Dave, on the road with Testament, enjoyed being able to detach from the tour’s madcap thrash and listen to what Paula was working on at home – the gravity of her lyrics only striking him once he returned.

“A lot of the time Dave pays attention to the tone of the song first and the lyrics much later,” Paula smiles. “I remember we were making dinner one night and he said, ‘You know, I listened to that song and I can’t believe you think that way about yourself’ – he was very emotional about it. It’s like, all of a sudden, when everything else is done, he looks at it like, ‘Whoa, that’s my wife saying that! That’s a little dark.’”

In most longstanding relationships, clear divisions of labour form: who puts the bins out, who empties the dishwasher, who cooks dinner on a Monday. Asked how this translates to their creative partnership, the pair laugh before assuring us that their music-making has a similarly natural flow.

“Sometimes when I’m in the studio for six hours and Paula’s downstairs watching crime shows, she’ll be like, ‘I feel so bad…’ But it’s all good,” says Dave. “It’s a give and take thing. In the end, all that matters is that we release it.”

Creating art for the sheer joy of it, regardless of sales, clicks or likes is something that both musicians mention. From Paula’s perspective, it has helped foster a healthier relationship with her craft, while for her husband it’s simply a matter of experience.

“I’ll never forget when I was younger and Slayer were releasing Seasons In The Abyss,” he chuckles. “The publicists said, ‘It’s not about how many times it’s going to go gold, Dave – it’s how many times it’s going to go platinum.’ So I’m all excited and… it doesn’t even go gold.” [It did eventually! Phew! – certification ed.]

While Paula highlights Dave’s positive attitude as a key strength (“The man can be going through absolute hell, but he’ll stop on the side of the road to take a picture of a rainbow”), she’s also aware how beneficial it is to have pals like Alex Skolnick, Ra Diaz, Trevor Dunn and Gary Holt on hand to guest on the record. One musician she does have trouble with, however? Dave himself.

“I’m always pushing him to drum more,” she laughs. “He’s always a little careful about respecting my voice and my lyrics. I have to be like, ‘Hey! I have Dave Lombardo sitting here! Can I get the drums?!’”

To Cross Or To Burn is out now via Ipecac.

Ghost fans! Get this world-exclusive bundle featuring Skeletá on vinyl, Metal Hammer’s new issue with a cover you can’t buy anywhere else, and more

Metal Hammer is celebrating the forthcoming release of Ghost’s new album, Skeletá, with a bundle you can’t buy in the shops.

Only through the Louder webstore, you can get your hands on a package that includes an exclusive vinyl variant of Skeletá. It also comes with the new issue of Metal Hammer, featuring an overhauled cover, plus a numbered art print and a sticker set. Pre-order your bundle now while stocks last!

Ghost are the cover stars of the new Hammer and, inside, mastermind Tobias Forge talks all about Skeletá, as well as the band’s enigmatic new frontman Papa V Perpetua.

“I’ve always felt that it was a scary thing,” Forge says of introducing a new iteration of Ghost’s papal frontman. “On one hand, I’m trying to make the ‘product’ that is Ghost an entertaining thing for our fans. On the other, I try to do that as pleasantly as is possible for myself as well.

Metal Hammer Ghost bundle

(Image credit: Future)

“When I decided to introduce Cardinal Copia into the mix [for 2018 album Prequelle], it felt very uncomfortable because he was going to be thrown out there as someone who hadn’t become [a Papa Emeritus] yet: ‘Wow, this is going to be a little different.’ But what I did know was that I didn’t have to go through the process of introducing a new character for the next album. Now, I do!”

In addition, we talk to Lamb Of God vocalist Randy Blythe about his new memoir, Just Beyond The Light. We also share an exclusive excerpt of the book, where Randy reflects on his life before kicking alcohol.

“It’s been over a decade since my last drink,” the singer writes, “and looking back on that period of my life through sober eyes is like watching a horror movie starring my mentally ill doppelgänger as the main character. He stumbles drunkenly through a nonsensical plot, doing all sorts of bizarre and distasteful things as he wreaks havoc on everything and everyone around him. Obviously, I know that person was me, but at times I struggle to understand my old self.”

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Elsewhere, Cradle Of Filth’s gremlin-in-chief Dani Filth discusses new album The Screaming Of The Valkyries and the British black metallers’ sordid story so far. We review blockbuster new albums from Ghost, Machine Head, Employed To Serve, Bleed From Within, Deafheaven and more, and report back from gigs by Spiritbox, Opeth and Motionless In White, among others.

With Acid Bath, Rivers Of Nihil, Skunk Anansie and many, many more also inside, order the new Hammer in this stunning Skeletá ensemble now!

Ghost Metal Hammer bundle

(Image credit: Future)

“Bob Geldof said, No, Queen have peaked. I don’t think they should play.” Queen would never have performed their iconic set at Live Aid if Band Aid mastermind Bob Geldof had his way, and Freddie Mercury initially wasn’t that keen either

“Bob Geldof said, No, Queen have peaked. I don’t think they should play.” Queen would never have performed their iconic set at Live Aid if Band Aid mastermind Bob Geldof had his way, and Freddie Mercury initially wasn’t that keen either

Queen at Live Aid
(Image credit: FG/Bauer-Griffin/Getty Image)

More than any artist on the star-studded bill, Queen have come synonymous with Live Aid, the band’s short but spectacular six-song set providing the concert’s most vivid and long-lasting images and memories. But, in a new interview with MOJO magazine, promoter Harvey Goldsmith reveals that Band Aid/Live Aid mastermind Bob Geldof didn’t originally want Freddie Mercury’s band on the bill at all, and that Mercury himself initially wasn’t all that interested in performing on the day either.

The Live Aid concert was conceived by Geldof and Midge Ure, co-writer of 1984’s best-selling Band Aid single Do They Know It’s Christmas?, as a vehicle to raise funds for, and awareness of, famine relief in Africa. Enlisting the help of London promoter Harvey Goldsmith, the pair booked Wembley Stadium to host the UK leg of the show on July 13, 1985: they were then faced with the not inconsiderable task of putting together a bill of artists who could not only sell out the 72,000-capacity stadium, but hold the attention of two billion TV viewers across the planet. And Geldof apparently didn’t think that Queen were up to the task.

“Geldof and I were putting Live Aid together and going through potential artists,” Harvey Goldsmith tells MOJO. “Being the producer, I understood how slots work and who went where. I was also dealing with the technical side: we were doing two shows [London and Philadelphia] and had to stay strictly to time because of the satellite.

“I thought about it, and said for the late afternoon slot the perfect act would be Queen. Bob said, ‘No, they’ve peaked. I don’t think they should play.’ I said to Bob, I really think they’ll be perfect to go on in that 5.30, 6 o’clock type slot – knowing Freddie as I did, I knew they’d really make a show of it. Bob and I went backwards and forwards. I had to do a lot of persuading. He said, ‘No, we’ve got other acts we could put on.’ I dug my heels in and said there’s no better act that could do this than Queen.”

In truth, Queen themselves weren’t wildly enthusiastic about getting on board either.

“We definitely hesitated to say yes,” guitarist Brian May admitted to Classic Rock magazine last year. “We had to consider whether we were in good enough shape. The chances of making fools of ourselves were so big.”

“They’d just finished a long tour and were all a bit wrecked and wanted a break,” Goldsmith tells MOJO. “And it was very close to the day. Freddie stood back from it all a bit – I think he wanted to see what the reaction to Live Aid’s announcement was. When he realised the reaction of the press and media and the demand for tickets, he talked to the band and to their manager Jim Beach, and they decided to do it.

“Of course,” he adds, “they wanted to close the show. And I said, No, I want you to go on at this slot. I think what really swung Freddie over was the thought that he could play to a billion people in one go, live. Nobody had ever done that before. I think he just felt, ‘OK, I’ll show you…’ Freddie smelt blood. He went for the throat.”

The rest, of course, is history. Taking the stage at 18:41 on the day, Queen opened their set with Mercury at the piano for a snippet of Bohemian Rhapsody, and immediately had the Wembley crowd in the palms of their hands. By the time they closed their set with We Are The Champions, it was obvious to everyone watching that this was a performance for the ages, and a genuinely iconic moment in rock and roll history.

Live Aid (Queen) Full Concert [1985, London, Wembley Stadium] – YouTube Live Aid (Queen) Full Concert [1985, London, Wembley Stadium] - YouTube

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

Every Bleed From Within album ranked from worst to best

Bleed From Within in 2025
(Image credit: Tom Armstrong)

Right now, British metal is the healthiest it’s been since the 1980s, and Bleed From Within are one of the bands leading that revival. Despite forming as far back as 2005, it was during the pandemic that the groove/melodeath firebrands truly roof off, amassing millions of streams with their all-adrenaline anthem The End Of All We Know.

Since then, the Glaswegians have become international ambassadors for their native scene, playing every metal festival worth playing and touring with such titans as Slipknot and Trivium. To celebrate their still-growing success – and the release of their brand-new album, ZenithHammer has arranged their seven-album back-catalogue from worst to best.

Metal Hammer graphic line break

7. Humanity (2009)

Before they had such bangers as Into Nothing and Levitate to their name, Bleed From Within were a DIY deathcore bunch. Debut album Humanity was released via indie label Rising Records and sounded as raw as uncooked meat. The plethora of ’core cliches was almost overwhelming, with big chugs and Cannibal Corpse-ish tremolo picking flying out thick and fast. At the same time, though, the odd melodic lead guitar line hinted at the majesty that would later define the band’s much more characterful material.


6. Empire (2010)

Despite coming out just 10 months after Humanity, Empire showed Bleed From Within making some major leaps. From the off, there was much more emphasis on the groove metal and melodeath aspects that were waiting in the wings during their debut. This Is Our Legacy opened the album with some clearly At The Gates-indebted riffing, not to mention some heavier and more characterful drumming. This follow-up was still saddled by some far-from-glorious production, however, so you can understand why both this and Humanity have been pulled from streaming services.

Bleed From Within – The Healing Official Video 2010 – YouTube Bleed From Within - The Healing Official Video 2010 - YouTube

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5. Uprising (2013)

Now comes the good stuff. In the lead-up to album three, Bleed From Within skyrocketed from Rising to major label Century Media, and the recording quality on Uprising soared in turn. The band’s drive to rule the UK metal scene smashed through during these 13 songs, with their fury both returning and getting channelled into such powerhouse choruses as the title track’s. A tour with Megadeth and the complimentary yet cursed tag of “the British Lamb Of God” followed, with all eyes on the firebrands’ next move.


4. Era (2018)

Fucked over by a behind-the-scenes deal gone wrong, Bleed From Within laid low for three years after Uprising’s tour, during which time all their momentum got squandered. Era functioned as a re-debut of sorts, introducing Steven Jones as the Scotsmen’s new guitarist and, for the first time ever, their melodic backing vocalist. Musically, the band wisely reiterated what made them cult beloveds half a decade prior. Highlights like Alive and Afterlife placed even more focus on the heaviness, shoutalong hooks and athletic guitars that previously positioned these up-and-comers as the next big thing.

BLEED FROM WITHIN – Alive (OFFICIAL VIDEO) – YouTube BLEED FROM WITHIN - Alive (OFFICIAL VIDEO) - YouTube

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3. Shrine (2022)

After the breakthrough that was 2020’s Fracture, Bleed From Within couldn’t refine their groove/melodeath fusion any further. So, for the first time since 2010, they turned a corner. Shrine was every bit as episodic and hit-laden as what came before, but it also ventured into near-Septicflesh levels of symphonic. Levitate and I Am Damnation thrust Steven Jones’ singing even further to the forefront as well. The collective result didn’t quite carry the same clarity of vision as Fracture, but at the same time you were never reaching for the skip button, either.

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2. Fracture (2020)

Fracture was cathartic music at a time when the world desperately needed it. Released in May 2020, its focussed fury and motivational lyrics were an outlet for every metalhead stuck at home, urging them to mosh around the kitchen counter. Then, once restrictions lifted and Bleed From Within graced stages again, such standouts as The End Of All We Know and Into Nothing proved themselves once again, getting crowds into a frenzy from front to back. With deep cuts like Fall Away being equally as energetic, this was a bulletproof collection of bangers.

BLEED FROM WITHIN – The End Of All We Know (OFFICIAL VIDEO) – YouTube BLEED FROM WITHIN - The End Of All We Know (OFFICIAL VIDEO) - YouTube

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1. Zenith (2025)

Calling your own album Zenith requires testicles the size of wrecking balls, but Bleed From Within complemented that confidence with one of the most invigorating albums of this decade so far. From the moment Violent Nature kick-starts the album in a thrashing armada of screams, the band’s seventh outing is a gut-punching triumph, filtering the more experimental ideas of Shrine into a package that finds new, original ways to excite.

The proof comes from the likes of finale Edge Of Infinity, which may be a largely acoustic piece, but its rise to hulking metal via Steven Jones’ heroic vocals feels destined to inspire mass singalongs. Elsewhere, single In Place Of Your Halo makes the bagpipes badass, using them to underline a devastating breakdown, and Immortal Desire hires Mastodon drummer/crooner Brann Dailor for a fist-pumping chorus.

Everything else, from the Crazy Train-esque riffing of God Complex to Known By No Name’s electronic heartbeat, is exhilaration manifest, and the band are already set to reach new heights in its aftermath, headlining the largest venues of their career so far. It may be premature to mark this down as Bleed’s best, but the sheer quality that explodes from every second leaves no other option.

BLEED FROM WITHIN – God Complex (OFFICIAL MUSIC VIDEO) – YouTube BLEED FROM WITHIN - God Complex (OFFICIAL MUSIC VIDEO) - YouTube

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Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Prog and Metal Hammer, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, NME, Guitar and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.

“Despite having settled into an MOR-leaning sound, highlights cut through of-their-time instrumental traits”: Camel’s Nude and Pressure Points remixed

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

The opening years of the 1980s were a turbulent period for Camel. With 1981’s Nude just completed, Andy Latimer’s prog mainstays quietly split after drummer Andy Ward’s suicide attempt. With 1982’s The Single Factor a contractual obligation, put together by Latimer with guest players, Nude would have been a more memorable way for them to take their bows.

As heard in high-definition surround sound mixes on this 2CD/Blu-ray package, it’s a concept album based on Hiroo Onoda, the Japanese soldier who hid in the jungle for 29 years, unaware World War II had ended.

Despite Camel having settled into an MOR-leaning sound by this point, the gently wistful Drafted, bucolic, flute-laced instrumental Landscapes and Floydishly indignant Lies remain highlights that cut through of-their-time instrumental traits such as overbearing fretless bass plumes and sax breaks.

Camel – Nude

(Image credit: Esoteric)

Eventually, Latimer assembled a new line-up for 1984’s synth-oriented Stationary Traveller. A live recording was made by that group for the same year’s Pressure Points: Live In Concert album and video, which focused largely on that Traveller and Nude.

The reissued and expanded Pressure Points captures elements of Camel’s appeal which weren’t always evident in their contemporary studio output. Latimer’s guitar work is given much more space on several extended numbers, while Ton Scherpenzeel – the new star signing from Dutch proggers Kayak – is given the spotlight for florid keyboard runs on West Berlin and Sasquatch.

Camel – Pressure Point

(Image credit: Esoteric)

The encore also finds former member Peter Bardens on organ for high-octane romps through Snow Goose classic Rhayader and a 12-minute Lady Fantasy.

The additional Blu-ray disc features the concert film, complete with the show’s intro and outro videos In The Arms Of Waltzing Frauleins – starring a young Bruno Tonioli, later of Strictly Come Dancing fame. Surreal.

Nude and Pressure Points are on sale now via Esoteric.

Johnny is a regular contributor to Prog and Classic Rock magazines, both online and in print. Johnny is a highly experienced and versatile music writer whose tastes range from prog and hard rock to R’n’B, funk, folk and blues. He has written about music professionally for 30 years, surviving the Britpop wars at the NME in the 90s (under the hard-to-shake teenage nickname Johnny Cigarettes) before branching out to newspapers such as The Guardian and The Independent and magazines such as Uncut, Record Collector and, of course, Prog and Classic Rock

5 Things to Love About Elton John and Brandi Carlile’s New Album

If you were worried that Elton John was going to disappear into the sunset after completing his farewell tour in 2023, you’ll be happy to know that his new album finds him as creatively restless as ever.

Who Believes in Angels? finds the rock legend teaming up with singer-songwriter Brandi Carlile and an all-star cast of supporting musicians. Here’s five reasons to fall in love with Elton’s first album of all-new material in nearly a decade.

Elton John and Brandi Carlile Have Assembled an All-Star Team

As if the combination of the two headlining stars wasn’t enough, Who Believes in Angels? finds the duo backed up by a crack band featuring Red Hot Chili Peppers drummer Chad Smith, famed studio bassist Pino Palladino and RHCP / Pearl Jam touring guitarist Josh Klinghoffer. John’s longtime songwriting partner Bernie Taupin was also involved. Last but certainly not least Andrew Watt, who recently helped the Rolling Stones earn a Grammy for their most 2023 album Hackney Diamonds, produced the record.

The Elton / Brandi Connection Has Blossomed Into Something Special

After first collaborating together on the song “Caroline” from Carlile’s 2009 album Give Up the Ghost, Elton and Brandi teamed up again on “Simple Things” from John’s 2021 The Lockdown Sessions, and the duo’s pleasure with that track led them to Who Believes in Angels?

“John couldn’t have chosen a better-suited accomplice than Carlile for his first full-length, single-artist collaboration project since 2010’s The Union with Leon Russell,” Michael Gallucci declared while reviewing Who Believes in Angels? for UCR. “Both artists have long championed drama in their music, and more so than any of his past singing partners, Carlile slips effortlessly into John’s personal and performance aesthetic to the point where they become one voice at times.”

Elton John Considers ‘Who Believes in Angels?’ to be a New Start for His Career

At an age when many would be happy to coast on past accomplishments, Elton John remains determined to push forward. “This record was one of the toughest I’ve ever made, but it was also one of the greatest musical experiences of my life,” he declared while announcing the new album. “I’m 76 and I want to do something different. I don’t want to coast. …As far as I’m concerned, this is the start of my career mark two.”

Fans Will Get A First-Ever Look Inside Elton’s Creative Process

For the first time in his storied career, Elton John allowed a film crew to document the creation of Who Believes in Angels?, which was recorded in a highly ambitious 20-day span. The resulting 30-minute short film Who Believes in Angels? Stories From the Edge of Creation, which debuts on YouTube on April 5, captures arguments, breakdowns and creative breakthroughs with an unflinching eye.

“It wasn’t easy,” Carlile says of the process, “which is a place where such great music came from.”

A New TV Special Will Bring the New Songs to Your Home

Elton and Brandi recently shared the stage for a magical evening of music and conversation at the London Palladium, where they debuted several new songs from Who Believes in Angels? in addition to songs from Elton’s storied back catalog. The performance will air as a special on CBS on Sunday, April 6. John and Carlile will also serve as the musical guests on Saturday Night Live on April 5.

Journey’s Debut 50 Years Later: Where Are They Now?

The new group Journey appeared at San Francisco’s CBS Studios with a pedigree from Santana and a legacy of rangy musical heroics. So naturally, the label paired the band with Roy Halee, an overly meticulous, pipe-smoking idiosyncratic who was best known for work alongside the acoustic singer-songwriting duo Simon and Garfunkel.

The results were mostly ignored by fans – and eventually, even by the band itself.

“Halee was just nuts,” longtime San Francisco music critic Joel Selvin said in the Journey: Worlds Apart band biography. “I remember him stalling the session for like four hours while he waited for the right microphone to be delivered. He was a really fussbudget old-time engineer, and these guys were raring-to-go young guys that could have ripped a new one in any tape he put up on the console.”

READ MORE: Ranking All 45 Journey Songs from the ’70s

Despite his attention to such subtleties, Halee did not seem to really grasp how to record a full-on rock band. Journey’s self-titled debut would arrive in April 1975 with a sound that sometimes felt too muted. Still, he had an admitted passion for the group – and he helped distinguish Journey from their Latin-spiced roots.

Journey manager Herbie Herbert had served as a roadie for Carlos Santana, who was then working with singing keyboard player Gregg Rolie and guitarist Neal Schon. Both had become disillusioned with their band leader’s new musical evolution on 1972’s Caravanserai.

“In Santana, Carlos was trying to play jazz, and quite frankly, I can listen to it, but I’m not a jazz player. Nobody in the band was, including Carlos,” Rolie said in Journey: Worlds Apart. “The stuff we were playing, it was like we were leaving back the audience we built. It’s not what I would have done, so I left and Neal left – everybody left.”

They took the opportunity to stretch out – way out. Most of the songs on Journey stretched past the five-minute mark, including the explorative instrumentals “Kohoutek” and “Topaz.” (A notable exception was the upbeat, far more accessible “To Play Some Music,” which came in at a trim single-length time of 3:19.) Herbert later complained about Journey’s initial reliance on “a lot of long solo excursions created specifically to set up Neal Schon for his guitar statements.”

Listen to Journey’s ‘Of a Lifetime’

What Happened to the Original Lineup?

Journey would soon begin moving toward more compact, radio-ready songs with new frontman Steve Perry. This shift heralded a period of stunning chart dominance, but also a revolving door of lineup changes that remade the group.

Guitarist Neal Schon is the only remaining member from the Journey era, having appeared on every subsequent album and tour. He played a key role as their commercial fortunes turned, later co-writing pop hits like “Lights,” “Any Way You Want It,” “Don’t Stop Believin,'” and “Be Good to Yourself,” among others. He co-produced 2022’s Freedom, Journey’s most recent album, and has released almost a dozen solo LPs.

Bassist Ross Valory was the second-longest tenured group member, with stints from 1973 to 1985 and again from 1995 to 2020. He co-wrote more than a dozen Journey songs, including ’70s-era radio favorites “Anytime” and “Just the Same Way.” His long-awaited solo debut, 2024’s All of the Above, connected directly back to Journey’s initial jam-band vibe.

Late rhythm guitarist George Tickner split after their debut, though he co-wrote songs on Journey’s next two albums: “You’re on Your Own” and “I’m Gonna Leave You” from 1976’s Look Into the Future and “Nickel and Dime” from 1977’s Next. Drummer Aynsley Dunbar departed before 1979’s Evolution and then co-founder Gregg Rolie left after Journey’s huge 1980 tour.

Rolie would reunite with Schon in Santana (2016’s Santana IV), in a Santana offshoot group (1997’s underrated Abraxas Pool), a Journey offshoot group (2023’s Journey Through Time) and on a number of their own solo projects (most recently on 2019’s Sonic Ranch, where Schon joined Rolie for lead turns on “Breaking My Heart” and “Lift Me Up”).

Watch Journey’s ‘Mystery Mountain’ In Concert

The ‘Journey’ Album’s Best-Known Song

Journey has also reunited on stage with Rolie, most memorably in 2023 as the group’s 50th-anniversary tour got underway. Together again, they resurrected “Of a Lifetime,” the nearly seven-minute-long album-opener that became this era’s most durable song. No other track from Journey’s debut has been played since 2005.

The Rolie reunion marked the 55th appearance for “Of a Lifetime” over that same span. Journey Through Time, the splinter group which included current Journey member Deen Castronovo, also performed “Of a Lifetime” – as well as “Kohoutek” and “Mystery Mountain.” On stage, then as now, these songs stretched out even further.

“‘Of a Lifetime,’ man. They would bring the house down,” long-time tour manager Pat Morrow said in Journey: Worlds Apart. “No singer, no single, no bubblegum – but the playing, Neal’s playing. I mean, he would do solos on ‘Of a Lifetime’ that are still some of the most memorable shit I ever heard – and I heard a lot. I heard a lot of acts.”

READ MORE: Ranking Every Journey Album

Try as they might, however, none of these performances could quite replicate the original studio recording – because the groups only had one Neal Schon. Halee made a smart choice when he recommended that Schon double his first-take solo. Schon immediately nailed the repeat performance to complete “Of a Lifetime,” stunning Halee. “His jaw was on the floor,” Schon told Selvin for the Time3 box set liner notes.

While “Of a Lifetime” blended fusion with these spacey Pink Floyd-ish flights of fancy, “Topaz” made the clearest musical references to Rolie and Schon’s time with Santana. Schon and the soon-to-exit Tickner worked themselves into an interlocking frenzy to “In My Feeling / Conversations,” before “Mystery Mountain” brought Journey to a suitably towering conclusion.

Schon was very much in his element. “Those are my roots, where I came from — blues fusion, and a bit of jazz,” he said in Journey: Worlds Apart. But change was already in the air: Ross Valory’s poet wife Diane added a lyrical assist to the Journey finale, three years before playing a key role in the Perry-era breakout single “Wheel in the Sky.”

Listen to Journey Through Time’s ‘Kohoutek’

Journey Largely Ignores Their Debut Now

As their musical approach shifted, the material that drove their first album and early tours quickly began fading into the past. These days, they’re ignored entirely: Journey didn’t play any songs from their self-titled debut in 2024; none have appeared so far in 2025, either.

In fact, other than “Of a Lifetime,” the most recent call back to Journey dates to 2007, when they performed “Mystery Mountain.” The album-closing song had appeared on 35 set lists over two years before disappearing again. Journey’s 2005 tour marked the most recent appearance of “Kohoutek.”

By then, the group’s more wide-open early approach had been widely mimicked by throwback jam bands – but Journey had moved on. “It was based on jams, real eclectic – very different,” Role said in Journey: Worlds Apart. “That’s still really valid today. It’s almost like, ‘What, are we ahead of our time?’ You know, in a way – yeah. And that’s kind of what was going on: It just didn’t catch at that time.”

“In the Morning Day,” “To Play Some Music” and “In My Lonely Feeling / Conversations” haven’t been performed since Perry debuted on 1978’s Infinity. After that, “Topaz” was only dusted off once, back in 1979. Journey disappeared from the charts, and then almost entirely on stage.

“The first album was this distillation of all the hip and cool music shit that they’d been listening to, and that they were impressed by,” Selvin said in Journey: Worlds Apart. “Plus, they also were under the impression that the Santana thing that was going on before Caravanserai was something to be comped on, right? They were still thinking that that was kind of hip.”

Journey remained at the bottom half of the Billboard 200 in its first month of release, before getting a very minor boost when Rolling Stone gave the band a positive review in early June. Still, the LP peaked at a paltry No. 138 on the Billboard chart. Cashbox and Record World, the other two publications tracking album sales, reported highs of No. 124 and No. 177, respectively. Journey’s best showing, in fact, was No. 72 in Japan.

“The thinking was, it would be instantly successful,” Selvin added. “Honestly, you had Roy Halee producing the fucking thing — and it just went thud.”

Ranking Every Journey Live Album

They’re seemingly always on the road, but the shows haven’t necessarily been well-documented. So, we took a more expansive look back.

Gallery Credit: Nick DeRiso

Think You Know Journey?

Ritchie Blackmore’s Career on Hold After Heart Attack

Ritchie Blackmore’s Career on Hold After Heart Attack
Steve Thorne, Getty Images

Ritchie Blackmore’s wife Candice Night revealed that the former Deep Purple guitarist suffered a heart attack in 2023, and that his career has been on hold as a result.

Doctors have advised the 79-year-old not to fly, and he’s also suffering additional health issues, she added. She also admitted that the situation had led to the couple having arguments about the future.

“Ritchie has actually been told by his cardiologist not to get in a plane,” Night explained in a recent interview with Total Rock (video below). “He had a heart attack about a year and a half ago. He’s got six stents.”

READ MORE: Top 10 Deep Purple Songs

She continued: “I can’t believe he’s gonna be 80 on Apr. 14th – which is crazy…he doesn’t look it, still doesn’t act it. But eventually medical things wind up catching up with you.”

Night said Blackmore was also dealing with gout, arthritis and a problem with his back that had been hounding him for years. “So it’s getting harder for him — it’s tricky,” she reflected.

Candice Night Wants Ritchie Blackmore Back on Stage

“I’ve seen people younger than him in wheelchairs on stage doing what they do… [but] I think he probably doesn’t want people to see him that way.

“From a fan’s perspective, I would think people would just be happy to be under the same roof with him and listen to him play whatever he comes up with.”

She laughed: “So we kind of have this discussion, or argument – I’ll say ‘discussion’ – all the time! But he was just recently at his cardiologist and they said, ‘Let’s put traveling by plane on hold.’ … Hopefully we’ll get that all straightened out and that’ll change.”

Watch Candice Night’s Total Rock Interview

Deep Purple Lineup Changes: A Complete Guide

Charting more than 50 years of changing faces in Deep Purple.

Gallery Credit: UCR Staff

More From Ultimate Classic Rock

Most and Least-Played Song Live Off Every Bruce Springsteen Album

When Bruce Springsteen was growing up, life was a little chaotic — he’d sometimes skip school and his relationship with his alcoholic father was strained, to put it mildly.

But once he got his hands on a guitar, it led him to a different world, one in which his bandmates could stand in as brothers and his talent earned people’s admiration.

“Suddenly I was able to make a very loud noise, and a noise that was not so easy to ignore,” Springsteen told The Guardian in 2016. “I had my little rock ‘n’ roll band and we were playing to a small gym full of dancers and their friends, and they immediately looked at you as a presence in their lives.”

Those small gyms turned into local clubs and, eventually, into stadiums full of tens of thousands of people. Not bad for a kid from suburban New Jersey.

With over 400 songs to his name, it’s understandable that Springsteen has not played every last one live. But he certainly has played quite a lot of them. With the help of data from setlist.fm, we’ve crunched the numbers and figured out the Most and Least-Played Song Live Off Every Bruce Springsteen Album.

Album: Greetings From Asbury Park, N.J. (1973)
Most-played: “Growin’ Up”
Least-played: “The Angel”

Despite how easy he makes it look and sound, Springsteen knows that songwriting is not something happens easily. “Writing is really hard, and you’re failing,” he told Howard Stern (via Rolling Stone) in 2024, with decades of songwriting under his belt. “Ninety percent of the time, you’re writing stuff that’s mediocre or worse.” But even on his debut album, 1973’s Greetings From Asbury Park, N.J., it was clear that Springsteen was someone with a gift for it. Here, “Growin’ Up” is the most-played, a song about a rebellious teenager in New Jersey — who could that possibly be based on? — while “The Angel” is the least-played.

Album: The Wild, the Innocent & the E Street Shuffle (1973)
Most-played: “Rosalita (Come Out Tonight)”
Least-played: “Wild Billy’s Circus Story”

Within the same year, Springsteen released his second album, The Wild, the Innocent & the E Street Shuffle. Now, if you have ever been to the coast of New Jersey during the summer, you know that there can be quite the cast of characters that hang out there, which is more or less how Springsteen came up with the people in “Wild Billy’s Circus Story,” the album’s least-played song. At the top of the list is the exceptionally fun-to-dance-to “Rosalita (Come Out Tonight)” with 884 performances.

Album: Born to Run (1975)
Most-played: “Born to Run”
Least-played: “Meeting Across the River”

Nearly every single song from 1975’s Born to Run has been played live over 200 times. The one exception to this is “Meeting Across the River,” which has only been played 73 times, starting in 1975 and stretching into as recently as 2024. The album’s title track, on the other hand, has racked up 1,861 performances, making it Springsteen’s single most-played song of his whole catalog.

Album: Darkness on the Edge of Town (1978)
Most-played: “The Promised Land”
Least-played: “Streets of Fire”

Robert Christgau, the notoriously severe rock critic, once described “Streets of Fire” as “overwrought, soggy, all but unlistenable.” We would beg to differ, and note that perhaps listening to a soulful live version like the one below might have changed his mind. This is the least-played song from Darkness on the Edge of Town. “The Promised Land” has been played a whopping 1,525 times, making it the third most-played song of Springsteen’s career.

Album: The River (1980)
Most-played: “Hungry Heart”
Least-played: “Fade Away”

The River is a double album, which naturally means it has a lot of songs on it. Nevertheless, Springsteen has still played every song from it live. (It helped that he and the E Street Band literally went on a tour in 2016 in celebration of the album’s 35th anniversary and played it start to finish.) Of those 20 songs, “Hungry Heart” is the most-played — the album’s lead single and Springsteen’s first Top Five Billboard hit — and the least-played is “Fade Away.”

Album: Nebraska (1982)
Most-played: “Johnny 99”
Least-played: “State Trooper”

Springsteen recorded the songs that would appear on Nebraska as solo demos, with the intention of then recording them properly with the E Street Band. But when they tried doing that in the studio, the music just did not click. Thus, Nebraska was released as the original acoustic demos. When the songs were played live, however, the E Street Band brought their little bit of magic to them. “State Trooper” holds the title of least-played with 35 performances, while “Johnny 99” is at the top of the list with 421 plays.

Album: Born in the U.S.A. (1984)
Most-played: “Dancing in the Dark”
Least-played: “I’m Goin’ Down”

If Springsteen hadn’t put himself on the map prior to 1984, he certainly did so with Born in the U.S.A., a No. 1 album in both the U.K. and U.S. The album’s title track has over 1,000 performances to its name, but it’s not the most-played from it. That honor belongs to “Dancing in the Dark” with a whopping 1,170 plays, though both of those songs are in the Top 10 for most-played songs of Springsteen’s entire catalog. On the low end is “I’m Goin’ Down,” which got most of its 86 plays in the years 1984 and 1985.

Album: Tunnel of Love (1987)
Most-played: “Brilliant Disguise”
Least-played: “Valentine’s Day”

Although E Street members contributed some to 1987’s Tunnel of Love, this is usually considered a solo effort of sorts, with Springsteen playing most of the parts himself, sometimes with a drum machine. This was around the time Springsteen split from his first wife, Julianne Phillips, and entered into a relationship with his bandmate Patti Scialfa. Needless to say, much of the material on Tunnel of Love focused on this shift in Springsteen’s life. The least-played song from the album is “Valentine’s Day,” a poignant number about letting one’s walls down. The most-played is “Brilliant Disguise,” a considerably blatant nod to the end of his marriage — “Oh, we stood at the altar / The gypsy swore our future was bright / But come the wee-wee hours / Well maybe, baby, the gypsy lied.”

Album: Human Touch (1992)
Most-played: “Human Touch”
Least-played: “Cross My Heart”

It was at the end of the ’80s that Springsteen made the decision that he would no longer need the services of the E Street Band, for the time being at least. He pushed ahead writing and releasing albums, two of which went out into the world on the exact same day in March of 1992: Human Touch and Lucky Town. From the former, the title track is the most-played, while “Cross My Heart” comes in last place with just two performances, both in 1992.

Album: Lucky Town (1992)
Most-played: “If I Should Fall Behind”
Least-played: “Book of Dreams”

Human Touch was supposed to come out earlier than 1992. That didn’t happen, and when Springsteen returned to finish up the project, he wound up writing a whole album’s worth of other new material that he made into Lucky Town. Here, the least-played track is “Book of Dreams,” in which the narrator finds himself at a wedding, though whether he is the groom or a highly perceptive guest is unclear. “If I Should Fall Behind” holds the top spot with 291 plays, a love song to Scialfa, whom he married in 1991.

Album: The Ghost of Tom Joad (1995)
Most-played: “The Ghost of Tom Joad”
Least-played: “The New Timer”

With 1995’s The Ghost of Tom Joad, which won a Grammy Award for Best Contemporary Folk Album, Springsteen once again tapped into his acoustic side. For this, he drew inspiration from John Steinbeck, the plight of underprivileged people and the bleakness that seemed the future of America then. The album’s title track has 435 plays to its name, and has appeared in set lists as recently as 2024. Meanwhile, “The New Timer” has been played 21 times in total, but hasn’t been performed since 2005.

Album: The Rising (2002)
Most-played: “The Rising”
Least-played: “Let’s Be Friends (Skin to Skin)”

As the story goes, Springsteen paid a visit to the beach in Asbury Park, New Jersey, a formative location for him, shortly after the Sept. 11 attacks. There, a man in the next car over recognized him, rolled down his window and said “We need you now.” And so Springsteen did what he often does in times of turmoil, personal or otherwise. “Yeah, I picked up a guitar,” he told Rolling Stone in 2002, the year The Rising was released, featuring mainly songs he wrote in response to the tragedy. “That’s my life preserver.” Though all of the album’s songs have been played live at one point or another, “Let’s Be Friends (Skin to Skin)” has only been performed one time — that was in Connecticut in 2003. “The Rising” has been performed the most, and the very first time it was played was in the place it all began: Asbury Park.

Album: Devils & Dust (2005)
Most-played: “Long Time Comin'”
Least-played: “Black Cowboys”

But wait, there’s more acoustic material to cover. Devils & Dust came out in 2005, debuting at No. 1 on the U.S. Billboard 200, though Springsteen has said that some of the songs date back years. The album’s most-played song, “Long Time Comin,'” was written nearly a decade prior and was even played live during Springsteen’s 1996 solo Ghost of Tom Joad Tour. On the other hand, the album’s least-played song, “Black Cowboys,” only got played less than 20 times in 2005 and hasn’t been heard since.

Album: We Shall Overcome: The Seeger Sessions (2006)
Most-played: “Pay Me My Money Down” by the Weavers
Least-played: “Shenandoah” (Traditional)

Springsteen has made clear a number of times over the years that Pete Seeger is one of his heroes — in 2009, at Seeger’s 90th birthday celebration, Springsteen described him as “a living archive of America’s music and conscience, a testament of the power of song and culture to nudge history along, to push American events towards more humane and justified ends.” Three years before that, he put out an album of songs made popular by Seeger titled We Shall Overcome: The Seeger Sessions. It won a Grammy Award for Best Traditional Folk Album and of its 13 songs, all have been played live. “Oh Shenandoah” is at the bottom of the list with exactly one performance on Nov. 18, 2006 in Dublin, Ireland. At the top is “Pay Me My Money Down,” which got its most recent play in May of 2023.

Album: Magic (2007)
Most-played: “Long Walk Home”
Least-played: “You’ll Be Comin’ Down”

In 2007, Springsteen released his first album with the E Street Band since The Rising, titled Magic, and the effects were powerful — two songs from the album, “Radio Nowhere” and “Girls in Their Summer Clothes,” earned Springsteen three Grammys. Even Magic‘s hidden track, “Terry’s Song,” has made four set lists. The least-played is “You’ll Be Comin’ Down,” which appeared exactly once in Columbus, Ohio, never to be heard again. But then there’s “Long Walk Home” at the top with 304 performances, a song Springsteen has said he wrote about his feelings during the George W. Bush years.

Album: Working on a Dream (2009)
Most-played: “Working on a Dream”
Least-played: “What Love Can Do”

The first time Springsteen performed the title track to 2009’s Working on a Dream — which is now the most-played song from the album – was on Nov. 2, 2008 at an event for a guy called Barack Obama. It then got played a bunch in 2009, but interestingly enough has not appeared on a set list since then. Meanwhile, “What Love Can Do” only got played once at a 2009 concert in Philadelphia, but fortunately that performance was recorded and later included on the 2024 album The Live Series: Songs of Celebration.

Album: Wrecking Ball (2012)
Most-played: “Land of Hope and Dreams”
Least-played: “You’ve Got It”

Springsteen has spent many years writing songs about what he once described at a 2012 press conference as “the distance between American reality and the American dream.” It is usually not, as he sees it, a small gap, something he continued to address on 2012’s Wrecking Ball. “What was done to our country was wrong and unpatriotic and un-American and nobody has been held to account,” he said to The Guardian then. “There is a real patriotism underneath the best of my music but it is a critical, questioning and often angry patriotism.” Here, “You’ve Got It” comes in last place with one performance in Norway. “Land of Hopes and Dreams,” a song Springsteen wrote back in 1999 and played live regularly before it appeared on Wrecking Ball, is No. 1 with 746 plays.

Album: High Hopes (2014)
Most-played: “American Skin (41 Shots)”
Least-played: “Hunter of Invisible Game”

Finally, here is an album on which there are songs Springsteen has never played live. “Harry’s Place” and “Down in the Hole” from 2014’s High Hopes have never seen a set list — not that there isn’t still time for that to happen given Springsteen’s rigorous touring schedule. But that makes “Hunter of Invisible Game” the next least-played song with one performance that took place in Adelaide, Australia. The clear winner here is “American Skin (41 Shots)” with 112 plays, a song about a police shooting that resulted in the death of a man named Amadou Diallo — the four officers that were involved were ultimately acquitted.

Album: Western Stars (2019)
Most-played: Multiple Ties
Least-played: Multiple Ties

Here’s the thing about Western Stars: technically, none of its songs have been publicly played live. Instead, Springsteen played all of them in 2019 for a very small group of people in a 100-year-old barn on his New Jersey horse farm, an event that was turned into a concert film. That was the one and only time he played material from the album.

Album: Letter to You (2020)
Most-played: “I’ll See You in My Dreams”
Least-played: “Janey Needs a Shooter”

Here’s another rare instance of a couple songs from an album never getting played live. In this case, it’s “One Minute You’re Here” and “Rainmaker” from Springsteen’s 2020 release Letter to You. “It’s the only album where it’s the entire band playing at one time, with all the vocals and everything completely live,” he explained to The New York Times then. “Janey Needs a Shooter” has managed to squeeze in one performance in Hanover, Germany, while “I’ll See You in My Dreams” has accumulated 146 plays, with most of those happening in 2023 and 2024 thanks to the pandemic.

Album: Only the Strong Survive (2022)
Most-played: “Nightshift” by the Commodores
Least-played: Tie Between “Do I Love You (Indeed I Do)” by Frank Wilson and “Turn Back the Hands of Time” by Tyrone Davis

In 2022, Springsteen shifted gears and released an album full of R&B/soul covers called Only the Strong Survive. Oddly enough, he’s never performed the title track, along with multiple other tracks. That means “Do I Love You (Indeed I Do)” by Frank Wilson and “Turn Back the Hands of Time” by Tyrone Davis tie for least-played with one performance each, and “Nightshift” by the Commodores comes out on top with 112 plays.

Bruce Springsteen Live Albums Ranked

Longtime fans will tell you his studio records are only half the story – concert performances are the other, and maybe more essential, part.

Gallery Credit: Michael Gallucci

Jet’s Nic Cester Recalls His Dream Audition for AC/DC

When Brian Johnson started experiencing hearing issues during AC/DC’s Rock or Bust tour in 2016, he had to immediately and unexpectedly come off of the road. The band regrouped and with help from Axl Rose, finished off what had become a chaotic outing. But had circumstances worked out differently, they might have made a more local choice.

As Jet vocalist Nic Cester told the UCR Podcast during an interview for an upcoming episode, his hat was very unexpectedly in the ring for the gig. “I’d just arrived back in Australia. I’d been living overseas for a long time,” he says. “We came back for a holiday and I was really jet-lagged. I was reading the newspaper that morning and the front page [had an article that said] Brian Johnson had left AC/DC. I remember that I said to my father-in-law, ‘Jesus, you do not want to be the guy stepping into those shoes.’ Literally 30 minutes later, my phone rang and I was being invited to audition in Atlanta, Georgia.”

“I just laughed and said, ‘Jesus,'” he recalls. “I didn’t honestly think I’d get the gig, so I thought, I’m just going to go along for the ride. Because what an experience? And I was right. I didn’t get the gig, obviously, but it was a hell of an experience. I got to spend two days singing in a tiny rehearsal studio with AC/DC.

What Songs Were Part of the Audition?

The Australian singer auditioned and found himself facing a mix of material from Johnson’s era, but also songs from the Bon Scott period. “I knew ‘Back in Black,’ because I’d done it with Muse,” he remembers. I practiced the shit out of ‘Highway to Hell‘ and smashed it out of the park. I did ‘Back in Black’ and it was going really well. I thought, ‘I’ve got this in the bag. This is looking good. Then, I did ‘Whole Lotta Rosie,’ which I knew pretty well as well. Then, Angus [Young] started throwing songs at me one after another and another. I think in hindsight, it was absolutely intentional, just to see how I’d react to that kind of pressure. In fact, every single aspect of that audition was orchestrated in a very intentional, purposeful way, just to create pressure and see how I would react.”

READ MORE: The Ultimatum AC/DC Gave Axl Rose

Though Cester has called the volume in the room “the loudest thing” he’s ever heard in his life, he says the mood in the Black Crowes’ rehearsal studio in Atlanta, where the audition took place was “pretty chill.” It’s something which didn’t surprise him. “I know this might sound cliche or stupid, but the fact that they’re [also] Australian, immediately there was a different kind of [bond],” he explains. “We shared a common ancestry, musically, even. I grew up listening to not only ACDC, but [bands that were in the] DNA of AC/DC, like the Easybeats. AC/DC is part of our culture here, but there’s [also] a lot of bands that [maybe] you’ve never heard of that never made it out of Australia.”

Jet Celebrates ‘Get Born,’ Prepares New Music

More than 20 years after they found worldwide success with their 2003 debut, Get Born, the Australian band has spent the past year revisiting the album in concert. Brimming with singles like the breakout “Are You Gonna Be My Girl,” Cold Hard Bitch,” “Rollover DJ” and “Look What You’ve Done,” the group naturally feels nostalgic about the early days they spent making the album here in America at Los Angeles’ Sunset Sound. A special Record Store Day release lands on April 12 featuring rarities and outtakes from Get Born.

They’ll launch a U.S. tour May 28 in Montreal and there’s a new album that’s been taking shape as well. They previewed their latest music last fall with a single, “Hurry Hurry,” that’s been in the set list for their recent concerts. But they’re not feeling any pressure when it comes to delivering the new album, which will be their first full-length since 2009’s Shaka Rock. “We’re chipping away at it. I guess there’s no real timeline or deadline, so we thought we’d just rather take our time and get as many songs together as possible,” Cester says. “It’s been a process, because there were a lot of songs already a year ago. But we weren’t really a band then, because we’d been away. I think over the last year, we’ve been playing together and [renewing that bond].”

AC/DC Lineup Changes: A Complete Guide

Gallery Credit: UCR Staff