ANDRÉS “HADES” ADASME Of LUCIFER’S HAMMER Dead At 38

ANDRÉS

It is with deep sorrow that we share the news of the passing of Andrés Adasme, better known as Hades, vocalist and guitarist of the respected Chilean heavy metal band Lucifer’s Hammer.

Born on September 24, 1986, Hades passed away at the age of 38 under tragic circumstances involving the actions of a third party. Details surrounding the incident remain unclear, but the loss is profoundly felt across the Chilean metal scene and beyond.

Hades was more than just a musician — he was a symbol of passion, dedication, and authenticity in the world of traditional heavy metal. With Lucifer’s Hammer, he helped shape a sound that resonated deeply with fans locally and internationally, leaving behind an undeniable legacy through his music and performances.

Rest in Power, Hades! Your music and spirit will live on in every chord and every stage where heavy metal roars.

(Photo courtesy of Power Of Metal)


Ten 1970s Songs That Helped Us Discover New Bands For 1st Time

Ten 1970s Songs That Helped Us Discover New Bands For 1st Time

Feature Photo: Marines, Public domain, via Wikimedia Commons

This article takes us back to the 1970s, a time when hearing a song for the first time often led to the discovery of a new band. While this might sound like a personal experience, it’s actually a shared commonality among music fans. Some songs from the ’70s were so mind-blowing that they made us all stop in our tracks, turning heads and asking, “Who is that?” This concept isn’t quite the same as a “Best Debut Single” list, because not all of these songs were the artists’ first releases. In fact, mant weren’t even from their first couple of albums.

Many music fans were already familiar with these bands or artists before their breakthrough hits, and as we all know, there’s often a sense of bittersweet pride when a beloved band becomes massively popular. Admit it—you’ve probably felt like they weren’t as good once everyone else discovered them. But let’s be honest, that’s more about our own sense of ownership than the music itself. This list is a bit of a mixed bag, focusing on discovery. For most listeners, these songs served as introductions, to bands that woudl beciem so dealry beloved.

So, here are ten unforgettable tracks that made us stop, take notice, and say, “Whoa! I need to get that album.”

# 10 – Magic Man – Heart

We open this list with Heart’s “Magic Man.” Every time I hear the sound of that guitar at the beginning of the song, it brings me back to being 15 years old, hanging out on the streets of the Bronx at night, and doing what all 15-year-old rock and rollers do. That guitar sound is just so distinctive—you know the song as soon as you hear the first opening note. Of course, this was the first song we all heard from the band Heart, and the sound of Ann Wilson’s incredible vocal skills made so many of us run to the record stores to buy their debut album, Dreamboat Annie. It began a long love affair with the two sisters that we still cherish to this day.

Released in 1975 as part of their debut album, Dreamboat Annie, the song was recorded at Can-Base Studios in Vancouver, Canada, and produced by Mike Flicker. With its sultry lyrics and spellbinding melody, it quickly became one of the decade’s defining tracks. Ann Wilson’s powerful vocals and Nancy Wilson’s intricate guitar work established the sisters as trailblazers in a genre dominated by men. Chart-wise, “Magic Man” climbed to No. 9 on the Billboard Hot 100, cementing Heart’s status as a rising force in rock.

Read More: 10 Most Rocking Heart Songs

# 9 – Feels Like The First Time – Foreigner

It was only about seven months after we had all discovered the band Heart and were blown away by the single “Magic Man” that another brand new song started playing on the radio. The killer opening guitar lick and another sensational vocalist we had never heard before immediately grabbed our attention. Foreigner’s “Feels Like the First Time” was another track that blew our minds the first time we heard it. Whether it was 1976 or 1977, so many new bands were emerging, and many of them will be appearing on this list.

Foreigner’s “Feels Like the First Time” was released in March 1977 as the lead single from their self-titled debut album. It was written by guitarist and founding member Mick Jones. Lou Gramm’s powerhouse vocals take center stage, while Jones’s crisp guitar work provides the perfect complement. Al Greenwood’s keyboards and Ian McDonald’s rhythm guitar add a rich, layered sound, making the track as polished as it is electrifying. The rhythm section, driven by Ed Gagliardi on bass and Dennis Elliott on drums, anchors the song with a steady yet dynamic groove. “Feels Like the First Time” was a commercial success, climbing to number four on the Billboard Hot 100.

Read More: 10 Most Rocking Foreigner Songs

# 8 – Slow Ride – Foghat

Foghat had been around for a while before the song “Slow Ride” became such a big hit. Many music enthusiasts older than me were probably already aware of the band Foghat, especially fans of Savoy Brown. But being around 15 years old at the time when “Slow Ride” became a monster hit, it was the song that turned me on to this band. I don’t think I’m alone in this either because “Slow Ride” was constantly on FM radio, and it was featured on the album Fool for the City, which also started receiving a lot of airplay.

Additionally, Foghat was a local band recording a lot of their music in Port Jefferson. So, being a New Yorker, Foghat became a really popular band in my area. They built on the success of “Slow Ride,” following it up with an incredible set of albums, including Night Shift and Stone Blue. I became a huge fan for the rest of my life, and I have to tell you, it was pretty thrilling to interview Roger Earl, the founding member of the band, a couple of years ago.

“Slow Ride,” released in 1975, epitomizes the unhurried groove and swaggering energy that made Foghat a staple of 1970s rock radio. The track debuted on the band’s fifth studio album, Fool for the City, and quickly became a signature song, cementing their status as one of the premier boogie-rock bands of the era. Recorded in New York City under the skilled production of Nick Jameson, the track’s laid-back rhythm and infectious riff-driven structure captured the essence of road-trip anthems and late-night jam sessions. Jameson, who also played bass on the album, worked alongside band members Dave Peverett (vocals and guitar), Rod Price (lead guitar), and Roger Earl (drums), creating a rich tapestry of sound that was both gritty and polished. Chart-wise, “Slow Ride” made an impressive impact, reaching No. 20 on the Billboard Hot 100.

Read More: Bryan Bassett of Foghat: 10 Albums That Changed My Life

# 7 – Don’t Fear The Reaper – Blue Oyster Cult

In a very similar fashion to our discovery of the band Foghat, Blue Öyster Cult had been around for a while before they really hit it big with the song “Don’t Fear the Reaper,” which was the track that turned so many people on to the band. Foghat’s breakthrough hit came from their fifth album, whereas Blue Öyster Cult’s defining moment was on their fourth album, which had so many people turning their heads and asking, “Who is that?”

Also, in a similar fashion, Blue Öyster Cult was seen as a local band, coming from an area close to where Foghat had been living. Port Jefferson and Stony Brook are pretty close to each other, creating a sense of shared locality.

Released in 1976 as the lead single from their fourth studio album, Agents of Fortune, “Don’t Fear the Reaper” firmly established Blue Öyster Cult as one of the most intriguing bands of the decade. Recorded at The Record Plant in New York City and produced by David Lucas, Murray Krugman, and Sandy Pearlman, the song showcased the band’s ability to blend eerie lyricism with an infectious melody. Donald “Buck Dharma” Roeser, the band’s lead guitarist and vocalist for this track, wrote the song, inspired by the concept of eternal love and the inevitability of mortality. The atmospheric soundscape created by the interplay of Roeser’s melodic guitar riffs and Eric Bloom’s haunting backing vocals made “Don’t Fear the Reaper” an enduring rock anthem. The track gained significant airplay on FM radio and reached number 12 on the Billboard Hot 100, introducing millions to the hypnotic style of Blue Öyster Cult.

Read More: Eric Bloom of Blue Öyster Cult: The ClassicRockHistory.com Interview

# 6 – Show Me The Way – Peter Frampton

The live version of “Show Me The Way,” recorded during Peter Frampton’s groundbreaking Frampton Comes Alive! sessions, became the defining moment that catapulted Frampton into rock superstardom. Released as the lead single from the live album in 1976, the song’s infectious blend of heartfelt lyrics, Frampton’s signature talk box guitar effects, and an electrifying live atmosphere captivated audiences worldwide. Recorded at venues like the Winterland Ballroom in San Francisco, Frampton Comes Alive! showcased Frampton’s ability to connect with live audiences, a dynamic that translated seamlessly into this radio-friendly hit. Produced by Frampton himself, alongside engineers Chris Kimsey and Eddie Kramer, the live album became a phenomenon, reshaping the record industry’s view of live albums as lucrative endeavors.

“Show Me The Way” distinguished itself not just for its innovative talk box feature but also for its ability to balance intimacy and exuberance. Frampton’s yearning vocal delivery and the fluid, melodic guitar solo brought an emotional depth to the track that resonated with listeners. Critics lauded the song for its fresh energy, and its widespread airplay on FM radio fueled the massive success of Frampton Comes Alive!, which shattered sales records and stayed on the Billboard 200 chart for 97 weeks. The song’s relatable lyrics—about seeking clarity and connection—added a universal appeal, making it a staple in Frampton’s repertoire and a symbol of the era’s live album explosion.

In the context of this list, “Show Me The Way” shares an important connection to other tracks like “Don’t Fear the Reaper” by Blue Öyster Cult. Both songs served as defining introductions to their respective bands for many listeners, each showcasing groundbreaking sounds—whether through the eerie, hypnotic riff of “Reaper” or the innovative talk box on “Show Me The Way.” Yet, where Blue Öyster Cult leaned into mystique, Frampton’s charm lay in his warmth and accessibility, creating a contrast that underscores the diverse paths bands took to captivate audiences during the 1970s.

“Show Me The Way” didn’t just help listeners discover Peter Frampton; it transformed him into a cultural icon and reshaped perceptions of live music’s commercial potential. Its monumental success solidified Frampton’s place in rock history and remains a shining example of how a single live track can redefine an artist’s career.

Read More: 10 Most Rocking Peter Frampton Songs

# 5 – You Really Got Me  – Van Halen

Do you remember the first time you heard this song? Hearing Eddie Van Halen’s playing for the first time was unforgettable. I’m sure it didn’t take long before you were rushing out to the mall,  Sam Goody’s record store, Record World, or wherever you bought music, to grab this album. Honestly, there’s not much more that needs to be said about it.

Read More: Michael Anthony’s 10 Best Van Halen Backing Vocal Tracks

# 4 – More Than A Feeling – Boston

Man, we were truly spoiled growing up in the 1970s, attending high school during that incredible decade and discovering all this amazing new music for the first time, thinking it would go on forever. I’m so glad I grew up in a time without distractions like cell phones, video games, or the internet. All we had was music and friends, and I’ll never forget the fall of 1976 when both Heart and Boston debuted their first albums. Boston’s debut completely knocked us off our feet, and it wasn’t just “More Than a Feeling,” though that song introduced us to the band. As soon as we picked up the album, every single track blew us away. It’s easily one of the greatest debut albums of all time—but more than that, it’s simply one of the greatest rock and roll albums ever made. Imagine hearing it for the first time at 15 years old. I know a lot of you did.

Read More: Boston’s Best Song On Each Of Their Studio Albums

# 3 – Born To Run – Bruce Springsteen

I remember sitting in my ninth-grade journalism class when a high school senior, who was really into rock and roll, tapped me on the back. He’d noticed how often I brought up music in conversations with the teacher and said, “There’s this new musician I think you’ll really like. His name is Bruce Springsteen. Check out the Born to Run album—it’s something special.” This was 1975, and while not many people had heard of Springsteen yet, there was definitely a buzz starting to build. I took his advice, bought the single, and popped it onto my turntable. The moment the music began, I was completely blown away. I’d never heard a voice like Springsteen’s before, and I wasnt sure if I liked it. Then came the moment in the middle of the song when the music nearly screeches to a halt, and Springsteen shouts “One, two, three, four!” That hit me straight in the heart, igniting a new love for music that I had never experienced before. For me, it was a life-changing moment, and I’m sure it was for a lot of others as well.

Read More: Top 10 Bruce Springsteen Songs Of The 1970s

# 2 – Paradise By The Dashboard Light – Meat Loaf

ALESTORM Frontman CHRISTOPHER BOWES Guests On New PATTY GURDY Single “Peg Leg Silly-Billy”; Official Video Available

ALESTORM Frontman CHRISTOPHER BOWES Guests On New PATTY GURDY Single

German folk musician Patty Gurdy has released a new single, “Peg Leg Silly-Billy”, featuring a guest performance by Alestorm frontman, Christopher Bowes. Check out the official video below.

Previously, Patty released “I Am With You” featuring former Nightwish bassist / vocalist Marko Hietala. The official video is available below.

Both songs are taken from Patty’s new album, Tavern. Go to this location to purchase.

Alestorm released their new EP, Voyage Of The Dead Marauder, back in March. It breaks loose with the epic title track – an accelerating anthem featuring an appearance from returning guest favorite Patty Gurdy, giving the track some extra spice with a hurdy-gurdy performance and captivating vocals. The crew sails forth with “Uzbekistan”, delivering a classic Alestorm track in trademark pirate metal style, breaking into an intense middle passage before unleashing a wild, synth-laden pirate party breakdown full of intense screams. “The Last Saskatchewan Pirate” will transform any gathering into a packed pirate pub with its jolly flute melody, conveying a freeing, energetic mood, before “Sea Shanty 2” uplifts with an instrumental interlude. But don’t fret – listeners who clamor for the band’s most raucous anthems will have their needs met, as closing track “Cock” fully balances out the EP’s more serious tracks with its delightfully foul lyrics. Get on board landlubbers, and embark with your favorite pirate crew on this seaworthy adventure.

Voyage Of The Dead Marauder is available in the following formats:

– 1LP Gatefold SPLATTER + 16p Booklet, Artprint
– 1LP Gatefold GREEN + 16p Booklet
– 1LP Gatefold BLACK
– 1CD Digisleeve + Shot Glass Set
– 1CD Digisleeve
– Digital EP

Order here.

Voyage Of The Dead Marauder tracklisting:

“Voyage Of The Dead Marauder”
“Uzbekistan”
“The Last Saskatchewan Pirate”
“Sea Shanty 2”
“Cock”

“Voyage Of The Dead Marauder” video:

Make sure to Catch Alestorm live on tour.

Alestorm are:

Christopher Bowes – vocals, keytar
Gareth Murdock – bass
Mate Bodor – guitar
Peter Alcorn – drums
Elliot Vernon – keyboard


AMEN’s Casey Chaos Dead At 54

AMEN’s Casey Chaos Dead At 54

Casey Chaos, one of key punk and metal performers of the last 30 years, and one of the very few, too, to have received a Grammy award, has passed at 54.

Born in Trenton, NY, but growing up in Melbourne, FL, Chaos – real name Karim Chmielnski – took his musical lead from teenaged encounters with hardcore legends Black Flag.  He formed his first band, Casey & The Skatepunx, soon after, and quickly developed his own unique performing style as the band – now named Disorderly Conduct – launched onto the Florida punk scene.

Chaos relocated to Los Angeles in 1990, where he formed Amen; a friendship with former Christian Death guitarist Rikk Agnew also saw him perform and cowrite several songs on that band’s Iconologia album; and, in 1993, appear alongside Agnew and original Christian Death vocalist at the band’s reunion show.  A video recording of the show was subsequently released by Cleopatra Records. 
 
Touring with Slipknot, Coal Chamber and others, Amen were a key figure on the late 1990s metal scene, winning acclaim for the albums Amen, We Have Come For Your Parents and Death Before Musick; subsequent projects include Headband, Scars on Broadway and Scum, while a fourth Amen album was seldom far from Chaos’s mind.


Early career advice given to Linkin Park included a choreographer suggesting they incorporate a “gimmick” in which they would kick off a shoe onstage. Yes, seriously.

Mike Shinoda recalls being given some outlandish advice when Linkin Park were on the verge of exploding onto the rock scene back in 2000.

With the band’s record label doing everything they could to help get their careers off to a good start, Linkin Park were connected with a choreographer who had some ideas that can be kindly described as interesting.

Shinoda tells Complex: “On the funny side, there was the one time an A&R guy, because we were still getting comfortable onstage and working out that part of things, had us meet with this guy who choreographed and helped stage stuff on rap and R&B shows.

“This dude comes in and he’s basically like a choreographer and he literally suggested, ‘You need to have a thing onstage, like a gimmick. For example you could come up to the microphone, step out to the side and step out of your shoes. Or kick a shoe off.’

“We were like, ‘What the fuck?’ That was a literal suggestion.

“I don’t want to make it seem like he was a crazy person. He was shooting from the hip and it was something that just popped into his head.”

Thankfully Linkin Park opted not to adopt that particular piece of advice and they released their hugely successful debut album Hybrid Theory in October 2000.

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And they made sure to stand up for themselves when it came to putting that album together.

Shinoda adds: “A real thing that happened as we finished Hybrid Theory, we were like the only person who is going to mix it is Andy Wallace.

“Andy Wallace mixed these records that blend samples of rock music and industrial sounds in a way that feels very modern to us.

“It’s full, it’s expert level mixing. We love this. And he also, by the way, mixed Nirvana’s Nevermind. He’s an icon. He does huge records too. He’s the only one who can mix Hybrid Theory.

“The next thing we knew, our A&R guy had done a test mix with somebody else. It was because of politics and stuff going on on his side.

“We were scared to death that this guy was just going to take our record and do his own thing with it and they were going to put it out that way.”

Again, Shinoda and co refused to back down.

“Those were the places where we had to put our foot down and have difficult conversations with people and fight for our own vision,” he says.

Linkin Park recently released new album From Zero, featuring Emily Armstrong on vocals in place of the late Chester Bennington.

Mike Shinoda on Creating and Reinventing Linkin Park, Plus His Creative Evolution – YouTube Mike Shinoda on Creating and Reinventing Linkin Park, Plus His Creative Evolution - YouTube

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Drum Legend SIMON PHILLIPS On His 2014 Departure From TOTO – “The Whole Dynamic Of The Band Had Changed; I Just Felt It Had Run Its Course” (Video)

Drum Legend SIMON PHILLIPS On His 2014 Departure From TOTO -

Drum legend Simon Phillips recently spoke with Rock History Music about his career with Toto, from joining the band in 1992 until his departure in 2014. Check out the interview below.

On his departure from Toto

Phillips: “By 2007, 2008 we were in trouble on a personal level. Mike (Porcaro) had contracted ALS – he was no longer with us – (David) Paich was no longer with us. This was not the band I joined. From Luke’s (Steve Lukather) point of view, and I totally understand it, he’s looking around the stage (thinking) ‘I don’t recognize these people. This is not the band I joined.’ Basically, by then Luke and I were running the band, but we were disagreeing on many areas as you do when you’ve been in a band (for so long). It’s not about the music; it’s about the politics and about the business. And we were just not agreeing on it. We were working much too much for me. I had production to do, recording to do, and all the travelling was really tough on me at that time. Luke had left the band. We basically had a break (in 2008), and I knew it wasn’t over, but when it got back together it didn’t feel right at all. The whole dynamic of the band had changed, and I just felt this is not the band I’m in anymore. I just felt it had run its course.”

In the VRP Rocks clip below, Phillips takes us on a journey through his illustrious career, sharing insights into his five favourite albums that he’s played on. From a huge breakthrough with a working with a legend at just 19 to switching from his fusion style to work punk, Simon shares stories about some of the greatest names in rock and roll. Having drummed with everyone from Judas Priest to Jeff Beck, and from Toto to the Who, Simon has a tough job whittling down his selection to just five.


DON DOKKEN Selling His Last Harley Davidson Via eBay

DON DOKKEN Selling His Last Harley Davidson Via eBay

On December 20th, Dokken frontman Don Dokken shared the message below, revealing that he his selling his last Harley Davidson via eBay:

“As some of you may know, I had surgery five years ago that resulted in paralysis of my right arm due to complications. I wanted to hold on to one of my Harley’s, but after so much time with no improvement, I’ve made the tough decision to sell my last bike. Unfortunately, I still can’t ride safely due to my weakened arm. It’s a great bike with low mileage so be sure to check it out.”

Go to the eBay auction for Don’s 1990 Harley-Davidson FXR here.

In 2020, Don exclusively revealed to eonmusic that the nerve damage he suffered during spinal surgery in November 2019 has permanently affected his ability to play guitar. “It’s over,” he told the site. He also spoke about Dokken’s new ‘old’ album, The Lost Songs: 1978 – 1981, working with the Scorpions in 1982, and how Metallica “kicked our ass every day” on the 1988 Monsters of Rock tour.

On losing the ability to play guitar:

“I was just coming from the hospital right now where I do my therapy, and yeah, my right hand; I can’t play guitar anymore, it’s over. My right hand is paralysed. It’s been seven months since the surgery, and they said ‘Just be patient. Your hand will come back, you’ll get your feeling back.’ But it’s been seven months, and my hand still doesn’t work. It just doesn’t work, and it’s the way it is. Sometimes bad things happen, you know? I’m not happy about it, but I played guitar for 50 years, so I guess I got some good time in.”

Read the complete interview here.


Amen frontman Casey Chaos dead at 54

Amen frontman Casey Chaos has died at the age of 54.

His death was first announced today (December 21) by Cleopatra Records founder and CEO Brian Perera and confirmed by Chaos’ friends, musician Skum Love and Los Angeles photographer Dean Karr.

Amen bassist John Fahnestock later said in a statement: “With a heavy heart and a tear in my eye I must announce that we lost another legend today.

“I’ve lost two legendary frontmen in my career and Casey has now also passed on. It’s was an absolute honor to have been in Amen and witnessed without a doubt the genius that was Casey Chaos.

“He was a force unlike no other before him, a true artist, an uncompromising soul and a true punk rock icon! This is hard for me. I sit here going over all the memories. Just speechless.”

Born in New York in 1970, Chaos was known for his energetic stage persona and his work with other artists including System of a Down, Queens of the Stone Age, Scum and Christian Death, Chaos – real name Karim Chmielnski – was also a high level skateboarder.

Amen formed in Los Angeles in 1994 and enjoyed more success in the UK than in their homeland. The band’s high point was 2000’s Ross Robinson-produced album We Have Come For Your Parents.

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That was followed up by 2004’s Death Before Musick, after which Amen went on a lengthy hiatus.

They resurfaced in 2014 Slayer’s Dave Lombardo on drums, although no music was released by this lineup and Death Before Musick remains the band’s last official release.

In a 2014 interview with Metal Hammer, Chaos said: “I’m so grateful that people love us or hate us, but remember us. For me, its never been about commercialism, it’s been about following your heart, destroying it at every single opportunity you have.

“There’s so much of a lack of honesty in music, and it seems like since I went away the model is, become famous, don’t learn how to write songs or play them, just go in the studio and lay them down to a grid and make everything formulaic for the masses.

“The whole culture is just fucked! Bands that actually do talk between songs say the same thing every night! That’s like a job!

“Good for them, but I could never do that. I need it to be unpredictable and I’d rather have the ups and downs of depression and hatred and love, every fucking vibe there is, that be like, ‘okay, we turned up in our rock’n’roll suits for you to play a nice friendly concert.’ We’ll never be friendly!”

Complete List Of Huey Lewis And The News Band Members

Complete List Of Huey Lewis And The News Band Members

Carl Lender, CC BY-SA 3.0 , via Wikimedia Commons

Huey Lewis and the News, formed in 1979 in San Francisco, California, became one of the most successful pop-rock bands of the 1980s. Known for their infectious melodies, dynamic performances, and a string of chart-topping hits like “The Power of Love” and “Hip to Be Square,” the band blended rock, R&B, and soul to create a distinct sound. Over the decades, the group has undergone numerous lineup changes, yet its core essence has remained intact. The band has released nine studio albums, including the multi-platinum Sports (1983), which cemented their place in music history. Huey Lewis and the News have garnered Grammy nominations, contributed to iconic soundtracks, and remain a beloved act with a legacy of timeless hits.

Huey Lewis

Huey Lewis, born Hugh Anthony Cregg III, is the lead vocalist and harmonica player for Huey Lewis and the News. As a founding member in 1979, Lewis brought his charismatic stage presence and soulful vocals to the forefront of the band’s success. Prior to forming the News, he played in the band Clover, which backed Elvis Costello on his debut album. Lewis co-wrote many of the band’s biggest hits, including “Heart and Soul” and “If This Is It.” Outside the band, he has acted in films and television and collaborated with artists such as Thin Lizzy. His leadership and creative vision have been instrumental in the band’s enduring appeal.

Johnny Colla

Johnny Colla, a founding member of Huey Lewis and the News, has been a vital part of the band’s success as a saxophonist, rhythm guitarist, and backing vocalist. Colla contributed significantly to the band’s songwriting, co-writing hits such as “If This Is It” and “The Heart of Rock & Roll.” Before joining the band, Colla played with Sound Hole, a Marin County group. His multi-instrumental talents and creative input have been essential to the band’s signature sound.

Bill Gibson

Drummer Bill Gibson is another founding member of Huey Lewis and the News, known for his impeccable timing and energetic performances. Joining the band in 1979, Gibson has been a constant presence through their decades-long career. His work on albums such as Sports and Fore!, where he provided the driving rhythm behind hits like “I Want a New Drug,” showcased his versatility and technical skill. In addition to drumming, Gibson has contributed backing vocals and songwriting.

Sean Hopper

Keyboardist Sean Hopper is one of the original members of Huey Lewis and the News, bringing his bluesy keyboard riffs and vocal harmonies to the band’s distinctive sound. Before joining the News, Hopper played with Sound Hole alongside Johnny Colla. His keyboard work is a cornerstone of the band’s style, evident in tracks like “Heart and Soul” and “Jacob’s Ladder.” Hopper’s contributions have extended to songwriting, and his musicianship has been key to the band’s success.

Mario Cipollina

Bassist Mario Cipollina was a founding member of Huey Lewis and the News, playing with the band from 1979 to 1995. His basslines provided the foundational groove for hits like “The Power of Love” and “Do You Believe in Love.” Cipollina’s background included playing with Marin County bands before joining the News. His distinctive style and rhythmic precision helped define the band’s sound during their peak years.

Chris Hayes

Chris Hayes joined Huey Lewis and the News as lead guitarist in 1980 and was a key contributor to their success during the 1980s and early 1990s. Hayes co-wrote some of the band’s biggest hits, including “I Want a New Drug” and “The Heart of Rock & Roll.” His dynamic guitar solos and harmonies added depth to the band’s music. Hayes left the group in 2000 but remains an integral part of their legacy.

Stef Burns

Stef Burns replaced Chris Hayes as lead guitarist in 2000, bringing a fresh energy to the band. Known for his versatile playing style, Burns has performed with Alice Cooper, Sheila E., and Y&T. His work with Huey Lewis and the News includes live performances and recordings, where his guitar work complements the band’s classic sound.

John Pierce

John Pierce joined Huey Lewis and the News as bassist in 1995, replacing Mario Cipollina. A seasoned session musician, Pierce has worked with Toto, Pablo Cruise, and Boz Scaggs. His solid basslines and professional experience have made him a valuable addition to the band’s lineup.

Marvin McFadden

Marvin McFadden has been the trumpet player for Huey Lewis and the News since 1994, contributing to the brass arrangements that are a hallmark of the band’s sound. McFadden’s trumpet skills are showcased on tracks like “Small World” and in live performances where the horn section takes center stage.

Rob Sudduth

Rob Sudduth joined Huey Lewis and the News in 1994 as a saxophonist, adding his talents to the band’s horn section. His contributions have enriched the band’s live shows and recordings, maintaining the vibrant energy of their music.

Johnnie Bamont

Johnnie Bamont has been a part of Huey Lewis and the News since 1994, playing saxophone, flute, and other woodwinds. His versatility as a musician has been a significant asset, enhancing the band’s sound with his polished performances.

Don’t forget to check out our other Huey Lewis and the News articles here on Classic RockHistory.com.

Top 10 Huey Lewis And The News Songs

Complete List Of Huey Lewis & The News Albums

10 Most Rocking Huey Lewis And The News Songs

Complete List Of Huey Lewis And The News Songs From A to Z

Complete List Of Huey Lewis And The News Band Members article published on Classic RockHistory.com© 2024

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Drummer KEN MARY Pays Tribute To Late RUSH Drum Legend With “The Neil Peart Experiment”; Part 2: “Freewill” Streaming (Video)

Drummer KEN MARY Pays Tribute To Late RUSH Drum Legend With

Drummer Ken Mary, who has been a member of House Of Lords, Flotsam And Jetsam and Fifth Angel, and has worked as a session and live player with Alice Cooper, Gene Simmons and others, recently launched his new video series, “The Neil Peart Experiment”. Part 2 is now available and can be viewed below.

This video chronicles the educational purpose of “The Neil Peart Experiment,” performed by session drummer Ken K Mary, and is Part 2. Neil is one of Ken’s drumming influences, and Ken is a great fan of Neil’s composition and performance. Here is the experiment: could a session drummer replace the existing drum tracks, that were not performed to a click track, and make the replacement parts almost seamless in tone and performance? Would the new drum tracks be able to lock to the existing musical tracks without any issues? Could the song sound close to the same? Could this be done all in one pass, like the original recordings?

For full “studio rules” for this recording, review “The Neil Peart Experiment” Part 1 below.

“One of the most challenging (and best) aspects of being a musician is you never stop learning and it’s often the legacy of the masters (such as Neil Peart) where lies the educational lessons necessary to assist in our desire to improve!” – Ken Mary

Part 2: “Freewill”:

Part 1: “YYZ”: