Author: wamdiness

Slipknot guitarist Jim Root has joined the chorus of people impatient for the band to release Look Outside Your Window already.

Percussionist Shawn ‘Clown’ Crahan announced six years ago that, during the sessions for 2008’s All Hope Is Gone, several of the nu metal nine-piece’s members recorded another album on the side. In interviews since, he’s repeatedly offered up release windows that came and went without anything happening, causing some fatigue among fans.

In the new issue of Metal Hammer, Root reveals that he too is sick of waiting – to the point he’s threatened multiple times just to leak the thing and have it over with.

“Man, I keep telling Clown that I’m just gonna throw it up on Youtube, then put a link to it on my Instagram or something,” the guitarist tells writer Paul Travers. “He’s like, ‘Don’t dude, just don’t.’”

Root adds that Crahan is still “messing with mixes” for the long-delayed album, then wonders, “Maybe he’s losing focus on it or whatever.”

“I don’t even remember what any of that stuff sounds like, because it’s been so long since we recorded it,” he admits. “I don’t think I’ve listened to it in probably 10 years. Maybe I’ll go find him after we are done talking, and I’ll be like, ‘Let’s listen to Look Outside Your Window, and let’s release it tonight…’”

Look Outside Your Window was recorded simultaneously to All Hope Is Gone at Sound Farm Studio in Slipknot’s home state of Iowa. Root, Crahan, singer Corey Taylor and turntablist Sid Wilson contributed to the record, which Taylor has previously described as having a “Radiohead vibe” that’s “experimental” and “melodic”.

Initially, Crahan aimed for the album to come out during the cycle for 2019’s We Are Not Your Kind. However, said cycle ended with the release of followup The End, So Far in 2022. In December 2023, he said it’s been fully mixed and mastered, with album artwork, and would come out in 2024. It didn’t.

Although Look Outside Your Window has become the biggest nu metal white whale since Limp Bizkit’s Stampede Of The Disco Elephants, one song from it has seen the light of day. ’Til We Die was released as part of the deluxe edition of All Hope Is Gone and is frequently played from the tape at the end of Slipknot concerts.

As well as the interview with Slipknot, the new issue of Metal Hammer offers the essential breakdown of the year in metal. The magazine ranks the best metal albums of 2024, revisits Lzzy Hale’s stint fronting glam metal stars Skid Row, gets the inside story of Gojira’s show-stealing Olympic Games performance, and so much more. Order now and get your copy delivered directly to your doorstep.

Though the skull-guitar cover art for Be Bop Deluxe’s 1974 debut Axe Victim once led US tour promoters to pair the band with Ted Nugent, Bill Nelson was never that guy. Yes, he was a guitar hero, but his art school background and love of jazz and surrealist polymath Jean Cocteau helped inspire a wider vision.

After the sonically transitional LP that was Be Bop’s 1978 swan song Drastic Plastic, Nelson formed Red Noise, whose debut album Sound-On-Sound was hip to Kraftwerk, Talking Heads and Belgian synth-poppers Telex. Nelson was shape- shifting; a moving target.

Quit Dreaming And Get On The Beam was originally intended to be Red Noise’s second album, but major upheavals at Nelson’s then-label EMI led to him releasing it under his own name.

Prior to Phonogram/Mercury taking on the album (“Too wacky for us!” carped Nelson’s US label Capitol) he released the single Do You Dream In Colour on his own Cocteau imprint. Later, someone saw David Bowie buying a copy at Virgin Records in London’s Marble Arch, and the NME reported on it.

There’s certainly something of the Bowie circa Scary Monsters (And Super Creeps) about Quit Dreaming’s opener Banal and retro-futurist gem Disposable, while Living In My Limousine conjures M’s 1979 hit Pop Musik with lead guitars.

Given that it was recorded in 1979 and not released until May 1981, what’s really striking about Quit Dreaming is how far ahead of the 80s art-rock curve Nelson was, making forward-looking, new wave electronic music with trace elements of his prog and glam roots.

This expanded reissue doesn’t just ice the cake, it adds whole new layers. Nelson devotees/completists will love bonus tracks Turn To Fiction (angular, Talking Heads-esque funk) and Hers Is A Lush Situation (a masterclass in dissonant lead-guitar), while there’s primitive magic in the sequenced electronic tracks Nelson and his brother Ian recorded for Manchester’s Piccadilly Radio in March 1981.

Quit Dreaming And Get On The Beam – Deluxe Box Set is on sale now via Cherry Red.

Before the festive season starts, Sweden’s blackened thrash metal band Sarcator offers an early present for its fans with their newest single “Where The Void Begins”. The third track from the group’s upcoming album delivers a haunting exploration of despair and existential reflection. With vivid imagery, the lyrics delve into themes of isolation, loss, and the allure of the unknown. Dark and poetic, the song paints a picture of surrender to the infinite unknown – terrifying but liberating.

“Where The Void Begins” will be the last single before Sarcator’s third full length album, Swarming Angels & Flies, will be fully unleashed on January 17, 2025, via Century Media Records.

The band comments, “’Where The Void Begins’ is the brother song of ‘The Long Lost’, off our 2022 album Alkahest – not in an obvious way but it felt like continuing on a story that wasn’t complete. It’s the heavy one on this album and ends up in a total rock n roll frenzy. Additionally, it is the first one we wrote that ended up on this album, so it still carries the spirit of the previous album in a way.”

Stream / download “Where The Void Begins” at this location. Pre-order Swarming Angels & Flies in various formats here.

Tracklisting:

“Burning Choir”
“Comet Of End Times”
“Swarming Angels & Flies”
“The Deep Ends”
“Where The Void Begins”
“The Undercurrent”
“Closure”
“Unto Sepulchres”
“Dogfight” (Anti Cimex cover)*
“The Black Vomit” (Sarcófago cover)*
“Torture” (Sadus cover)*

*Ltd. CD Jewelcase in O-Card only bonus tracks

“Comet Of End Times” lyric video:

“Swarming Angels & Flies” video:

Sarcator Lineup:

Mateo Tervonen – Vocals, Guitar
Felix Lindkvist – Bass
Leo Buchalle – Guitar
Jesper Rosén – Drums

(Photo: Christoffer Hovhag)

Last week, Drummers Of The Pacific Northwest announced on social media that an assortment of Poison drummer Rikki Rockett’s gear had been stolen from Donn’s Drum Vault in Burien, WA. Vault owner Donn Bennett posted the following message along with photos of the stolen drums:

“Stolen Drums!! Several drum sets from the collection of Rikki Rockett from Poison were stolen from our warehouse in Burien WA. They are all extremely unique and easily identified. Please let me know if you see them anywhere. Thanx!”

Earlier today, Rikki Rockett took to social media, sharing the good news that all his stolen drum kits had been recovered. According to Donn Bennett:

“All of Rikki Rockett’s Poison stolen drums have been found!!!

My sincere appreciation to everyone who helped spread the word. My deepest appreciation to our friends at the Tukwilla Guitar Center for their cool and quick action and for keeping the thieves occupied until the police arrived. Also to our new friends at the Burien Sheriff Department for their great police work and for being total pros! Thief was arrested. All of the drums were recovered and returned in perfect condition.

I feel deeply fortunate to be part of our drum community that watches out for each other like we all do. Keep it up. This is a big win for the good guys!”

Rockett will release his memoir, entitled Ghost Notes, via Rare Bird Lit on July 15, 2025.

Co-authored by Martin Svensson and Leif Eriksson, Rockett describes this 312 page hardcover as, “an autobiography about my life inside and outside of Poison.” Pre-orders can be placed now at this location.

Rikki Rockett recently spoke with Eddie Trunk on SiriusXM’s Trunk Nation. During their conversation, he confirms that Poison will be coming back in 2026.

SiriusXM’s Trunk Nation, hosted by Eddie Trunk, airs daily at 3 PM, ET on SiriusXM’s Faction Talk. Audio clip and transcription below courtesy of SiriusXM’s Trunk Nation.

Eddie Trunk: “When I announced on socials about a week ago when I knew you were gonna come on today, Bret sent me a text, Bret Michaels a day or two ago, and he said, ‘Hey, I hear you’re gonna have Rikki Rocket on. Send him my love and tell him Poison 2026.’ What are your thoughts on that? Are you hopeful of that?”

Rikki Rockett: “Oh yeah. Yeah, yeah, yeah, absolutely. ‘26 is for sure gonna happen and like, I mean, unless some unforeseen thing happens, but all band members have stuck their hand in and said, ‘Yeah, we’re definitely doing it without a doubt.'”

Bret Michaels recently went on Facebook Live to speak about plans for the future, including for Poison to hit the road in 2026 to celebrate the 40th anniversary of Look What The Cat Dragged In with his bandmates C.C. Deville (guitarist), Rikki Rockett (drummer), and Bobby Dall (bassist).

Michaels shared the following: “I know a lot of people are wondering, and I try to clear any confusion. ‘25 is going to be an awesome year. We’re gonna pick out some special dates, and I’m just going to do my best to a little R&R, take care of my diabetes, which could just use a tune-up. That’s it and some other things that we’re going through right now. All gonna be great. I’m keeping positive. And some great family time to have some fun, but still do some great select shows. And then ’26, if all goes great, with a lot of moving parts with C.C. and Bobby, Rikki, myself, I am positive we’re gonna work everything out and go out in ’26.”

French philosophic post-black metallers Decline Of The I will emerge with their fifth studio album, titled Wilhelm, on February 14, 2025 via Agonia Records. The band has unveiled the music video for the album’s first single, “L’ Alliance Des Rats”, featuring guest vocals from T.C. (Regarde Les Hommes Tomber) and Vestal (Merrimack):

Decline Of The I is a combination of multifaceted, post-black metal and exploratory lyrics, that dwell on topics of existential philosophy. Originating from France (Paris, Île-de-France), the band was created by AK, who descends from a rich portfolio of past and on-going acts (including Vorkreist, Merrimack, The Order Of Apollyon, Neo Inferno 262, Malhkebre and Diapsiquir). Decline Of The I is his most personal endeavor yet. The band’s first three albums were inspired by the works of French surgeon and neurologist, Henri Laborit. Wilhelm pursues a different approach, based on the output of Danish philosopher Søren Kierkegaard, and marks the second installment of a new trilogy, started by Johannes in 2021.

Wilhelm builds on the foundation of Johannes and adds a more framed dimension; a rigor, a backbone. “Ethics demand an internal code. Loops, repetitions, the relentless nature of a law, all run through its five tracks, spanning over 45 minutes,” comments AK. “It blends abrasive, avant-garde black metal with numerous samples, as well as elements of electro and industrial music. A constrained dive into the angst of ethics.”

The artwork was designed by Dehn Sora (Blut Aus Nord, Deathspell Omega). 

Tracklisting:

“L’ Alliance Des Rats”
“Entwined Conundrum”
“Diapsalmata”
“Éros N”
“The Renouncer”

Pre-orders can be placed now at this location.

(Photo credit: William Lacalmontie)

“This version of ‘Tower’ became a special moment in a very special period of our lives,” explains Swedish heavy metal band Avatar.

“It feels natural to use it as a way to stop and look back for just a moment before we move forward with full force. It’s a thank you to everyone who stands by our side and makes the magic happen.”

The original version of “Tower” can be found on Avatar’s fifth studio album, Hail The Apocalypse, released in 2014 via Entertainment One.

Avatar will return to the concert stage next summer when they open for Iron Maiden across Europe on the Run For Your Lives World Tour. Confirmed dates are listed below.

July
5 – Madrid, Spain – Riyadh Air Metropolitano – SOLD OUT
6 – Lisbon, Portugal – MEO Arena – SOLD OUT
9 – Zurich, Switzerland – Hallenstadion – SOLD OUT
11 – Gelsenkirchen, Germany – Veltins-Arena
13 – Padova, Italy – Stadio Euganeo
15 – Bremen, Germany – Bürgerweide
17 – Vienna, Austria – Ernst Happel Stadium
19 – Paris, France – La Défense Arena – SOLD OUT
20 – Paris, France – La Défense Arena
23 – Arnhem, Netherlands – GelreDome
25 – Frankfurt, Germany – Deutsche Bank Park
26 – Stuttgart, Germany – Cannstatter Wasen – SOLD OUT
29 – Berlin, Germany – Waldbühne – SOLD OUT
30 – Berlin, Germany – Waldbühne

August
2 – Warsaw, Poland – PGE Narodowy

High-energy rock’n’roll royalty, The Hellacopters, are pleased to present a brand new single from their new studio album, Overdriver. “(I Don’t Wanna Be) Just A Memory” sees the band take on the (post)modern preoccupation with nostalgia.

Forgoing influences like the MC5 or KISS, “(I Don’t Wanna Be) Just A Memory” nods more to powerpop pioneers The Who, The Raspberries, or even Badfinger with its major/minor shifts, offering up hidden harmonic treasures while still beating to the ‘Copters’ signature driving pulse.

Like past favorites “No Song Unheard” or “Carry Me Home”, “(I Don’t Wanna Be) Just A Memory” reminds us of the band’s unique capacity to temper their furious-paced action rock with a songwriting sensibility that transcends their genre. Play it loud!

Of course, there’s also an audio-visual treat in the form of a brand new music video for the track by director Emil Klinta, which includes behind-the-scenes footage from the recording sessions. You can watch it below. Stream the single here.

Overdriver formats:

– Ltd Edition Digipak CD /w Patch & 2 Bonus Tracks * (3.500)
– Ltd. Deluxe LP (Apricot & Black Marbled) + Bonus Maxi 12” * (via NB Mailorder & band store US) (1.200)
– Ltd. Deluxe LP (Magenta Transparent) + Bonus Maxi 12” * (only via band store EU) (1.000)
  * Bonus Tracks: “Wild Night” (Van Morrison cover), “What’s Going On?” (Al Stewart cover)
– Black LP (unlimited)
– Brick Red LP (unlimited)
– Apricot + Purple Black Splatter LP (1,500)
– Apricot LP (only in Nordic countries) (1,000)
– Yellow Transparent LP (only in Sweden) (1,000)
– Oxblood LP (via Sound Pollution) (500)
– Red Gold LP (via Sweden Rock) (500)
– Picture LP (only via band) (1,000)
– Cassette (only via band) (200)
– CD Jewelcase
– Digital Album

Pre-order here

Overdriver tracklisting:
 
“Token Apologies”
“Don’t Let Me Bring You Down”
“(I Don’t Wanna Be) Just A Memory”
“Wrong Face On”
“Soldier On”
“Doomsday Daydreams”
“Faraway Looks”
“Coming Down”
“Do You Feel Normal”
“The Stench”
“Leave A Mark”

“Leave A Mark” video:

Live dates:

January
31 – Stockholm, Sweden – Vasateatern

February
1 – Stockholm, Sweden – Vasateatern
6 – Tampere, Finland – Tavara-asema
7 – Helsinki, Finland – House of Culture
12 – Oslo, Norway – Rockefeller
13 – Gothenburg, Sweden – Pustervik
14 – Gothenburg, Sweden – Pustervik
15 – Lund, Sweden – Mejeriet

April
14 – Cologne, Germany – Carlswerk
15 – Munich, Germany – Muffathalle
16 – Frankfurt, Germany – Batschkapp
17 – Hamburg, Germany – Docks
18 – Copenhagen, Denmark – Pumpehuset
19 – Helsingborg, Sweden – The Tivoloi

More dates to be announced soon.

# 10 – Long Long Way From Home – Foreigner

Now, this is the wasy to open up a list like this. It is easily one of the best songs on the band’s’s debut album.  “Long, Long Way From Home” by Foreigner captures the universal experience of feeling out of place, blending driving rock instrumentation with introspective lyrics. The song was released in 1977 as the third single from the band’s self-titled debut album, Foreigner. Recorded at Atlantic Studios in New York City, the album was produced by John Sinclair and Gary Lyons. The lineup featured Lou Gramm on lead vocals, Mick Jones on guitar, Ian McDonald on keyboards and saxophone, Al Greenwood on keyboards, Ed Gagliardi on bass, and Dennis Elliott on drums, showcasing the band’s diverse talents and distinctive sound.

The song’s lyrics tell the story of a young man’s journey from the familiarity of home to the alienating hustle of city life. Lines like “It was a Monday, a day like any other day” set a narrative tone that quickly escalates into a tale of disconnection and longing. Gramm’s emotive delivery, paired with Jones’s searing guitar work and McDonald’s atmospheric keyboard lines, adds a dynamic energy that mirrors the song’s themes of frustration and resilience. The song peaked at No. 20 on the Billboard Hot 100, cementing its place as a classic within the band’s catalog.

In the context of this list, “Long, Long Way From Home” resonates with the themes of separation and identity that run through other entries. Its exploration of the physical and emotional distance from home offers a compelling counterpoint to tracks that focus on the warmth and comfort of returning. Foreigner’s ability to balance raw emotion with polished musicianship makes this track an enduring favorite and a standout in any discussion of songs with “Home” in the title.

Read More: 10 Most Rocking Foreigner Songs

# 9 – 2000 Light Years from Home

The Rolling Stones’ “2000 Light Years from Home” takes listeners on a psychedelic journey through space and isolation. Released in 1967 on the band’s album Their Satanic Majesties Request, this track is one of the Stones’ most experimental offerings. The song was recorded at Olympic Studios in London, produced by the band themselves, with Mick Jagger on vocals, Keith Richards on guitar, Brian Jones on Mellotron and keyboards, Bill Wyman on bass, and Charlie Watts on drums. This lineup’s ability to incorporate avant-garde elements into their music is on full display, marking a departure from their early blues-inspired roots.

The song’s lyrics, penned by Mick Jagger, describe a voyage through deep space, evoking themes of distance, alienation, and introspection. Lines like “See it all in 3D, it’s just a dream to me” reflect a surreal detachment, while the haunting Mellotron lines, played by Brian Jones, create an otherworldly atmosphere that underpins the song’s theme. The track’s cosmic soundscape is enhanced by Richards’ ethereal guitar work and Watts’ steady drumming, providing a rhythmic anchor amidst the psychedelic chaos.

In the context of this list, “2000 Light Years from Home” contrasts sharply with other songs focused on the comforting or nostalgic aspects of “home.” Here, “home” becomes an unreachable destination, a place of longing magnified by the vastness of space. This sense of yearning sets the song apart, offering a darker, more introspective take on the theme. The Rolling Stones’ ability to venture into experimental territory while maintaining their trademark edge makes this track a standout entry, reflecting the versatility and depth of their artistry.

Read More: Top 10 Rolling Stones Songs of the 1960’s

# 8 – Coming Home – Cinderella

“Coming Home” by Cinderella is a heartfelt power ballad that captures themes of longing, redemption, and the bittersweet return to familiarity. Released in 1988 as the fourth single from the band’s second album, Long Cold Winter, the song showcases the band’s blues-rock influences and lyrical introspection. The album was recorded at Bearsville Studios in New York and produced by Andy Johns, who brought a raw yet polished sound to the record. The band’s lineup for this track featured Tom Keifer on lead vocals and guitar, Jeff LaBar on guitar, Eric Brittingham on bass, and Fred Coury on drums, creating a rich and emotional sonic landscape.

The song’s lyrics explore the longing for home after a period of personal trials and distance. Lines such as “I took the longest road just to get back home” evoke a sense of self-discovery and the pull of returning to one’s roots. Keifer’s soulful vocals, combined with melodic guitar lines and a steady rhythm section, bring a poignant intensity to the track. The acoustic opening transitions into a powerful chorus, reflecting the emotional journey described in the lyrics. “Coming Home” resonated with audiences, reaching No. 20 on the Billboard Hot 100, cementing its place as one of Cinderella’s signature ballads.

In the context of this list, “Coming Home” offers a deeply personal perspective on the concept of home. Unlike other songs that might focus on physical places, this track delves into the emotional resonance of what “home” represents—a place of solace and self-understanding. Its bluesy undertones and heartfelt delivery make it a memorable entry, highlighting Cinderella’s ability to blend raw emotion with technical mastery. The song serves as a testament to the enduring power of rock ballads to convey universal themes with depth and sincerity.

Read More: 10 Best Cinderella Songs

# 7 – Home – Karla Bonoff

“Home” by Karla Bonoff is a beautifully introspective ballad that explores themes of belonging, longing, and emotional refuge. Featured on her self-titled debut album Karla Bonoff, released in 1977, the song showcases Bonoff’s ability to craft deeply personal and emotionally resonant lyrics. Recorded at The Sound Factory in Los Angeles, the album was produced by Kenny Edwards, a frequent collaborator of Bonoff. The lineup included notable musicians such as Andrew Gold on guitar, Waddy Wachtel on additional guitar, and Bonoff herself on piano and vocals, creating a lush yet intimate arrangement.

The lyrics of “Home” are steeped in a yearning for comfort and connection, with lines like “I can see the light of a clear blue morning, I can see the sun on the rise.” Bonoff’s tender delivery and the song’s gentle piano melodies evoke a profound sense of vulnerability, as the narrator seeks solace and stability in the idea of returning home. The simplicity of the arrangement allows the lyrics to take center stage, enhancing the emotional depth of the song.

When compared to Foreigner’s “Long, Long Way From Home,” Bonoff’s “Home” offers a starkly different perspective. While Foreigner’s track is driven by the frustration and alienation of being away from home, Bonoff’s song reflects a quiet, internal longing for the peace and stability it represents. Similarly, Cinderella’s “Coming Home” adds a rock-infused journey of redemption, contrasting with the understated elegance and emotional vulnerability that define Bonoff’s track. Together, these songs highlight the diverse interpretations of what “home” can mean, each bringing its own emotional nuance to the theme.

# 6 – “Darling Be Home Soon” – The Lovin’ Spoonful

The Lovin’ Spoonful’s “Darling Be Home Soon” is a tender and poignant ballad that captures the longing and anticipation of reunion. Written by John Sebastian, the song was released in 1967 as part of the soundtrack for the film You’re a Big Boy Now and also appeared on the band’s compilation album The Best of The Lovin’ Spoonful Vol. 2. Produced by Erik Jacobsen and recorded at Bell Sound Studios in New York City, the track features Sebastian on lead vocals and autoharp, Zal Yanovsky on guitar, Steve Boone on bass, and Joe Butler on drums. This lush arrangement underpins the song’s emotional resonance, blending folk and pop influences with orchestral flourishes.

The lyrics of “Darling Be Home Soon” express a heartfelt plea for the return of a loved one, with lines like “And now a quarter of my life is almost passed, I think I’ve come to see myself at last” reflecting both vulnerability and introspection. Sebastian’s warm vocal delivery brings an intimate quality to the track, making it a deeply personal expression of yearning. The song’s orchestral elements elevate its emotional weight, creating a rich soundscape that emphasizes its themes of love and devotion.

When compared to other songs on this list, “Darling Be Home Soon” shares thematic parallels with Karla Bonoff’s “Home,” as both explore the emotional pull of reconnecting with a place or person that provides solace. However, while Bonoff’s song focuses on an internal journey, “Darling Be Home Soon” is rooted in the direct and immediate desire for reunion. Similarly, its gentle, orchestral arrangement contrasts with the bluesy grit of Cinderella’s “Coming Home” and the rock-driven urgency of Foreigner’s “Long, Long Way From Home,” showcasing the versatility of the “home” theme across musical styles.

Read More: Top 10 Lovin’ Spoonful Songs

# 5 – Take Your Whiskey Home – Van Halen

“Take Your Whiskey Home” by Van Halen is a raucous blues-rock track that blends swaggering energy with raw, emotive power. Featured on the band’s 1980 album Women and Children First, this song showcases their ability to fuse blues influences with their signature hard rock sound. Recorded at Sunset Sound Recorders in Hollywood, California, and produced by Ted Templeman, the track highlights the band’s chemistry during their early years. The lineup included David Lee Roth on vocals, Eddie Van Halen on guitar, Michael Anthony on bass, and Alex Van Halen on drums, all contributing to the track’s fiery intensity.

The song opens with a stripped-down, acoustic blues introduction before transitioning into a thunderous, electrified arrangement. The lyrics, delivered with Roth’s characteristic bravado, tell the story of a man grappling with the strains of a relationship, underscored by the line “Take your whiskey home.” Eddie Van Halen’s guitar work shines throughout the track, moving seamlessly between the subdued acoustic opening and the roaring riff-driven sections that define the song’s energy. Alex Van Halen’s powerful drumming and Michael Anthony’s harmonized backing vocals add further depth, making the song a standout on the album.

When compared to other songs on this list, “Take Your Whiskey Home” offers a grittier, more rebellious take on the “home” theme. Unlike Karla Bonoff’s “Home,” which emphasizes emotional vulnerability, or the reflective yearning in The Lovin’ Spoonful’s “Darling Be Home Soon,” Van Halen’s track leans into a more visceral and confrontational energy. The fiery intensity of “Take Your Whiskey Home” contrasts sharply with the soulful warmth of Foreigner’s “Long, Long Way From Home,” illustrating the diverse interpretations of “home” in rock music. Van Halen’s ability to channel raw emotion into their signature hard rock sound ensures the track’s lasting appeal.

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

# 4 – At Home At Work At Play – Sparks

“At Home, At Work, At Play” by Sparks is a dazzling mix of wit, theatricality, and intricate musicality, emblematic of the band’s quirky and genre-defying style. Released in 1974 on their album Propaganda, the song captures the eccentric brilliance of brothers Ron and Russell Mael, who form the creative core of Sparks. Recorded at Island Studios in London and produced by Muff Winwood, the album features a lineup that included Adrian Fisher on guitar, Martin Gordon on bass, and Norman “Dinky” Diamond on drums, complementing Ron Mael’s keyboard work and Russell Mael’s distinct falsetto vocals.

The lyrics of “At Home, At Work, At Play” deliver a tongue-in-cheek commentary on the challenges of wooing a hyper-scheduled love interest. Lines like “You gotta catch her while she’s still at home / You gotta catch her while she’s still at work / You gotta catch her while she’s still at play” blend humor with a touch of urgency, reflecting the band’s signature lyrical absurdity. The song’s rapid-fire delivery and clever wordplay add to its playful tone, while its vibrant melody underscores the manic energy of its theme. Musically, the track combines baroque pop sensibilities with rock energy, featuring intricate arrangements that balance complexity with accessibility.

When compared to other entries on this list, Sparks’ “At Home, At Work, At Play” stands out for its whimsical approach to the concept of “home.” While tracks like Karla Bonoff’s “Home” and Blind Faith’s “Can’t Find My Way Home” delve into emotional depth and introspection, Sparks opts for a playful, theatrical exploration of the logistical challenges of modern relationships. This contrast highlights the diverse ways artists interpret the idea of “home” through music, with Sparks offering a unique and entertaining perspective that reflects their avant-garde ethos.

Read More: Top 10 Sparks Songs

# 3 – Home At Last – Steely Dan

“Home at Last” by Steely Dan is a sophisticated blend of jazz, rock, and storytelling, showcasing the band’s signature fusion of complex musicianship and lyrical intrigue. Released in 1977 as part of their critically acclaimed album Aja, the track epitomizes the meticulous production style and musical innovation of Walter Becker and Donald Fagen. Recorded at Village Recorders and Producer’s Workshop in Los Angeles, Aja was produced by Becker, Fagen, and Gary Katz, with an array of renowned session musicians contributing to its sound. On “Home at Last,” standout performances include Bernard Purdie on drums, Chuck Rainey on bass, and Joe Sample on electric piano, each delivering the precision and groove that define the track’s unique feel.

Lyrically, “Home at Last” is inspired by Homer’s The Odyssey, particularly the tale of Odysseus and the Sirens. Lines such as “The danger on the rocks is surely past, still I remain tied to the mast” evoke the mythological struggle, suggesting a tension between longing for stability and the pull of adventure. The refrain, “Could it be that I have found my home at last?” conveys both relief and uncertainty, mirroring the song’s themes of restlessness and resolution. Fagen’s smooth, reflective vocals perfectly complement the song’s lush arrangement, blending jazzy chord progressions with a laid-back groove.

In the context of this list, “Home at Last” offers a more cerebral and metaphorical take on the theme of “home.” While songs like Karla Bonoff’s “Home” and Blind Faith’s “Can’t Find My Way Home” focus on emotional or spiritual yearning, Steely Dan’s track delves into the existential complexities of finding one’s place. The intricate instrumentation and literary allusions distinguish it as a profound exploration of the concept, adding a layer of intellectual depth to the diverse interpretations of “home” within this collection.

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

# 2 – “Take Me Home Tonight (Be My Baby)” – Eddie Money

Eddie Money’s “Take Me Home Tonight” is a dynamic and nostalgic rock anthem that became one of the most iconic hits of the 1980s. Released in 1986 as the lead single from his album Can’t Hold Back, the track was recorded at The Complex in Los Angeles and produced by Richie Zito. It features powerhouse guest vocals from Ronnie Spector, whose performance pays homage to her classic “Be My Baby” with the unforgettable line, “Just like Ronnie sang…” The song reached No. 4 on the Billboard Hot 100, cementing Money’s place in rock history.

The lyrics of “Take Me Home Tonight” explore themes of desire and yearning, centering on a passionate plea for intimacy and connection. Lines like “I get frightened in all this darkness, I get nightmares I hate to sleep alone” reveal a vulnerability beneath the song’s polished rock exterior. Money’s emotive delivery, paired with Spector’s soulful harmonies, creates a compelling interplay that elevates the track. The driving rhythm section and soaring guitar riffs further amplify its anthemic quality, ensuring its place as a radio staple.

Within the context of this list, “Take Me Home Tonight” offers a distinct perspective on the theme of “home.” While songs like Karla Bonoff’s “Home” delve into introspection and solace, and Van Halen’s “Take Your Whiskey Home” channels rebellious energy, Money’s track captures the immediacy of longing for companionship. The nostalgic nod to Spector’s classic adds a layer of timelessness, making it a standout entry that bridges generations of rock and pop. Eddie Money’s ability to blend vulnerability with stadium-ready hooks ensures the enduring appeal of this quintessential ’80s hit.

Read More: Top 10 Eddie Money Songs

# 1 – Can’t Find My Way Home – Blind Faith

“Can’t Find My Way Home” by Blind Faith is a hauntingly introspective ballad that has stood the test of time as one of the most enduring songs of the late 1960s. Written by Steve Winwood, the song was released in 1969 on Blind Faith’s self-titled album, the supergroup’s only studio release. The album was recorded at Olympic Studios in London and produced by Jimmy Miller. The lineup included Eric Clapton on guitar, Steve Winwood on vocals and keyboards, Ginger Baker on drums, and Ric Grech on bass, all contributing to the track’s ethereal and soulful quality.

The song’s lyrics, such as “Come down off your throne and leave your body alone,” explore themes of spiritual disconnection, longing, and the search for meaning. Winwood’s plaintive vocal delivery, paired with Clapton’s subtle acoustic guitar work, creates an atmosphere of melancholy and introspection. The restrained instrumentation allows the emotive power of the lyrics to shine, making it one of Blind Faith’s standout tracks. This delicate interplay between melody and meaning has made “Can’t Find My Way Home” a favorite for both fans and critics alike.

In the context of this list, “Can’t Find My Way Home” offers a contemplative and spiritual take on the concept of “home.” Compared to the raucous rebellion of Van Halen’s “Take Your Whiskey Home” or the anthemic energy of Eddie Money’s “Take Me Home Tonight,” Blind Faith’s track is meditative, inviting listeners to reflect on internal struggles and the longing for solace. Its acoustic-driven sound and emotional depth provide a contrast to more upbeat or assertive entries, showcasing the multifaceted nature of the “home” theme in music. The song’s timeless quality ensures its place as a touchstone for introspective rock ballads.

Read More: Top 10 Steve Winwood Songs

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10 Best Songs With The Word ‘Home’ In The Title article published on Classic RockHistory.com© 2024

Due to incredible demand, System Of A Down has added second shows in East Rutherford, NJ at MetLife Stadium on August 27 with Korn; Chicago, IL at Soldier Field on September 1 with Avenged Sevenfold; and Toronto, ON at Rogers Stadium on September 5 with Deftones, as part of their one-of-a-kind massive stadium events next year. Their performances in Toronto mark the first hard rock act to play two nights at the brand new Rogers Stadium. Special guests Polyphia and Wisp will open for all shows.

Tickets are available with an artist presale beginning today. The general on-sale begins Friday, December 13 at 12 PM, local time at LiveNation.com.

As the most inspired, impactful, and inimitable rock band of the 21st century, System Of A Down has sold over 40 million records worldwide, earned a Grammy Award, and headlined arenas, festivals, and stadiums on multiple continents, worldwide. Formed in Los Angeles, the group have soundtracked personal, political, sonic, and spiritual revolution since the 1998 release of their multi-platinum self-titled debut. The quartet have consistently sold out shows worldwide and regularly register over 23.4 million monthly listeners on Spotify, making them one of the most-listened to rock/alternative bands in the world. System Of A Down is Daron Malakian [guitars, vocals], Serj Tankian [vocals, keys], Shavo Odadjian [bass], and John Dolmayan [drums].

Korn changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre, while the band’s enduring success points to a larger timeless, cultural moment. Since forming, Korn has sold more than 40 million albums worldwide, collected two Grammys, toured the world countless times, and set many records in the process that will likely never be surpassed. Korn has continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.

Avenged Sevenfold have sold millions of albums worldwide, earned two consecutive No. 1 albums on Billboard’s Top 200 Albums chart (2010’s Nightmare and 2013’s Hail To The King), have over a billion video views and a billion-plus Spotify streams, as well as multiple No. 1 singles on rock radio. The band (comprising M. Shadows, Synyster Gates, Zacky Vengeance, Johnny Christ and Brooks Wackerman) are equally known for their spectacular live shows, selling out arenas and headlining the world’s most prestigious rock festivals as well as always being at the forefront of rapidly changing technology, cultural mile markers, and new ways for communities to engage. Their latest critically-acclaimed 2023 album, Life Is But A Dream… is designed to provoke and inspire, courageously broadening the New Wave Of American Heavy Metal sound pioneered by the band with confidence, attitude, and intention.

Formed in Sacramento, CA in 1988, the multi-platinum Grammy Award-winning Deftones are one of the most influential alternative bands in the world. The band, comprised of Chino Moreno, Frank Delgado, Stephen Carpenter, and Abe Cunningham, has released nine studio albums, with the most recent release being Grammy-nominated Ohms. Deftones’ culture is revered as one of the most fervent that exists. They are arguably the most in demand rock band today.

Kingmaker is delighted to announce the publication of Genesis: 1975 To 2025 – The Phil Collins Years by Mario Giammetti on April 17, 2025.

Originally published in 2021 as Genesis: 1975 to 2021 – The Phil Collins Years and out of print since late 2022, Genesis: 1975 To 2025 – The Phil Collins Years features fully revised text, new interview content and two additional chapters to bring the Genesis story completely up to date. As well as providing a detailed appraisal of The Last Domino? tour, the book also covers other recent events in the world of Genesis, including the sad loss of Richard Macphail and the forthcoming reissue of The Lamb Lies Down On Broadway.    

Genesis: 1975 To 2025 – The Phil Collins Years is the definitive biography of one of the world’s greatest rock bands following the departure of Peter Gabriel. It contains numerous exclusive interviews with band members and all of the important personalities who were part of the story of Genesis from 1975 onwards, including Ray Wilson who fronted the band for 1997’s Calling All Stations album and subsequent tour before the return of Phil Collins in 2007.

The book provides a detailed account of Genesis post Peter Gabriel, taking readers through each album and tour. Genesis:  1975 To 2025 – The Phil Collins Years contains a wealth of information about Genesis’s career, much of which may well be unknown even to the most ardent fans of the band.

Genesis: 1975 To 2025 – The Phil Collins Years also serves as a sequel to Giammetti’s highly acclaimed book Genesis: 1967 to 1975 – The Peter Gabriel Years, which is also published by Kingmaker and remains available.  

Mario Giammetti is an Italian music journalist with over 35 years’ experience. He has written for numerous Italian music magazines (including Classic Rock, Rockstar and Jam). In 1991 he founded Dusk, the only printed magazine in the world dedicated to Genesis. He has written 15 books related to the world of Genesis.

Genesis: 1975 To 2025 – The Phil Collins Years is available for pre-order now from Burning Shed (UK/Europe) here, and from The Band Wagon USA (North America) here.