Daryl Hall has no time for the term yacht rock, and he’s not afraid to share his feelings on the matter.
During an appearance on the Broken Record podcast, the singer dismissed the subgenre and expressed scorn for the men who invented it.
“This is something I don’t understand. First of all, yacht rock was a fucking joke by two jerk offs in California and suddenly it became a genre,” Hall declared. “I don’t even understand it. I never understood it.”
The phrase yacht rock emerged in 2005 after comedians JD Ryznar, Hunter Stair, and Lane Farnham used it as the basis for their popular web series. What started as a joke is now a commonly recognized subgenre, attributed to a lot of soft rock from the ‘70s and ‘80s. While many music fans have embraced yacht rock, Hall clearly despises the term.
“It’s just R&B,” the singer insisted, “with maybe some jazz in there. It’s mellow R&B. It’s smooth R&B. I don’t see what the yacht part is.”
Daryl Hall Says People ‘Couldn’t Label’ Hall & Oates’ Music
Hall’s previous band, Hall & Oates, has frequently been placed in the yacht rock boat – a fact which likely contributed to his feelings about the term.
“People misjudged us because they couldn’t label us,” Hall explained, noting how Hall & Oates’ Philadelphia soul sound blurred the lines between R&B and rock. “They always came up with all this kind of crap, soft rock and yacht rock and all this other nonsense. And none of it, none of it really describes anything that I do really.”
Hall split with his longtime musical partner John Oates in 2023, a breakup that included lawsuits over the duo’s catalog and business entities. Despite the discourse, Hall still performs plenty of classic Hall & Oates material during his solo shows. The singer is on tour with Squeeze’s Glenn Tilbrook through the fall.
Top 100 ’80s Rock Albums
UCR takes a chronological look at the 100 best rock albums of the ’80s.
Feature Photo: Josiah VanDien, CC BY-SA 4.0 , via Wikimedia Commons
Shawn Mendes, a Canadian singer-songwriter hailing from Pickering, Ontario, first gained attention in 2013 by posting covers of popular songs on the now-defunct Vine platform. His renditions quickly amassed millions of views, capturing the interest of artist manager Andrew Gertler and Island Records A&R Ziggy Chareton. By 2014, Mendes secured a contract with Island Records and released his debut self-titled EP, which peaked at number five on the Billboard 200 chart and laid the groundwork for his explosive rise in the pop music scene.
In April 2015, Mendes released his first studio album, Handwritten, which debuted at number one on the Billboard 200 and was certified platinum. The album’s lead single, “Stitches,” became a massive hit, reaching the top five on the Billboard Hot 100 and topping the UK Singles Chart. The success of Handwritten established Mendes as a formidable force in pop music, propelling him into extensive touring and mainstream visibility.
Mendes followed up with his second studio album, Illuminate, released in September 2016. The album also debuted at number one on the Billboard 200 and featured hits such as “Treat You Better” and “There’s Nothing Holdin’ Me Back,” both of which secured top ten positions on the Billboard Hot 100. With Illuminate, Mendes displayed a more mature sound, incorporating elements of blues and soul that expanded his appeal beyond the teen pop market.
The release of his self-titled third studio album in May 2018 further solidified Mendes’s position as a dominant pop artist. The album debuted atop the Billboard 200, marking his third consecutive number one release. The lead single, “In My Blood,” addressed his personal struggles with anxiety, revealing a more introspective side to his songwriting. The track was critically acclaimed for its raw vulnerability, resonating with listeners and earning Mendes a nomination for Song of the Year at the 2019 Grammy Awards.
In December 2020, Mendes released his fourth studio album, Wonder, which once again debuted at number one on the Billboard 200, making him the youngest male artist to top the chart with four studio albums. The title track and lead single showcased his evolving sound, merging cinematic production with emotive lyrics that reflected his personal and artistic growth. Mendes also released the Netflix documentary Shawn Mendes: In Wonder, providing fans with an intimate look at his creative process and the emotional toll of his rapid rise to fame.
After a brief hiatus to focus on mental health, Mendes returned with his fifth studio album, Shawn, in November 2024. He described it as his most personal work to date, drawing inspiration from his experiences during the pandemic and his ongoing efforts to navigate life in the public eye. Collaborating with producers such as Scott Harris and Mike Sabath, Mendes explored deeper themes of self-reflection and healing, garnering praise for his mature lyricism and musical evolution.
Throughout his career, Mendes has received significant acclaim and numerous accolades. He has earned multiple MTV Europe Music Awards, Juno Awards, and American Music Awards, reflecting both his commercial success and artistic impact. Mendes has also been nominated for Grammy Awards, further underscoring his influence within the music industry.
Beyond his musical accomplishments, Mendes has been actively involved in philanthropy. In 2019, he launched the Shawn Mendes Foundation, aimed at supporting initiatives related to youth empowerment, mental health, and climate change. The foundation has partnered with organizations such as SickKids Hospital and Global Citizen, allowing Mendes to leverage his platform for positive social change.
Mendes has also been recognized for his advocacy surrounding mental health, openly discussing his personal struggles with anxiety and the pressures of fame. In 2022, he canceled his Wonder: The World Tour to focus on self-care, a decision that resonated with fans and further highlighted his commitment to mental health awareness.
Despite the challenges he has faced, Mendes continues to evolve as an artist, pushing the boundaries of his sound while remaining true to his roots as a vulnerable, emotionally driven songwriter. His journey from Vine sensation to global superstar underscores not only his undeniable talent but also his resilience and dedication to both his craft and his community.
Complete List Of Shawn Mendes Songs From A to Z
24 Hours – Wonder – 2020
305 – Wonder – 2020
A Little Too Much – Handwritten – 2015
Act Like You Love Me – Handwritten (Revisited Edition) – 2015
Aftertaste – Handwritten – 2015
Air (featuring Astrid S) – Handwritten – 2015
Always Been You – Wonder – 2020
Always Been You (Live from The Wonder Residencies) – Wonder (Deluxe) – 2020
Bad Reputation – Illuminate – 2016
Because I Had You – Shawn Mendes – 2018
Bring It Back – Handwritten (Deluxe Edition) – 2015
Call My Friends – Wonder – 2020
Can’t Imagine – Wonder – 2020
Can’t Take My Eyes Off You (BBC Live Version) – Wonder (Holiday Deluxe) – 2020
Carried Away – Lyle, Lyle, Crocodile – 2022
Count On Me (Brockhampton featuring ASAP Rocky, SoGone SoFlexy, Ryan Beatty and Shawn Mendes) – Roadrunner: New Light, New Machine – 2021
Crazy – Handwritten – 2015
Don’t Be a Fool – Illuminate – 2016
Don’t Want Your Love – Handwritten (Target/HMV Exclusive) – 2015
Dream – Wonder – 2020
Dream (Live from The Wonder Residencies) – Wonder (Deluxe) – 2020
Earth (with Lil Dicky and multiple artists) – Non-album Single – 2019
Youth (Remix) (featuring Khalid and Jessie Reyez) – Shawn Mendes: The Album (Remixes) – 2018
Albums
Handwritten (2015): 24 songs
Illuminate (2016): 22 songs
Shawn Mendes (2018): 28 songs
Wonder (2020): 24 songs
Shawn (2024): 12 songs
Check out our fantastic and entertaining Shawn Mendes articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
“Iggy ran from one side of the stage to the other and head-butted the wall. I was covered in blood, because he’d come up and danced around me”: The Pretty Things singer Phil May’s wild tales of Hendrix, Zeppelin, Iggy Pop and Judy Garland
(Image credit: Michael Putland/Getty Images)
Before Led Zeppelin, The Who or even the Rolling Stones arrived on the scene, British band the Pretty Things were the acknowledged perpetrators of mayhem, outrage and general carnage. Musically and visually they were well ahead of their time. In the early 60s their hairy visages constantly graced the pages of the tabloids alongside sordid tales of debauchery that would make Mick’n’Keith blush. In 2008, late frontman Phil May sat down with Classic Rock to share stories of some of the more memorable characters he met along the way.
Brian Jones
He lived with us at the notorious house in Chester Street. It was weird, because Brian and Viv [Pretty Things drummer Vivian Prince] had this love/hate relationship. I liked Brian a lot, but he was his own worst enemy, very paranoid. And of course he had the ignominity of being dropped off at the enemy’s house every night after gigs. I didn’t know it, but at the time the big thing in school playgrounds was that you either had to be into the Rolling Stones or the Pretty Things, you couldn’t like both. And their original manager, Andrew Oldham, played on the rivalry, as he couldn’t handle the fact that we got the publicity for being uglier, noisier and more unruly. So Brian was literally sleeping with the enemy.
We went out a lot, and we’d be walking through the markets in the early hours of the morning and the old fellers on the fruit and veg stalls would shout out: “Alright, Brian! Alright Mick!” And Brian would run over to them and say: “No, no that’s not Mick, that’s Phil. He’s from another group.” He wouldn’t even say our band’s name.
One night Brian came back from a gig and we were playing 5×5 and really enjoying it; everybody’s really stoned and laughing. As Brian walked in, he thought we were taking the piss out of the record. For some reason he had this ukulele, and he ran over and smashed it over Viv’s head. Of course, Viv didn’t really notice as he was semi-unconscious anyway. After that Brian melted down all our records and stuck them all over the house. He did have a tough time living at our house. When the Stones weren’t around he was very friendly, but I think he felt he had to maintain this strange stance around them and us.
The Pretty Things’ Phil May with Led Zeppelin’s Robert Plant and DJ JJ Jackson in 1975 (Image credit: Fred Sabine/NBCU Photo Bank/NBCUniversal via Getty Images via Getty Images)
Led Zeppelin
I first met Jimmy Page around Demark Street; he was doing sessions. He first played with us when Bobby Graham was producing the second album and he bought Jimmy down to some of the sessions. He co-wrote the opening track on the album called You Don’t Believe Me. We kept in touch over the years, and that’s why when Zeppelin formed the Swansong label Jimmy and Robert approached me. They were very conscious that they didn’t want it become a big stars vehicle and just use the Zeppelin name. They were very insistent that they controlled the artist roster.
This feature originally appeared in Classic Rock issue 114 (Dec 2007) (Image credit: Future)
I actually had earlier dealings with Peter Grant. He was like a father figure. Extraordinary. He was incredibly caring and careful about his acts. I remember when we went to play for [promoter] Bill Graham in San Francisco. I’m sure that Bill doesn’t normally come to bands’ soundchecks at three in the afternoon, but there he was and he immediately ran over and said: “Is everything okay? Food okay? Do you have towels and showers etcetera?” I said: “Bill, what’s the matter? This isn’t how we are normally treated.” And he said: “I had your manager [Grant] on the phone, and he said that if everything wasn’t okay I’m in big trouble.” Bill desperately wanted Zeppelin to play this show at Candlewick Park, and he flew Peter out there and put this little English tea table on the middle of the stage, served tea and cream cakes and even had a maid in a little outfit. Peter sat down, had his tea and cake, looked up at Graham and said: “That’s very nice, but you’re not fucking getting Zeppelin,” and then got up and flew home.
John Bonham loved the Pretties, and any time we recorded a track he insisted on getting a copy. We had the album when we were staying at the Hyatt House and Bonzo was in the penthouse suite. And the Hyatt had a balcony that went all the way around the penthouse, with big, 20-foot sliding doors. When you pushed the doors they’d hit this rubber buffer and come back, and after about three or four minutes they’d close again. So we’re listening to the album on the balcony and suddenly the doors closed; it was like someone had turned the record off. Bonham was furious. He just turned round and put his foot through the massive plate glass doors. They shattered and splintered everywhere. And he just calmly turned around and said: “That’s better. Now we can listen to the rest of the fucking album!”
Jimi Hendrix
I met Jimi quite a few times. I got quite friendly with him as we kind of shared a girlfriend – the beautiful black Beverley – who had this absolutely fantastic apartment, which I think was provided by an Arab prince. I saw Jimi there quite a bit.
My story with Jimi is that we were playing together in Paris at a university. Jimi had never been to France, and the whole Hendrix experience was very new. I sort of wound him up about how much the French would fall on their knees in reverential disbelief when they saw him. We went on first and there were about 6,000 people there. Poor old Jimi went on, and after about two numbers he cleared the place [laughs]. I don’t think he ever trusted me again. Of course, a couple of months later he went down a storm. But that’s the French: they need to be told when something is hip.
I saw him about two weeks before he died, and that was at the usual sort of venue – in a kitchen at a party. Jimi was strange, because he was one of those people that until he plugged in he almost seemed half asleep. He didn’t say a lot, he communicated with body language. I wasn’t shocked when he died, because the last time I saw him he seemed quite low, and I always remember backstage after a show, the better the gig was, the more down he was; it left him nowhere to go.
The Jimi Hendrix Experience – Little Wing (Official Audio) – YouTube
We pulled Nancy when she came to one of the gigs.. This was long before she met Sid Vicious. We ended up in her swimming pool, because her parents had apparently gone away for the weekend. Unfortunately they turned up a day early and found us sitting around the pool naked, taking drugs. Appalled, they asked Nancy: “Who are those terrible people sitting by the pool?” And she replied: “It’s the Pretty Things.” And their response was: “Oh god, they look even worse than you.”
The White Stripes
Their tour manager was a big Pretty Things fan, and Jack [White] asked him to invite us to meet them when they played at Alexandra Palace. Jack is a lovely, talented man. And he was really interested that we had recorded our latest album on original analog equipment. It was quite an insight to watch Jack at work from the side of the stage. I hadn’t seen him live and I kind of expected there would be a couple of other musos on stage to fill in. It was quite extraordinary to see him do it all on his own with Meg. There isn’t any comparison musically, but there’s a kind of Bolanesque quality about him. Bolan used to have that kind of rapport with audiences, although I don’t think that Bolan had the depth or feel for music that Jack has. Jack is a man of the times. Anything he puts his hand to has that certain distinct stamp of quality.
Iggy Pop onstage in 1975 (Image credit: Larry Hulst/Michael Ochs Archives/Getty Images)
Iggy Pop
During our Led Zeppelin years, the Pretty Things played at an infamous LA venue called the Roxy. Iggy came along. He wasn’t that well known, then but The Stooges were massive fans of The Pretties and we used to hang out together. So Iggy came along, and we thought that he was going to sing. But he didn’t, he just ran from one side of the stage to the other and head-butted the wall! So in the end I’m covered in blood, because he’d come up and danced around me. He’d completely split his forehead open and covered the band in blood and wasn’t even aware of it. With our history of having had two drummers who caused complete mayhem this wasn’t unusual, but it was still strange because I was expecting him to sing along. Instead we got carnage.
Judy Garland & Rudolf Nureyev
Viv Prince, in his fucking madness, said to me: “We’re going out on a double date, you and me.” I said: “Oh right. Who is it?” He said: “Judy Garland, and she’s bringing somebody for you.” So we go down to a club called the Ad Lib, and we’re sitting around and the lift doors open and there’s Judy – a bit gone on the sauce already – and she’s got Rudy Nureyev on her arm. So I say: “Thanks, Viv. Is that what you call a double date?” Nureyev had just defected from Russia and he didn’t speak any English at all.What’s weird is that Rudy was a terrible dancer; his version of the twist was excruciating, nobody wanted to dance with him. Judy had been out drinking with Viv all day and she was very out of it, lifting her dress over her head. It was a wild night.
I’ve always said I wish I could remember what happened after that. I remember leaving the club, but by then the drugs and the booze had taken hold and I don’t remember much else. Everybody wanted to know who slept with whom, but I honestly can’t remember… Wish I could. But that sort of thing happened all the time in those days, because there was no press about. All the bands like us, The Beatles and Stones could do what they want, relax, be themselves with no pressure or scrutiny.
Originally published in Classic Rock issue 114, December 2007
Pete Makowski joined Sounds music weekly aged 15 as a messenger boy, and was soon reviewing albums. When no-one at the paper wanted to review Deep Purple‘s Made In Japan in December 1972, Makowski did the honours. The following week the phone rang in the Sounds office. It was Purple guitarist Ritchie Blackmore. “Thanks for the review,” said Blackmore. “How would you like to come on tour with us in Europe?” He also wrote for Street Life, New Music News, Kerrang!, Soundcheck, Metal Hammer and This Is Rock, and was a press officer for Black Sabbath, Hawkwind, Motörhead, the New York Dolls and more. Sounds Editor Geoff Barton introduced Makowski to photographer Ross Halfin with the words, “You’ll be bad for each other,” creating a partnership that spanned three decades. Halfin and Makowski worked on dozens of articles for Classic Rock in the 00-10s, bringing back stories that crackled with humour and insight. Pete died in November 2021.
Sometimes bands get to a stage in their career where they completely lose the plot when it comes to putting together a setlist. It usually happens three or four albums in, when there’s more material to choose from, someone wants to get some new songs in and common sense goes on sabbatical. The time when Muse started playing Knights Of Cydonia in the middle of their set a decade ago is a prime example. Complete lunacy. Knights Of Cydonia is a song so monstrously huge it needs to be at the beginning or the end. Putting it in the middle was like having a roast dinner for brekkie on a Monday morning, you felt like you needed to go back to bed after.
Bar a tour in 2005 where they inexplicably began their gigs with the plodding Don’t Believe The Truth cut Turn Up The Sun, Oasis could always be relied upon when it came to getting a setlist right, even if there was a time when they were playing the diabolical She’s Electric. They came to their senses and it didn’t get a look in after 2002. Even when everything was going to pot and Noel and Liam were trying to kill each other backstage, their setlist held its nerve. Classics at the start, classics at the end, and a few classics in the middle casting a big enough shadow over the not-so classics.
They can’t afford to start getting it wrong now. Rehearsals will begin for their monumental reunion shows over the next few weeks and the setlist they eventually land on needs to be perfect. Luckily, I consider myself something of a setlist consultant so I’ve put one together they are welcome to borrow. Oasis were never a Springsteen, Foo Fighters-y, ‘let’s play 600 songs tonight’-type band, most of their big outdoor shows being around the 20-song mark. Using that as the benchmark, here’s the setlist that will help make sure Oasis Live ’25 matches up to the fevered expectation.
Walk-on track: Fuckin’ In The Bushes
As much as arriving to the adoring masses to the psychedelic swirls of The Swamp Song, as they did during their mid-90s peak, would be a nice nostalgic salute, it’s got to be the searing instrumental opener from Standing On The Shoulder Of Giants that soundtracks their arrival onstage. The sheer swagger of this blasting out the speakers will send crowds into an absolute frenzy.
They have to start with this. They will start with this. The searing opener from their era-defining debut sets out everything that made Oasis so exciting in the first place, huge riff, indelible vocal, big singalong from the off and a rhythm section that sounds like it’s falling down a flight of stairs. Ooh I’m getting shivers thinking about it.
Oasis – Rock ‘N’ Roll Star (Official HD Remastered Video) – YouTube
And then, straight into this timeless 1995 B-side. It’s both scandalous that this wasn’t a single and a sign of how many great tunes Noel Gallagher was coming up with at the time. A massive anthem with Liam singing the verse and Noel doing the chorus, this brotherly duet will hammer home the fact their feud is well and truly over and Oasis are back in business.
Oasis – Acquiesce (Live at Knebworth, 10 August ’96) – YouTube
Three songs in, as the pounding beat to their debut single Supersonic begins, is about the time the punchdrunk crowd realise just how many classic songs are going to be played tonight. A lot. Oasis have started with the musical equivalent of the big bang. What a walloping 1, 2, 3.
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Oasis – Supersonic (Official HD Remastered Video) – YouTube
And they’re not done yet, ramping things up even further with the title track from their all-conquering second record. Some people in the crowd are now starting to panic there will be no duds in the setlist and they won’t be able to go to the bar.
Oasis – Morning Glory (Official HD Remastered Video) – YouTube
But now comes a little respite from the up’n’at’em rockers with the stomping lead single from Don’t Believe The Truth. By the time it reaches its second chorus, loads of people in the crowd are realising that they’d forgotten how much they love it.
6. Stand By Me
But they didn’t reminding of their love for this Be Here Now standout, a 1997 single that went to Number 2 in the charts. The first big ballad of the evening, it’s a nice little drop in tempo that still offers up a great big holler-along.
But straight back into rock’n’roll exhilaration. As the snarling blues riff to this begins, some poor lad will be standing at a urinal and have to hurry to get finished and race back to his mates. He needn’t worry, there’s loads more life-affirming highlights to come. Ah man, he’s got wee all down his leg in the panic.
Oasis’s first chart-topper fell off their setlist surprisingly early – they stopped playing it after 2002. But it’s just turned 30 and actually sounds better now than it did back then. What once felt a bit of a chugging rocker now has a dynamic blast to it. This song always reminds me of smoking grass, cos that’s exactly what me and my friend Tom did when we got home after buying the single. Except it wasn’t the weed kind, it was actual grass from my mum’s garden. it was disgusting.
Oasis – Some Might Say (Official HD Remastered Video) – YouTube
Let’s presume the gig is mainly going to be Definitely Maybe and …Morning Glory material. But not all. With its hypnotic, psych-rock groove and melodic power, this should be in there from the post-90s material and the halfway point is probably a good spot for it.
As should this lovely little ditty written by Liam, giving the amps a chance to cool down for a moment and allowing everyone to emotionally gather their thoughts for a few minutes.
After which, perhaps it’s time for the first Noel-sung track of the night. It could be Little By Little here, but personally I think that song is a bit shit and The Masterplan is excellent so I’m going for this sumptuous Wonderwall B-side instead.
Oasis – The Masterplan (Live at Knebworth, 11 August ’96) – YouTube
Whoa, only eight songs left. I’m actually getting a bit stressed now about what’s going to be left out and I am alleviating my anxiety with this barbed-wire belter from Definitely Maybe. It’s gotta be in there somewhere and this spot feels just about right. For anyone who’s starting to flag a bit – it’s been a long day – this is just the electric shock required.
And now we start to sidle towards the climactic last phase. What better way to launch into it than this poignant, widescreen all-timer from Definitely Maybe.
Imagine the scene: thousands and thousands of people with their arms aloft, emotionally belting out every word, hugging their mates, daughters helping their dad find the torch button on his phone so he can wave it in the air. Beautiful.
Oasis – Stop Crying Your Heart Out (Official Video) – YouTube
This is it, the beginning of the end of the greatest show of the year, possibly the decade, possibly your life, the sort of show that makes you write over the top WhatsApps very similar to this sentence. It’s all very emotional and not even the fella in the row in front of you who starts talking very loudly about the Mike Flowers Pops version can ruin it.
Ah man, now they’re just raining down emotional blows on us, one after the other. It’s the yearning euphoria of Live Forever that brings the main set to a close, with an encore to follow.
Oasis – Live Forever (Official HD Remastered Video) – YouTube
The first song of the encore has to be a bit of a gear-change, something a bit surprising and more mellow than what you played before you departed the stage. It’s an actual rule about encores, that I just made up. This is the perfect example, Noel delivering this lovely, slightly melancholy ballad as an acoustic solo.
Oasis – Half The World Away (Official Lyric Video) – YouTube
Liam’s back onstage now and ready to guide us to the finishing line. First with the sweeping last song from …Morning Glory, The Stone Roses guitarist John Squire joining the band onstage to add his trademark solo flourishes.
And then Oasis bring a triumphant evening to a close with their snarling take on The Beatles’ classic. Does it feel weird, ending on a cover when so many brilliant Oasis songs – Roll With It, Cast No Shadow, Shakermaker, D’You Know What I Mean, Whatever, The Hindu Times, Shock Of The Lightning, Talk Tonight, etc, etc – haven’t made the cut? No, because all the best Oasis gigs ended with I Am The Walrus. The show is over. Thank you, and good night.
Oasis – I Am The Walrus (Live at Knebworth, 11 August ’96) – YouTube
Niall Doherty is a writer and editor whose work can be found in Classic Rock, The Guardian, Music Week, FourFourTwo, on Apple Music and more. Formerly the Deputy Editor of Q magazine, he co-runs the music Substack letter The New Cue with fellow former Q colleagues Ted Kessler and Chris Catchpole. He is also Reviews Editor at Record Collector. Over the years, he’s interviewed some of the world’s biggest stars, including Elton John, Coldplay, Arctic Monkeys, Muse, Pearl Jam, Radiohead, Depeche Mode, Robert Plant and more. Radiohead was only for eight minutes but he still counts it.
Ann Wilson in 1985, on the What About Love video shoot(Image credit: Steve Rapport/Getty Images)
Ann Wilson has revealed how misguided record company executives called upon renowned pop star and choreographer Paula Abdul to teach Heart how to dance onstage.
Wilson made the remarks during the latest edition of her After Dinner Thinks with Ann Wilson podcast, which finds the Heart frontwoman in conversation with singer-songwriters Chappell Roan and Lucy Dacus. The conversation took place backstage in March at Heart’s Los Angeles show at the Crypto.com Arena.
“I’ve always kind of struggled against the idea that [live performance] should be a rehearsed act,” Wilson says. “And 30 years ago, in the ‘80s – I guess that would have been the 80s, kinda – that was at an all-time high.
“You know, one time we were getting ready to go out on tour and somebody at the record company had this big, bright idea to send Paula Abdul in to teach us dance moves, so that we could all – in some kind of synchronicity – do these dance moves like Prince and the Revolution. It obviously didn’t work. That was the pinnacle of what I always felt was wrong.”
It has not been revealed whether any such footage exists.
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The next leg of Heart’s Royal Flush tour begins on May 31 at the Mark G Etess Arena in Atlantic City, NJ, before a run of shows in August with Todd Rundgren. Full dates below.
Heart: Tour dates 2025
May 31: Atlantic City Hard Rock – Mark G Etess Arena, NJ Jun 01: Vienna Wolf Trap, VAJun 03: Lexington Rupp Arena, KY Jun 04: Detroit Fox Theatre, MI Jun 06: Highland Park Ravinia Festival, IL Jun 07: Hinckley Grand Casino Hinckley Amphitheater, MN Jun 10: Evansville Ford Center, IN Jun 12: St Louis The Fabulous Fox, MO Jun 14: Grand Prairie Texas Trust CU Theatre, TX Jun 15: Cedar Park H-E-B Center at Cedar Park, TX Jun 17: Sugar Land Smart Financial Centre, TX Jun 18: Baton Rouge Raising Cane’s River Center, LA Jun 20: Birmingham Legacy Arena at the BJCC, AL Jun 22: North Charleston Coliseum, SC Jun 24: Jacksonville VuStar Veterans Memorial Arena, FL Jun 25: Estero Hertz Arena, FL Jun 27: Orlando Kia Center, FL Jun 28: Hollywood Hard Rock Live, FL
Aug 08: Quincy Gorge Amphitheatre, WA * Aug 10: San Francisco Chase Center, CA ^ Aug 12: Bakersfield Dignity Health Arena, CA ^ Aug 13: San Diego Pechanga Arena, CA ^ Aug 15: Rancho Mirage The Show at Agua Caliente, CA # Aug 16: Prescott Valley Findlay Toyota Center, AZ ^ Aug 18: Loveland Blue Arena, CO ^ Aug 19: Morrison Red Rocks Amphitheatre, CO ^ Aug 21: Kansas City T-Mobile Center, MO ^ Aug 23: Des Moines Des Moines Civic Center, IA # Aug 24: Moline Vibrant Arena at the Mark, IL ^ Aug 26: Akron E.J. Thomas Hall: The University of Akron, OH # Aug 27: Allentown The Great Allentown Fair, PA, # Aug 29: Canandaigua Constellation Brands-Marvin Sands Performing Arts Center, NY * Aug 30: Bethel Woods Center for the Arts, NY *
# ‘An Evening With Heart’ show ^ with Todd Rundgren * support not yet announced
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
Talking exclusively to Metal Hammer, the venerated Metal God explains that he and his band are committed to play the 60th-anniversary show of German hard rock legends Scorpions, taking place in Hannover on July 5.
The celebration falls on the same day as Sabbath’s swansong, which is taking place more than 600 miles away at Villa Park in Birmingham.
The clash means that Priest will be one of very few veteran metal bands not appearing on Sabbath’s bill, with the likes of Metallica, Slayer, Guns N’ Roses, Slayer and many others having been confirmed. Sabbath singer Ozzy Osbourne will also host his final-ever solo show at the event.
Halford tells Hammer: “I had no idea it was happening!”
“We’ve known this guy Ossy Hoppe – he’s like god in Germany for metal,” Rob explains. “He came in to see me at one of our last shows and says, ‘Would you consider doing something really special and important? I’m putting on the Scorpions for their 60th anniversary, in their hometown. Would you work with the band?’ And I was just like, ‘Done! We’ve got no plans it’s all good.’”
“It all got announced and was a big deal – Scorpions and Priest – and suddenly I get this phone call [from Sharon Osbourne]: ‘Robbie, I know you’ve got this gig with Scorpions, but could you consider coming over to do a thing with Ozzy and the guys, he’d love to see you.’”
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Halford goes on to explain that Sharon even offered to fly Rob back to Birmingham on the day of the show to make a guest appearance. “My mind went to Phil Collins when he did Live Aid, where he got on the Concord from London to Philadelphia to play two gigs in two places,” Rob says. “He was there before he left, thanks to the timezones!”
The singer adds that, as much as he’d love to play Sabbath’s farewell, rushing between Germany and the UK to make both performances happen would be “dangerous”. “Even with a private plane, there’s a word called ‘technical’, where something could go wrong, or the weather that time of year could cause problems… I was absolutely gutted,” he says.
Though no current Priest member is slated to play Sabbath’s show, Halford highlights that founding guitarist K.K. Downing, who departed the lineup in 2011, will be there and represent “the spirit of the band”.
“All my mates are going to be there though, great bands and artists,” the frontman continues. “It’s a wonderful and epic moment for Sabbath and heavy metal – it re-emphasises that Birmingham is where metal came from.”
Sabbath and Priest are both long-serving Birmingham bands who’ve had an enduring impact on heavy metal music. Priest concerts often feature a large, inflatable bull, paying tribute to their hometown and its historical “Bull Ring” area.
Then, from July until October, the metal legends will co-headline dates in Europe and North America with shock rocker Alice Cooper. See all details via the Judas Priest website.
Feature Photo: Nick Ares, CC BY-SA 2.0 , via Wikimedia Commons
Ratt’s rise to prominence began in the early 1980s Los Angeles glam metal scene, a period defined by excess and flamboyance that set the stage for the band’s hard-hitting, hook-driven sound. Formed in 1977 by singer Stephen Pearcy under the original name Mickey Ratt, the group underwent numerous lineup changes before solidifying its classic lineup in 1982 with guitarist Warren DeMartini, guitarist Robbin Crosby, bassist Juan Croucier, and drummer Bobby Blotzer.
In 1983, Ratt released their self-titled debut EP, which gained attention with the track “You Think You’re Tough” and caught the eye of Atlantic Records. The following year, they released their full-length debut album, Out of the Cellar, which became a multi-platinum success, propelled by the massive hit single “Round and Round.” The song, driven by DeMartini and Crosby’s twin guitar attack and Pearcy’s distinctive vocals, reached number 12 on the Billboard Hot 100 and solidified Ratt’s reputation as a dominant force in the burgeoning glam metal scene.
Ratt quickly followed up with Invasion of Your Privacy in 1985, another platinum-selling record that featured hits like “Lay It Down” and “You’re in Love.” Produced by Beau Hill, the album reinforced the band’s formula of infectious melodies and flashy guitar riffs, further cementing their commercial appeal. Despite the band’s growing success, internal tensions began to simmer as they navigated the pressures of fame and a grueling tour schedule.
In 1986, the band released Dancing Undercover, a slightly darker and more aggressive record that included “Dance” and “Body Talk.” Although the album didn’t achieve the same commercial heights as its predecessors, it kept Ratt in the public eye and on MTV’s heavy rotation. By 1988, the band returned with Reach for the Sky, a more polished but less consistent album that featured “Way Cool Jr.” and “I Want a Woman.” Despite mixed reviews, the album went platinum, but tensions within the band continued to mount.
Ratt’s fifth studio album, Detonator, released in 1990, was a marked attempt to update their sound for the changing musical landscape. Produced by Desmond Child, the album included “Shame Shame Shame” and “Lovin’ You’s a Dirty Job,” but failed to replicate the multi-platinum success of earlier releases. Shortly after, Robbin Crosby’s personal struggles with addiction became more pronounced, and the band’s internal conflicts reached a breaking point. By 1992, Ratt had officially disbanded.
The band would reunite multiple times throughout the 1990s and early 2000s, with Pearcy leaving and rejoining the lineup several times. In 1999, Ratt released Ratt, a self-titled album that attempted to modernize their sound, but it was met with limited commercial success. Tragically, in 2002, Robbin Crosby passed away from a heroin overdose, a loss that profoundly affected the remaining members.
Despite the setbacks, Ratt continued to tour and record, releasing Infestation in 2010, an album hailed as a return to their classic sound. Produced by Michael Baskette, it featured the single “Best of Me” and was praised for capturing the energy of their 1980s heyday. However, ongoing legal disputes and lineup changes plagued the band, with various members forming competing versions of Ratt throughout the decade.
Today, Ratt remains a prominent name in the annals of glam metal, their legacy defined by iconic hits like “Round and Round” and “Lay It Down.” Their contributions to the genre helped define the sound and style of the 1980s, and despite the tumultuous history, their music continues to resonate with both longtime fans and new listeners alike.
Complete List Of Ratt Songs From A to Z
7th Avenue – Dancing Undercover – 1986
A Little Too Much – Infestation – 2010
All or Nothing – Detonator – 1990
All the Way – Ratt – 1999
As Good as It Gets – Infestation – 2010
Back for More – Out of the Cellar – 1984
Best of Me – Infestation – 2010
Between the Eyes – Invasion of Your Privacy – 1985
Body Talk – Dancing Undercover – 1986
Bottom Line – Reach for the Sky – 1988
Breakout – Ratt – 1999
Can’t Wait on Love – Detonator – 1990
Chain Reaction – Reach for the Sky – 1988
City to City – Reach for the Sky – 1988
Closer to My Heart – Invasion of Your Privacy – 1985
Dance – Dancing Undercover – 1986
Dangerous but Worth the Risk – Invasion of Your Privacy – 1985
Dead Reckoning – Ratt – 1999
Don’t Bite the Hand That Feeds – Reach for the Sky – 1988
Don’t Let Go – Infestation – 2010
Drive Me Crazy – Dancing Undercover – 1986
Eat Me Up Alive – Infestation – 2010
Enough Is Enough – Dancing Undercover – 1986
Garden of Eden – Infestation – 2010
Gave Up Givin’ Up – Ratt – 1999
Give It All – Invasion of Your Privacy – 1985
Givin’ Yourself Away – Detonator – 1990
Got Me on the Line – Invasion of Your Privacy – 1985
Hard Time – Detonator – 1990
Heads I Win, Tails You Lose – Detonator – 1990
I Want a Woman – Reach for the Sky – 1988
I Want to Love You Tonight – Reach for the Sky – 1988
I’m Insane – Out of the Cellar – 1984
In Your Direction – Out of the Cellar – 1984
Intro to Shame – Detonator – 1990
It Ain’t Easy – Ratt – 1999
It Doesn’t Matter – Dancing Undercover – 1986
Lack of Communication – Out of the Cellar – 1984
Last Call – Infestation – 2010
Lay It Down – Invasion of Your Privacy – 1985
Live for Today – Ratt – 1999
Look Out Below – Infestation – 2010
Looking for Love – Dancing Undercover – 1986
Lost Weekend – Infestation – 2010
Lovin’ You’s a Dirty Job – Detonator – 1990
Luv Sick – Ratt – 1999
The Morning After – Out of the Cellar – 1984
Never Use Love – Invasion of Your Privacy – 1985
No Surprise – Reach for the Sky – 1988
One Good Lover – Dancing Undercover – 1986
One Step Away – Detonator – 1990
Over the Edge – Ratt – 1999
Reach For The Sky – Out of the Cellar – 1984 (Bonus Track)
Tell the World – Infestation – 2010 (iTunes Special Edition Live Bonus Track)
Top Secret – Detonator – 1990
Tug of War – Ratt – 1999
Wanted Man – Out of the Cellar – 1984
Way Cool Jr. – Reach for the Sky – 1988
Way Cool Jr. (Live) – Infestation – 2010 (iTunes Special Edition Live Bonus Track)
We Don’t Belong – Ratt – 1999
What I’m After – Reach for the Sky – 1988
What You Give Is What You Get – Invasion of Your Privacy – 1985
What’s It Gonna Be – Reach for the Sky – 1988
You Should Know by Now – Invasion of Your Privacy – 1985
You Think You’re Tough (Live) – Infestation – 2010 (iTunes Special Edition Live Bonus Track)
You’re in Love – Invasion of Your Privacy – 1985
You’re in Trouble – Out of the Cellar – 1984
Albums
Out of the Cellar (1984): 11 songs
Invasion of Your Privacy (1985): 10 songs
Dancing Undercover (1986): 10 songs
Reach for the Sky (1988): 10 songs
Detonator (1990): 11 songs
Ratt (1999): 11 songs
Infestation (2010): 15 songs
Check out our fantastic and entertaining Ratt articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
The Who have announced their farewell tour of America. The band’s Roger Daltrey and Pete Townshend broke the news during a press conference at the Iconic Gallery in London.
The run of 16 shows will kick off at the Amerant Bank Arena in Sunrise, FL on August 16, and run through until September 28 at the MGM Grand Garden Arena in Las Vegas, NV. The general ticket sale will begin at 10am local on Friday, May 16. Fans can join the Whooligan Fan Club to access ticket presales. Full dates below.
“Every musician’s dream in the early 60’s was to make it big in the US charts,” says Daltrey. “For the Who, that dream came true in 1967 and our lives were changed forever. The warmth of the American audiences over the years have been inspirational to me, and reflect the feeling I remember getting after hearing the first rock records coming across the radio. Musical freedom!
“Rock gave us a feeling of generational rebellion. To me, America has always been great. The cultural differences had a huge impact on me, this was the land of the possible. It’s not easy to end the big part of my life that touring with The Who has been. Thanks for being there for us and look forward to seeing you one last time.”
“Well, all good things must come to an end. It is a poignant time,” adds Townshend. “For me, playing to American audiences and those in Canada has always been incredible. The warmth and engagement of those audiences began back in 1967 with hippies smoking dope, sitting on their blankets and listening deeply and intensely. Music was everywhere. We all felt equal.
“Today, Roger and I still carry the banner for the late Keith Moon and John Entwistle and of course, all of our longtime Who fans. I must say that although the road has not always been enjoyable for me, it is usually easy: the best job I could ever have had. I keep coming back. Every time I do, I meet new fans and feel new energy.
“Roger and I are in a good place, despite our age, eager to throw our weight behind this fond farewell to all our faithful fans, and hopefully to new ones who might jump in to see what they have been missing for the last 57 years. This tour will be about fond memories, love and laughter. Make sure you join in.”
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The Who have also launched a previously unreleased album, the newly mixed a mastered Live At The Oval 1971, recorded at the Oval cricket ground in Kennington, South London at the Goodbye Summer 1971 all-dayer, an event that also featured America, Atomic Rooster, The Faces, Mott The Hoople and more and raised funds to provide famine relief in Bangladesh.
The album will be released on August 22 on CD, double vinyl and limited edition splatter vinyl. Full tracklist below.
The Who: The Song Is Over tour 2025
Aug 19: Newark Prudential Center, NJ Aug 21: Philadelphia Wells Fargo Center, PA Aug 23: Atlantic City Jim Whelan Boardwalk Hall, NJ Aug 26: Boston Fenway Park, MA Aug 28: Wantagh Northwell at Jones Beach Theater, NY Aug 30: New York Madison Square Garden, NY Sep 02: Toronto Budweiser Stage, ON Sep 04: Toronto Budweiser Stage, ON Sep 07: Chicago United Center, IL Sep 17: Los Angeles Hollywood Bowl, CA Sep 19: Los Angeles Hollywood Bowl, CA Sep 21: Mountain View Shoreline Amphitheatre, CA Sep 23: Vancouver Rogers Arena, BC Sep 25: Seattle Climate Pledge Arena, WA Sep 28: Las Vegas MGM Grand Garden Arena, NV
The Who: Live At The Oval 1971 tracklist
1. So Glad To See Ya 2. Summertime Blues 3. My Wife 4. Love Ain’t For Keeping 5. I Can’t Explain 6. Substitute 7. Bargain 8. Behind Blue Eyes 9. Won’t Get Fooled Again 10. Baby Don’t You Do It 11. Pinball Wizard 12. See Me, Feel Me / Listening To You 13. My Generation 14. Naked Eye 15. Magic Bus
“Biafra got caught with his hands in the till and wants to blame us.” Despite offers, Dead Kennedys won’t be reuniting with estranged vocalist Jello Biafra anytime soon says guitarist East Bay Ray
(Image credit: Anne Fishbein/Michael Ochs Archives/Getty Images)
Dead Kennedys were one of the first, and certainly one of the most influential, US hardcore punk bands. The San Francisco band split following the release of their fourth album, 1986’s Bedtime For Democracy, the tensions between vocalist Jello Biafra and his bandmates East Bay Ray (guitar), Klaus Fluoride (bass) and D.H. Peligro (drums) spilling into the public in 1998, when Biafra was sued by the trio over alleged unpaid royalties. A Californian court subsequently found Biafra and Alternative Tentacles, the label he co-founded with East Bay Ray guilty of “malice, oppression and fraud”, and the singer was ordered to pay out the money with-held.
In a new interview with Guitar World, East Bay Ray suggests that lingering bitterness over the case means that the band won’t be reuniting with their former anytime soon, despite receiving offers to do so, from festivals such as Chicago’s Riot Fest.
“It’s not an issue for me or Klaus,” the guitarist insists [Peligro died in 2022]. “It’s Biafra that turns down any offers for us to do something; we don’t have any problem. He got caught with his hands in the till and wants to blame us for getting caught, but he should never have put his hands in there in the first place.”
In the interview, East Bay Ray also shoots down the idea that Biafra was the band’s main songwriter during their time together.
“We actually wrote as a band, where in effect, due to the chemistry between us, it was a case of two and two equaling five,” he says. “None of us has had a solo career that was bigger than Dead Kennedys, which, to me, shows the power of a bunch of talented people getting together and creating something that was far greater than the sum of its parts.”
“Jello didn’t bring in the songs,” he insists. “I know he’s created the myth that he wrote them all, but the question here is that if he did, why didn’t he ever do anything significant after leaving the band?
“Iggy left the Stooges and had a career; ditto Lou Reed with the Velvet Underground or Morrissey with the Smiths. Where’s Biafra’s solo career with a bunch of great songs? The songs were written in numerous different ways. [Holiday In] Cambodia started as a jam in the rehearsal studio.
“Other times, I’d have ideas for riffs that I’d put on cassettes and Biafra would find lyrics in his notebook. Klaus was important, too, in that he was the most trained musician in the band, and he was good at putting things together. Very few songs were written by one person.”
The band have upcoming shows in Spain, Portugal, Australia and New Zealand on the docket.
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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.
Ava Max built her career not on gimmicks or trends, but on relentless determination, powerful vocals, and a vision for bold, empowering pop music that connects across continents.Born Amanda Ava Koci on February 16, 1994, in Milwaukee, Wisconsin, she was the daughter of Albanian immigrants who fled their war-torn homeland in search of a better life. Raised primarily in Virginia, she was drawn to music at an early age and performed publicly as a child. By her teenage years, she was already crafting demos and dreaming of a pop career, making trips to Los Angeles with her mother to chase down the dream that would eventually define her adult life.
