Author: Logan Rocker

Known for his theatricality, biting humor, and undeniable presence, Cooper has crafted a legacy filled with songs that demand to be played loud. Each track in this article reflects a different facet of his artistry, showcasing how he’s used rock music to explore rebellion, satire, and the darker corners of human experience. From raw anthems to satirical masterpieces, Cooper’s catalog is a testament to the genre’s versatility and its ability to channel unrelenting energy into unforgettable music.

Starting with “Be My Lover,” Alice Cooper sets the tone with wry wit and a swaggering rock groove that tells a tale of backstage allure and the mystique of rock stardom. “Under My Wheels” follows with its adrenaline-fueled urgency, a classic collision of roaring guitars and narrative tension. The satirical “Elected” sees Cooper leaning into his theatricality, delivering a biting critique of political ambition while reveling in its absurdity. With “Feed My Frankenstein,” he takes a turn toward campy horror, marrying monstrous themes with electrifying riffs and bombastic vocals. “Muscle of Love” combines raw rock energy with a tongue-in-cheek exploration of adolescence and self-discovery, cementing its place as a quintessential Alice Cooper track.

“Halo of Flies” reveals Cooper’s more ambitious side, a sprawling epic that blends espionage intrigue with a progressive rock edge. The rebellious “Department of Youth” acts as a rallying cry for the disenchanted, showcasing Cooper’s knack for anthems that resonate with outcasts and dreamers alike. “School’s Out,” arguably his most iconic song, celebrates freedom with a rebellious spirit that has made it a timeless anthem for generations of rock fans. “Billion Dollar Babies” delivers theatrical excess with biting commentary on greed and fame, a track that epitomizes Cooper’s ability to pair sharp social insights with over-the-top performances. Finally, “I’m Eighteen” closes the list with raw vulnerability, perfectly capturing the chaos and uncertainty of coming of age, making it a fitting finale to this electrifying collection.

Alice Cooper’s ability to mix rebellion, wit, and theatrical flair has cemented his place as one of rock’s most enduring icons. Whether delivering sharp satire or raw emotion, these ten songs showcase the breadth of his talent and the unrelenting energy that makes his music impossible to ignore. So crank up the volume, let the riffs take over, and revel in the unapologetic spirit of Alice Cooper turned up to eleven.

# 10 – Be My Lover – Killer

Alice Cooper’s “Be My Lover” masterfully captures the sleazy charm and self-aware humor of rock and roll, making it an essential anthem to crank up to eleven. Released in 1971 as a single from the album Killer, the song was recorded at RCA Studios in Chicago and produced by Bob Ezrin, whose sharp ear helped define Alice Cooper’s signature sound. Written by guitarist Michael Bruce, the track features the classic lineup of Alice Cooper (vocals), Michael Bruce (guitar), Glen Buxton (lead guitar), Dennis Dunaway (bass), and Neal Smith (drums). “Be My Lover” reached number forty-nine on the Billboard Hot 100, reflecting its appeal as a blend of swagger and wit that resonated with fans of the burgeoning glam rock scene.

The lyrics unfold like a tongue-in-cheek diary entry from a touring rock star, recounting an encounter with a woman intrigued by the enigmatic frontman and his band. Lines such as “She asked me why the singer’s name was Alice / I said, ‘listen baby, you really wouldn’t understand’” perfectly encapsulate the band’s playful defiance of norms and their flair for turning gender expectations on their head. The chorus, “Baby, if you want to, be my lover / You better take me home,” merges raw sexuality with a self-deprecating sense of isolation, a recurring theme that makes the song both provocative and introspective. This duality situates “Be My Lover” alongside other songs on this list that revel in Alice Cooper’s ability to marry theatricality with genuine emotion.

Critics and fans have lauded “Be My Lover” for its clever lyrics and blues-inspired riff, which showcase Michael Bruce’s songwriting and the band’s tight musicianship. Bob Ezrin’s production adds a polish that accentuates the track’s infectious rhythm without dulling its gritty edge. Within the context of this list, “Be My Lover” stands as a quintessential example of Alice Cooper’s knack for blending storytelling with rock bravado. Its effortless cool and wry humor make it a perfect addition to any playlist, proving that few songs embody the spirit of rock and roll as unapologetically as this one.

# 9 – Under My Wheels – Killer

Few songs encapsulate Alice Cooper’s unrelenting energy and rebellious spirit like “Under My Wheels,” a hard-driving anthem that demands to be blasted at full volume. Released in 1971 as part of the Killer album, the track was recorded at RCA Studios in Chicago under the production of Bob Ezrin, who infused it with a crisp yet raw sonic edge. Written by Michael Bruce, Dennis Dunaway, and Bob Ezrin, “Under My Wheels” features the classic Alice Cooper lineup: Alice Cooper (vocals), Michael Bruce (guitar), Glen Buxton (lead guitar), Dennis Dunaway (bass), and Neal Smith (drums). While it didn’t chart as high as some of their other hits, the song has become a staple of their live performances and a quintessential piece of Cooper’s legacy.

The lyrics of “Under My Wheels” blend swagger and chaos, following a narrator who is caught between the demands of a persistent lover and the obligations of everyday life. The frenetic opening—“The telephone is ringing / You got me on the run”—immediately sets the tone, with the protagonist racing against time, expectations, and his own instincts. The chorus, “I got you under my wheels,” employs a dark metaphor that merges the thrill of speed with a sense of inevitable destruction, a theme that ties the song to others in this article, like “Dead Man’s Curve.” However, where Jan & Dean evoke dread in their depiction of a deadly crash, Alice Cooper injects a sense of rebellious fun, making the chaos feel exhilarating.

# 8 – Feed My Frankenstein – Hey Stoopid

Alice Cooper’s “Feed My Frankenstein” serves as a ferocious mix of theatrical rock and unapologetic innuendo, embodying the larger-than-life persona Cooper has honed throughout his career. Originally featured on the 1991 album Hey Stoopid, the song was produced by Peter Collins and recorded at Bearsville Studios in Woodstock, New York. It brought together an all-star lineup of musicians, including Joe Satriani and Steve Vai on guitars, Nikki Sixx on bass, and Mickey Curry on drums. With its bold riffs, bombastic delivery, and audacious lyrics, “Feed My Frankenstein” cemented itself as a quintessential anthem to play at full throttle. Its inclusion in the 1992 comedy Wayne’s World amplified its popularity, further embedding it into rock culture.

The lyrics present a playful yet sinister metaphor for unrestrained desire, with lines like “Feed my Frankenstein / Hungry for love and it’s feeding time” blending horror imagery with raw sensuality. Cooper’s narrator is a monstrous figure, unapologetically primal, demanding indulgence with a flair for the macabre. Phrases such as “Run my greasy fingers up your greasy spine” add to the song’s darkly comedic tone, reflecting Cooper’s mastery of melding humor with his trademark shock-rock aesthetic. Compared to other songs on this list, like “Under My Wheels,” which races through chaotic energy, “Feed My Frankenstein” revels in its deliberate, predatory swagger, creating a unique experience that pairs its lyrical indulgence with a relentless sonic assault.

The virtuosic guitar work by Satriani and Vai elevates the track, blending technical mastery with raw intensity. Cooper’s commanding vocal delivery ensures that the song remains both menacing and irresistibly fun, perfectly aligning with its themes of excess and indulgence. Within the context of this list, the track’s over-the-top personality and unrelenting drive make it an essential addition, showcasing Alice Cooper’s ability to channel his theatrical roots into an explosive rock anthem. “Feed My Frankenstein” is the kind of song that demands the volume cranked to eleven, offering a wild ride through the deliciously twisted mind of its creator.

# 7 – Muscle Of Love – Muscle Of Love

Alice Cooper’s “Muscle of Love” captures the raw energy and irreverent humor that defined the band’s final studio effort before the original lineup disbanded. Released in 1973 as the title track of the Muscle of Love album, the song was recorded at the Record Plant in New York City under the co-production of Jack Richardson and Jack Douglas. Featuring Alice Cooper on vocals, Michael Bruce and Glen Buxton on guitars, Dennis Dunaway on bass, and Neal Smith on drums, the track is a gritty, straightforward rocker that rejects the elaborate theatrics of their previous albums in favor of a more stripped-down sound. While the album peaked at number ten on the Billboard 200, “Muscle of Love” stands out as a high-octane anthem that continues to resonate with fans.

The lyrics dive into the chaotic inner thoughts of a young man grappling with hormonal intensity and adolescent fantasies. Lines like “I don’t know if the things I’m thinking / Are normal thoughts or not” deliver a mix of humor and relatability, with the titular phrase serving as both a literal and metaphorical exploration of burgeoning desire. The protagonist’s awkward yet unapologetic musings, combined with the song’s pounding rhythm, make it an unabashed celebration of youthful confusion and energy. Compared to other songs on this list, like “Feed My Frankenstein,” which revels in over-the-top innuendo, “Muscle of Love” opts for a more grounded and tongue-in-cheek approach, proving that Alice Cooper can deliver intensity without sacrificing relatability.

The song’s driving guitar riffs and Neal Smith’s thunderous drumming keep the momentum alive, while Alice Cooper’s vocal delivery teeters between playful and commanding. The decision to strip back some of the theatrical elements in favor of rawer production allows the song to shine as a straightforward rock anthem, perfect for turning up to eleven. Within the context of this article, “Muscle of Love” solidifies its place as a defining track that captures both the absurdity and electrifying energy that Alice Cooper brought to the rock scene. Its unapologetic honesty and relentless drive make it an unforgettable addition to the band’s legacy.

# 6 – Halo Of Flies – Killer

# 5 – Department Of Youth – Welcome To My Nightmare

Alice Cooper’s “Department of Youth” is a rallying cry for rebellion and unbridled confidence, capturing the irreverent and electric energy of youth culture. Released in 1975 on the album Welcome to My Nightmare, the song was recorded at Soundstage in Toronto and produced by Bob Ezrin, whose dynamic production elevates its playful, anthem-like quality. Featuring Cooper’s charismatic vocals alongside a lineup of seasoned musicians, including guitarists Steve Hunter and Dick Wagner, bassist Prakash John, drummer Whitey Glan, and keyboardist Jozef Chirowski, the track blends theatrical flair with driving rock rhythms, creating an infectious anthem that demands to be turned up to eleven.

The lyrics are a tongue-in-cheek celebration of youthful defiance and naïve invincibility. Lines like “We’re bulletproof / And we’ve never heard of Eisenhower” mock authority and tradition, while the repeated chant, “We’ve got the power,” underscores a sense of unstoppable, if slightly delusional, confidence. The humor reaches its peak in the closing dialogue, where the youth hilariously credit their power to Donny Osmond, a clever jab at pop culture’s contradictions. The song’s irreverent tone, much like “Be My Lover,” leans heavily on wit, but here it channels a communal spirit, making “Department of Youth” feel like a rallying anthem for an imagined generation of misfits.

Musically, “Department of Youth” balances catchy hooks with a hard-rock edge. The interplay between Hunter and Wagner’s guitars adds depth to the song’s anthemic structure, while Ezrin’s polished production ensures that every element, from the pounding rhythm to Cooper’s charismatic delivery, lands with maximum impact. Critics and fans have praised the track for its infectious energy and sharp satire, noting its role in solidifying Welcome to My Nightmare as one of Alice Cooper’s most iconic albums. In the context of this list, “Department of Youth” encapsulates the spirit of Alice Cooper’s music: bold, self-aware, and endlessly fun. With its blend of humor and high-energy rock, it’s a perfect addition to any playlist that demands the volume cranked all the way up.

# 4 – School’s Out – School’s Out

Few songs embody the rebellious spirit of rock and roll as perfectly as Alice Cooper’s “School’s Out.” Released in 1972 as the lead single from the album of the same name, this anthem of youthful defiance was recorded at The Record Plant in New York City under the meticulous production of Bob Ezrin. Featuring Alice Cooper on vocals, Michael Bruce and Glen Buxton on guitars, Dennis Dunaway on bass, and Neal Smith on drums, the track captured the angst and exuberance of an entire generation. The single climbed to number seven on the Billboard Hot 100 and reached number one in the UK, cementing its place as one of Alice Cooper’s most enduring hits.

The lyrics of “School’s Out” channel the exhilaration of summer freedom while turning a sharp eye on the authority figures and structures that teenagers long to escape. Lines like “No more pencils, no more books / No more teachers’ dirty looks” tap into a universal feeling of liberation, while the proclamation “School’s out forever” adds a touch of rebellion and fantasy. This celebration of freedom, tinged with a hint of menace, echoes the themes of other songs on this list, such as “Department of Youth,” but with a more visceral and direct approach. The chant-like structure of the lyrics transforms the song into a rallying cry, making it as much a declaration of independence as it is a rock anthem.

Michael Bruce’s sharp riffs and Neal Smith’s pounding drums drive the song’s anthemic power, while Ezrin’s theatrical production enhances its larger-than-life feel. The track’s cultural impact is immeasurable—it has become synonymous with the end of the school year and remains a staple at celebrations, demonstrating its timeless appeal. In the context of this list, “School’s Out” stands as the ultimate song to crank up to eleven, perfectly encapsulating Alice Cooper’s unique ability to turn rebellion into a joyful, electrifying experience.

# 3 – Elected – Billion Dollar Babies

Alice Cooper’s “Elected” is a satirical rock anthem that skewers political grandstanding while reveling in its own over-the-top theatricality. Released in 1972 as the lead single from the album Billion Dollar Babies, the track was recorded at The Record Plant in New York City under the production of Bob Ezrin. Featuring Alice Cooper on vocals, Michael Bruce and Glen Buxton on guitars, Dennis Dunaway on bass, and Neal Smith on drums, the song also incorporates an ambitious orchestral arrangement that elevates its dramatic impact. Charting at number 26 on the Billboard Hot 100 and reaching the top 5 in the UK, “Elected” became a defining statement of Alice Cooper’s ability to fuse rock and performance art.

The lyrics of “Elected” are a biting critique of the self-serving spectacle of political campaigns, delivered with Cooper’s signature blend of humor and menace. Lines such as “I’m your Yankee Doodle Dandy in a gold Rolls Royce / I wanna be elected” lampoon the absurdity of larger-than-life political figures, while the repeated refrain “elected, elected” mimics the hollow rallying cries of populist candidates. The track’s bombastic energy, much like “School’s Out,” taps into a communal spirit, but where “School’s Out” celebrates rebellion, “Elected” revels in satire. It’s an anthem of controlled chaos, using its flamboyant delivery to emphasize the ridiculousness of its subject matter.

Musically, “Elected” is a masterclass in blending hard rock with theatrical grandeur. The pounding rhythm section drives the track forward, while the soaring strings and horns add a touch of mock-epic scale. Alice Cooper’s vocal performance alternates between sneering confidence and gleeful bombast, perfectly capturing the song’s sardonic tone.

# 2 – Billion Dollar Babies – Billion Dollar Babies

“Billion Dollar Babies” exemplifies Alice Cooper’s ability to fuse audacious theatricality with razor-sharp rock energy, delivering a track that feels as excessive as its title suggests. Released in 1973 as the title track of the Billion Dollar Babies album, this song was recorded at Morgan Studios in London and The Record Plant in New York City, under the meticulous production of Bob Ezrin. The track features Alice Cooper on vocals, Michael Bruce and Glen Buxton on guitars, Dennis Dunaway on bass, Neal Smith on drums, and an additional vocal contribution by Donovan, whose contrasting delivery heightens the song’s unsettling tone. Peaking at number one on the Billboard 200, the album solidified Alice Cooper’s place at the pinnacle of rock music in the early 1970s.

Lyrically, “Billion Dollar Babies” explores themes of greed, excess, and distorted adoration. The lines “Rubber little lady, slicker than a weasel / Grimy as an alley, loves me like no other lover” juxtapose innocence with corruption, creating a surreal narrative of obsession and materialism. The song’s playful yet sinister tone mirrors the satirical edge of “Elected,” but while “Elected” skewers political ambitions, “Billion Dollar Babies” delves into the allure and grotesqueness of wealth and power. The lyrics’ dark humor and vivid imagery amplify its sense of chaos, making it both provocative and endlessly entertaining.

Musically, the track is a powerhouse. Its driving rhythm, courtesy of Neal Smith’s thunderous drumming and Dennis Dunaway’s propulsive bass lines, forms the backbone of a song that alternates between swaggering verses and explosive choruses. Donovan’s ethereal vocal harmonies add a haunting layer to Cooper’s commanding growl, enhancing the song’s dramatic flair. Critics and fans alike have praised “Billion Dollar Babies” for its ambitious production and biting satire, with many considering it a highlight of the album and a testament to the band’s creative peak. In the context of this list, the song demands to be played at full volume, encapsulating Alice Cooper’s knack for balancing excess, wit, and rock-and-roll rebellion in a way that is as thrilling today as it was at its release.

# 1 – I’m Eighteen – Love It To Death

Closing this list of Alice Cooper’s best songs to turn up to eleven is the iconic “I’m Eighteen,” a track that encapsulates the raw, rebellious energy that defined both Alice Cooper and the era of its release. Recorded in 1970 at RCA Mid-America Recording Center in Chicago and produced by Bob Ezrin, this single became the breakout hit from the album Love It to Death. With the band’s lineup of Alice Cooper on vocals, Glen Buxton and Michael Bruce on guitars, Dennis Dunaway on bass, and Neal Smith on drums, “I’m Eighteen” marked a turning point for the group, peaking at number 21 on the Billboard Hot 100 and paving the way for their ascent to rock stardom.

Lyrically, “I’m Eighteen” channels the angst, confusion, and exhilaration of coming of age. Lines such as “I’m a boy and I’m a man / I’m eighteen and I don’t know what I want” resonate universally with the liminal space between adolescence and adulthood. The track’s stripped-down honesty contrasts with the theatrics of songs like “Billion Dollar Babies” and “Feed My Frankenstein,” proving that Alice Cooper could connect just as powerfully through raw emotion as through elaborate showmanship. The repeated declaration of “I’m eighteen” becomes a mantra of identity and defiance, perfectly capturing the spirit of youthful rebellion that runs through this entire list.

Musically, the song is both gritty and anthemic, driven by a simple yet unforgettable guitar riff that underscores its raw intensity. Neal Smith’s driving drumbeat and Dennis Dunaway’s pulsating bass provide the backbone, while Alice Cooper’s gravelly vocals deliver every line with conviction. Critics have often pointed to “I’m Eighteen” as one of the defining songs of its time, a track that helped establish the framework for punk and hard rock in the decade that followed.

As the final entry in this list, “I’m Eighteen” brings the article full circle, tying together the themes of rebellion, wit, and theatricality that define Alice Cooper’s greatest songs. Its timeless appeal and raw energy make it not just a defining moment in the band’s career, but a song that demands to be cranked to maximum volume. Like the teenage years it so poignantly captures, “I’m Eighteen” is chaotic, bold, and unforgettable—a fitting finale to a celebration of Alice Cooper’s electrifying music.

Check out more Alice Cooper articles on ClassicRockHistory.com Just click on any of the links below……

10 Most Heavy Rocking Alice Cooper Songs

Complete List Of Alice Cooper Albums And Songs

Complete List Of Alice Cooper Band Members

Top 10 Alice Cooper Album Covers

Top 10 Alice Cooper Songs

Top 10 Alice Cooper Albums

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

10 Best Alice Cooper Songs To Turn Up To Eleven article published on Classic RockHistory.com© 2024

Developers who bulldozed the former home of AC/DC have claimed they were never informed of the property’s cultural significance, claiming the house was destroyed by accident, reports News.com.au.

The number 4 house on Burleigh Street in Sydney’s inner west was the childhood home of talented Aussie musicians Malcolm, Angus and George Young, with the two youngest brothers going on to found AC/DC at the home in 1973.

Despite being listed on the National Trust List of Historic Homes in 2013, the property was quietly bulldozed in recent weeks after being purchased by developers in February 2023 for $5.8 million.

In a statement to the media, Burwood Square Pty Ltd general manager Leon Kmita said they only learned of the home’s history after it was destroyed.

“We regret that the previous long-term owner did not share this vital part of the property’s background with us,” he said. “Learning about this connection after our plans were already underway has shocked us. We are genuinely sorry for this oversight.”

Mr Kmita said his team was now working to salvage materials from the site to create a “special space” such as a cafe or bar where fans can “gather to celebrate the band’s enduring legacy”.

“On behalf of the team at Burwood Square, I want to convey our heartfelt regret … we now recognise how deeply this location resonates with the AC/DC community and fans worldwide,” he said.

“We feel a strong responsibility to honour AC/DC’s legacy and to make amends to all the fans who hold this band in such high regard. While we cannot change the past, we are dedicated to celebrating this significant part of their story. To the global fanbase of AC/DC, please know that we hear you, appreciate your deep admiration for this legendary band, and are devoted to making this right.”

Read more at News.com.au.

Australia’s Blunt is reporting that AC/DC are tipped to return to Australian shores in late 2025, marking their first Australian tour in nearly 10 years.

Citing the Herald Sun, the report suggests that tour insiders predict the band is likely to include Australia as part of their global Power Up tour, with performances expected in the back half of 2025, sparking excitement among fans who have been waiting since 2016 for the band’s homecoming.

While exact dates and venues remain unconfirmed, speculation points to major stadiums such as Sydney’s Olympic Park (ANZ Stadium), the Melbourne Cricket Ground (MCG), Suncorp Stadium in Brisbane, Adelaide Oval, and Optus Stadium in Perth.

Read more at bluntmag.com.au.

AC/DC return to the road in North America for the first time in nine years on the 2025 Power Up North American Tour.

Much to the delight of millions of fans across North America, the legendary Grammy Award-winning Rock And Roll Hall Of Fame-inducted band will perform in 13 stadiums coast-to-coast next spring. This run kicks off on April 10 in Minneapolis, MN at US Bank Stadium, canvases the continent, and concludes on May 28 in Cleveland, OH at Huntington Bank Field. Along the way, they will play some of the most iconic and historic stadiums in the world, including the Rose Bowl in Pasadena, CA on April 18 and Soldier Field in Chicago, IL on May 24.

Tickets for all shows, featuring support from The Pretty Reckless, are on sale now, here.

The tour shares its name with their 2020 album, Power Up, which bowed at #1 in 21 countries. In 2024, AC/DC completed a European leg of the Power Up Tour, packing the biggest stadiums on the continent in the process. Power Up notably notched their third #1 debut on the Billboard 200 and exploded as one of the best-selling albums of 2020 worldwide. Plus, it garnered Grammy Award nominations in the categories of “Best Rock Album” and “Best Rock Performance” and “Best Music Video” for “Shot In The Dark.” Power Up is available here.

AC/DC played their very first show on the 31st December 1973 at Chequers Nightclub in Sydney, Australia. They are one of the most influential rock bands in history, with over 200 million albums sold worldwide. The band’s Back In Black LP is the “bestselling album by any band ever” and the “third bestselling album by any artist” with global sales of 50 million and counting. AC/DC was inducted into the Rock And Roll Hall Of Fame in 2003. The band continue selling out stadiums on multiple continents, sell millions of albums annually and generate streams in the billions.

To continue their reign as the world’s greatest rock and roll band, AC/DC – Angus Young on lead guitar, vocalist Brian Johnson, rhythm guitarist Stevie Young, drummer Matt Laug and bass player Chris Chaney – are back to play to their legion of dedicated fans, which grows with every passing year.

Tour dates:

April
10 – Minneapolis, MN – US Bank Stadium
14 – Arlington, TX – AT&T Stadium
18 – Pasadena, CA – Rose Bowl
22 – Vancouver, BC – BC Place
26 – Las Vegas, NV – Allegiant Stadium
30 – Detroit, MI – Ford Field

May
4 – Foxborough, MA – Gillette Stadium
8 – Pittsburgh, PA – Acrisure Stadium
12 – Landover, MD – Northwest Stadium
16 – Tampa, FL – Raymond James Stadium
20 – Nashville, TN – Nissan Stadium
24 – Chicago, IL – Soldier Field
28 – Cleveland, OH – Huntington Bank Field

BravePicks 2024 – The Scribes Speak!
Carl Begai

Top 20 Of 2024
1) JUDAS PRIEST – Invincible Shield (Columbia / Epic)
2) ROTTING CHRIST – Pro Xristou (Century Media)
3) NILE – The Underworld Awaits Us All (Napalm)
4) FLOTSAM AND JETSAM – I Am The Weapon (AFM)
5) ENSIFERUM – Winter Storm (Metal Blade)
6) KITTIE – Fire (Sumerian)
7) BODY COUNT – Merciless (Century Media)
8) SEBASTIAN BACH – Child Within The Man (Reigning Phoenix)
9) BRUCE DICKINSON – The Mandrake Project (BMG)
10) AMARANTHE – The Catalyst (Nuclear Blast)
11) EVERGREY – Theories Of Emptiness (Napalm)
12) POWERWOLF – Wake Up The Wicked (Napalm)
13) DARK TRANQUILLITY – Endtime Signals (Century Media)
14) CHARLOTTE WESSELS – The Obsession (Napalm)
15) THE END MACHINE – The Quantum Phase (Frontiers)
16) ANVIL – One And Only (AFM)
17) AD INFINITUM – The Abyss (Napalm)
18) IMPELLITTERI – War Machine (Frontiers)
19) DEVIN TOWNSEND – PowerNerd (InsideOut)
20) HONEYMOON SUITE – Alive (Warner)

Top 5 Concerts
ROTTING CHRIST – Hirsch – Nuremberg, Germany
KAMELOT / AD INFINITUM / BLACKBRIAR / FROZEN CROWN – Turbinenhalle – Oberhausen, Germany
IN FLAMES / ARCH ENEMY / SOILWORK – Schleyerhalle – Stuttgart, Germany
DREAM THEATER – Uber Eats Music Hall – Berlin, Germany
DANKO JONES – E-Werk – Erlangen, Germany

Top 3 Brave Embarrassments
EXIT EDEN – Femmes Fatales (Napalm Records)
It didn’t work the first time, and the addition of original songs alongside the done-to-death covers isn’t a saving grace. Decidedly meh-diocre.

LEAVES’ EYES – Myths Of Fate (AFM Records)
If you’re a fan the album will check all the boxes, but that’s the crux of the matter. Leaves’ Eyes has been a test case for just how badly drama and baggage can harm a band, and since firing founding vocalist Liv Kristine in 2016, the diehard fans that gave them a foundation have abandoned ship in droves. At this point its a miracle the music keeps them afloat at all. Change the name, step up your game.

LINKIN PARK – From Zero (Warner)
I’m all for Emily Armstrong’s entry into the band – she puts in a solid performance – and From Zero would be a fine tribute to the memory of Chester Bennington if not for the soulless production. The band’s trademark sound is intact, but the record is so damn polished that any hint of balls has been smoothed out of existence.

Thoughts On 2024
In late October, I went on a touring vacation through Germany, taking in several concerts (all killer) and meeting up with old music industry friends, some of whom I hadn’t seen in years. During a stop in Essen, I met up with former Sodom guitarist Andy Brings, and we spent a solid four hours on a restaurant patio drinking peppermint tea and talking metal. 

A large portion of that conversation was focused on the majesty of Judas Priest’s latest album, Invincible Shield. We were / are both of the mind that it is one of the best metal releases – if not the best – in ages (and it would seem my BraveWords brothers and sisters agree judging by our #1 Brave Pick).  

Invincible Shield is an album that grabs you and takes you on a whirlwind journey, never letting go, never stopping, and your only recourse once it’s over is to hit repeat. It is such an intense and fulfilling experience that it’s easy to forget the previous record, Firepower, was a solid outing. But, in actual fact, it pales in comparison.

Painkiller will forever be the Holy Grail, but if there is one album that left a lasting impression on me in 2024, it’s Invincible Shield. Just like the classic Judas Priest albums of old, but on a much higher plane.

Who / What Needs To Stop In 2025
Grant me one wish and it would be to put an end certain ticketing companies. It has taken a while to catch on, but the obscene concert ticket prices that have plagued Canada and the US for the last few years have now migrated to Europe and beyond. The absolute bullshit of service charges on service charges, fees for using a specific ticket distributors, hidden Fuck The Little Guy costs put into play by the Suits & Ties sipping diet kombucha in their corner offices has to stop. 

Sadly, that’s where politicians need to get involved and lay down new laws, and we know how that often goes when art and entertainment are in the spotlight. It’s an old rant, but I will never understand how things got this far. Whether we choose to blame the ticketing agencies, the promoters, or the artists themselves, the music industry continues to screw itself over by hurting the fans. Don’t blame the War Of The Week for rising costs; blame straight-up greed.

Metal Predictions For 2025
– Gene Simmons will make a point of talking about how much money he makes in every interview he does for the new solo phase of his career.
– Some folks will continue to push for a Skid Row reunion. Stop it.
– We will watch as the frightening influence of AI on music continues to grow, and that should scare the hell out of all of us.

Read our BravePicks 2024 countdown where Judas Priest’s Invincible Shield conquered the throne at #1 here.

More Scribe Speaks:
Mark Gromen
Aaron Small

January 7, 2025, 38 minutes ago

news heavy metal rarities paradise lost y&t five finger death punch def leppard children of bodom autograph

HEAVY BIRTHDAYS  

Happy 45th
Ivan Moody (FIVE FINGER DEATH PUNCH) – January 7th, 1980

HEAVY RELEASES

Happy 46th
DEF LEPPARD’s The Def Leppard EP – January 7th, 1979

Happy 22nd 
CHILDREN OF BODOM’s Hate Crew Deathroll – January 7th, 2003

Happy 14th Birthday
AXENSTAR’s Aftermath – January 7th, 2011
LEGION OF THE DAMNED’s Descent Into Chaos – January 7th, 2011

Happy 9th 
AUTOGRAPH’s Louder – January 7th, 2016

Professional opera singer and vocal coach Elizabeth Zharoff, who also hosts the YouTube channel, The Charismatic Voice, continues to explore the world of rock and metal. Join her as she listens to and gives a vocal analysis of the JOurney classic, “Faithfully”.

Elizabeth: “Why was I so sheltered? I swore up and down that I had heard a majority of Journey’s catalogue, but truth be told… I barely seem to know any of their songs – and Steve Perry’s voice is just infectious. So what do we do when I’m craving more?  We listen to more!” 

Elizabeth has previously shared vocal analyses of Metallica, Dream Theater, Rush, Heart, Tenacious D, Sabaton, Motörhead, Ayreon, Faith No More, Black Sabbath, Arch Enemy, Epica, Deep Purple, Myles Kennedy, Scorpions, Heart, Blind Guardian, Devin Townsend, AC/DC, Triumph, Whitesnake, Queen, KISS, Guns N’ Roses, Opeth, The Cult, Powerwolf, Toto, Van Halen and ZZ Top.

Professor Of Rock recently shared the new video below, along with the following message:

“Coming up next, one of the greatest living guitarists, Journey’s Neal Schon, tells the story of two of the ’80s most famous solos: One he played the hell out of, but it was cut from the song ‘Who’s Crying Now’ when it was climbing the charts to the Top 5. But angry fans called radio stations and complained so they put it back in. And another song, ‘Faithfully’, was so inspiring that one of the greatest guitar players and geniuses of the ’80s, Prince, actually called Journey because he had written one of his greatest songs, ‘Purple Rain’, but he was afraid he might’ve subconsciously ripped off the guitar part and asked them if they would listen to it and see. Journey graciously said it was similar, but a whole new song. We have Neal Schon with us to tell the story of these two amazing songs next on Professor of Rock.”

German high-speed power metallers, Sculforge, have released their new single, “Towers” – and no, it’s not just any old single release. Singer and guitarist Polly T. Wood sums it up: 

“This song is a collection of superlatives! It’s our fastest and shortest track ever. But that’s not all because we’ve got an extra gimmick to take even more of your precious time. Our guitarist Fabz, normally lazier than a rock, has taught himself how to program a video game. This means that not only do you get a classic Sculforge DIY video, but you also get to play the very first Sculforge video game. Cheers, legends!”

Get ready to have your ears blown off and master a few levels. You can get into the mayhem at here. Check out the “Towers” video below.

Sculforge recently announced a few live dates for Germany. Their schedule is as follows:

March
15 – R’n’P – Wiesloch, Germany

April
10 – Café Central – Weinheim, Germany
13 – Live Club – Berlin, Germany

Tickets are available here. More shows will be announced soon.

After a small line-up change, Sculforge retirned late last year with a new single and video entitled “The Journey”. The track is available as a digital single on all download and streaming platforms, and at the same time in the form of a brand new video clip, which can be viewed below.

Testament guitarist Alex Skolnick has reflected on the one night he played guitar for Ozzy Osbourne.

Skolnick, 56, briefly replaced Zakk Wylde as the guitarist in Osbourne’s solo band in June 1995, but was dismissed from the lineup less than a month later. During his tenure he played one show with the Black Sabbath singer, which took place at Rock City in Nottingham.

Reflecting on his blink-and-you’ll-miss-it Osbourne stint in the new issue of Metal Hammer, Skolnick says, “I don’t know why their separation happened, but I guess Zakk was doing other stuff and there was this search for a new Ozzy Osbourne guitarist.”

He continues, “I was just honoured to be in the running because I’d heard about some pretty well-known players that never got past the audition phase. I actually got to the point of doing a show and Ozzy hired me – he said he wanted me to do the gig.

“It was an unannounced show at Nottingham Rock City and it was great.”

Skolnick adds that him not hanging about in Osbourne’s band was likely a “management decision”, but isn’t bitter about it.

“It was a great motivation at a time when I didn’t really know what to do next,” he says. “That was when I enrolled in the university called The New School in New York, and studied with these greats like [jazz musicians] Cecil McBee and Reggie Workman.”

In a 2016 Loudwire interview, Skolnick spoke about the Osbourne concert, revealing that it was repeatedly cancelled and rescheduled at the last minute.

“I heard that we’re doing this unannounced show,” he remembers, “then I heard, ‘We’re not doing the show now because he’s got a sore throat. Oh, we’re doing the show again!’ And it was on and it was off and it was on and it was off.”

He also elaborated about why he didn’t continue with Osbourne after that night, implying it was because of The Prince Of Darkness’ wife/manager Sharon.

“There was one person who didn’t congratulate me [after the gig],” he added. “A lot of hints had been dropped – things like, ‘Maybe you could lower the guitar,’ or, ‘Maybe you could stand like this.’ I realised, ‘Oh, I think she wants me to be Zakk Wylde.’”

Skolnick’s Ozzy membership was during his time away from Testament, whom he left in 1992 but rejoined in 2005. The thrashers are expected to release their next album at some point this year.

As well as the interview with Skolnick, the new Metal Hammer contains conversations with both Trivium and Bullet For My Valentine as the bands gear up for a co-headline world tour. It also details the 50 albums you need to hear in 2025. Order your copy online now and get it delivered directly to your door.

“Like a cross between ABBA, swervedriver and Kraftwerk,” is how Mogwai guitarist Stuart Braithwaite considers the sound of the band’s new single, Fanzine Made Of Flesh, which the band have just shared a new video for.

“Fanzine Made Of Flesh was written in Brooklyn when I was staying at Alex Kapranos’s house in autumn 2023,” Braithwaite explains. “In my head it sounds like a cross between ABBA, swervedriver and Kraftwerk though that might be ludicrous. It originally has a straight vocal but we ended up vocoding it on the last day of recording. It’s pretty different and I’m really happy with how it turned out.”

Fanzine Made Of Flesh is taken from Mogwai’s upcoming new studio album, The Bad Fire, which will be released through Rock Action on January 24 (and through Temporary Residence Ltd. for North/South America).

The new album, the follow-up to 2021’s chart-topping Love Conquers All, was recorded in Lanarkshire, with Grammy Award-winning producer John Congleton, is named after a Scottish colloquialism for Hell, referring to the band’s personal lives at the time of recording.

“We’ve dealt with a lot of loss and in Barry’s case a serious family illness with one his daughters,” the band reveal. “Getting back together to write and record this record felt like a refuge and with John Congleton we feel that we’ve made something special. We often hear from people that our music has helped them get through hard times in their lives and for once I think it applies to us as well.”

Mogwai are set to embark on a world tour in support of the record throughout 2025.

The Bad Fire is available to pre-order and pre-save now in various formats, including vinyl box set, CD box set, black LP, clear vinyl LP, CD and cassette.

Pre-order The Bad Fire.