Author: Logan Rocker

Space rock legends Hawkwind have announced that they will release their 37th studio album, There Is No Space For Us, through Cherry Red/Atomhenge Records on April 14.

Following hot on the heels of the band’s recent triple-disc live album Live At The Royal Albert Hall, and the follow-up to last year’s well-received Stories From Time And Space, the new album has been recorded by the current line-up of Dave Brock, Richard Chadwick, Magnus Martin, Doug MacKinnon and Tim “Thighpaulsandra” Lewis.

There Is No Space For Us “develops the dystopian themes of recent albums and the cosmic, almost metaphysical perspective on humanity’s place in the universe through expansive soundscapes and electrifying psychedelic rock,” the band say.

Hawkwind have also announced live dates to coincide with the album’s release, including a date at London’s Barbican on May 26, which you can see below.

There Is No Space For Us will be available on both CD and double vinyl, the latter featuring a bonus of two recent live rehearsals.

Pre-order There Is No Space For Us.

Hawkwind: There Is No Space For Us
1. There Is Still Danger There
2. Space Continues (Lifeform)
3. The Co-Pilot
4. Changes (Burning Suns and Frozen Waste)
5. There is No Space For Us
6. The Outer Region Of The Universe
7. Neutron Stars (Pulsating Light)
8. A Long Long Way From Home

Hawkwind There Is No Space For Us Tour Dates

Apr 17: Gateshead Glasshouse
Apr 18: Guildford G Live
Apr 19: Bournemouth Pavilion Theatre
Apr 20: Birmingham Symphony Hall
May 9: Aylesbury Waterside Theatre
May 10: Liverpool M&S Bank Arena
May 11: Manchester Bridgewater Hall
May 23: Sheffield City Hall
May 24: Portsmouth Guildhall
May 25: Cambridge Corn Exchange
May 26: London Barbican
May 27: New Day Festival

Get tickets.

Devo has announced North American tour dates, an extension of their farewell tour “Celebrating 50 Years of De-Evolution.”

The first of these dates will take place on May 1 in Philadelphia. From there, the band will make stops in cities like Boston, Cleveland, Detroit, Toronto, Denver and more. This portion of the tour, which includes a handful of festival appearances, will end on Aug. 29 in Chicago where Devo will open for My Chemical Romance.

A complete list of show dates can be viewed below. Tickets for all headlining shows will be available starting Feb. 7.

When Will Devo’s Farewell Tour End?

At present, it’s unclear when Devo’s farewell tour, which first launched in 2023, will come to an official end.

“I’m looking forward to 2073,” Mark Mothersbaugh joked to The Guardian back then. “We’ll play 100th anniversary Devo shows and then maybe retire.”

READ MORE: When Devo Shook Up the Mainstream With Debut Album

Before they begin the North American leg of the tour, Devo will participate in a concert celebrating the 50th anniversary of Saturday Night Live, which will also feature Eddie Vedder, Jack White and David Byrne.

Devo, North American Tour 2025 Dates
May 1 – Philadelphia, PA @ The Met Philadelphia
May 3 – Washington, DC @ The Anthem
May 6 – Brooklyn, NY @ Brooklyn Paramount
May 9 – Boston, MA @ MGM Music Hall at Fenway Park
May 11 – Cleveland, OH @ TempleLive at Cleveland Masonic
May 15 – Salt Lake City, UT @ Kilby Block Party 2025 *
May 17-18 – Pasadena, CA – Cruel World Festival 2025 *
June 18 – Saint Paul, MN @ Palace Theatre
June 20 – Columbus, OH @ Kemba Live!
June 22 – St. Louis, MO @ The Factory
June 24 – Cincinnati, OH @ The Andrew J Brady Music Center
June 28 – Detroit, MI @ The Fillmore Detroit
June 30 – Toronto, Canada @ History
July 19-20 – Oakland, CA – Mosswood Meltdown 2025 *
July 21 – Denver, CO @ The Mission Ballroom
Aug. 29 – Chicago, IL @ Soldier Field (opening for My Chemical Romance) ^

* Festival Date
^ Special Guest

2025 Rock Tour Preview

For nearly 30 years, Joe Satriani has worked and toured with a lot of different guitar players on his G3 tour. But the late Eddie Van Halen is one major name who never was on the bill.

Though it never happened, Satriani made numerous attempts to make contact. “I called Eddie’s number, office, whatever, almost every time,” he shares in a new interview on the UCR Podcast. “I didn’t want to be a pest, but I didn’t know him. So I couldn’t just call his house or stop by, because I don’t live in the same city. I would go through channels — you know, I tried every angle to say, ‘We’ll take care of everything.’ Which we do, myself and my management, we took care of all of the technicalities of putting on this show. We made it so it was the easiest thing for the artist to come.”

“In terms of Ed, we always made the offer that we could put the band together. He could play whenever he wanted. He could play for as long as he wanted,” he explains. “This was basically the structure of the show and I literally never heard back. So I suppose, maybe after six or seven G3 tries, I just thought, ‘Well, it’s cool.’ Because not everybody is comfortable standing next to two other guitar players every single night. They may do it once at a special show, charity event or something really big [like that], but once you sign on to G3, it’s a responsibility to the audience to show up every night and play.”

Satriani Thinks He Might Know Why it Didn’t Happen

Van Halen famously didn’t work much outside of his namesake group and Satriani believes that might have played into the reasoning as far as why the guitar legend never responded to the offer. “Certain bands provide enough for their guitar players to do whatever they want,” he notes. “The Edge, right? He can do whatever he wants in U2 and so could Van Halen. It’s not like he needed G3, because he had all of this other music he wanted to play or his band didn’t let him play guitar. I’ve always realized it’s not for everybody.”

Beyond Eddie Van Halen, there’s another bucket list booking that eluded Satriani. “The one that was so close to really happening was me with Jeff Beck and Billy Gibbons. I think we were a week away from actually putting it in ink in the books,” he remembers. “It was so close to happening. Then, Jeff bailed at the last moment. I think he used the excuse [that] he thought it would be better if we toured with Prince. I took that as a really good joke, like, he just didn’t want to do it, so he came up with the most ridiculous suggestion.”

READ MORE: How Mick Jagger Prepared Joe Satriani to Perform Van Halen

“I met Jeff twice, but I can’t say I really knew him,” he adds. “So there was no way for me to ever talk to him about it, like, ‘Why didn’t it happen?’ But yeah, I’ve always thought in my mind, ‘Let’s call up Jimmy Page and Jeff Beck,” you know, let’s get all of your favorite guitar players out there. It’s difficult, because I’m a different generation. Steve [Vai] and I, we’re kind of in the middle, to tell you the truth. Especially me, at my age, I’m not part of the classic rock group. I’m not part of the group that really took off afterwards, iconic guitar players like Slash and Tom Morello. So I could see that. I could see them just wondering, ‘Who is this kid? We don’t know who he is. [He] plays instrumental guitar, who cares.’ So I never really thought it would happen, but I’d ask anyway. Once in a while, somebody would agree or just show up and say, ‘I want to play.’ And it would be [guitarists] like Brian May, Neal Schon or Robert Fripp. So we’ve been really fortunate in that respect. But those are the two that got away, certainly, Jeff Beck and Edward.”

The original G3 lineup featuring Satriani, Vai and Eric Johnson reunited in early 2024 to play shows together for the first time since the inaugural tour in 1996. G3 Reunion Live collects full sets performed by the guitar icons during the run. Satriani and Vai are now focused on finishing an album with their band, SatchVai, and will tour again together beginning in June.

The last time Dream Theater’s classic lineup made an album, that 2009 record gave the progressive metal quintet its first Top 10 and still highest-charting LP. Since Black Clouds & Silver Linings, singer James LaBrie, guitarist John Petrucci, bassist John Myung and keyboardist Jordan Rudess have released a steady stream of five albums without their cofounding drummer Mike Portnoy.

But after more than a dozen years away, playing with various groups from the Winery Dogs to Twisted Sister, Portnoy returns for Dream Theater’s 16th album, Parasomnia, 71 epic minutes that doesn’t skimp on the band’s progressive leanings.

Going back to 1992’s masterwork Images and Words, the group’s second album and first with LaBrie, Dream Theater has advanced their analytical approach to music – Petrucci, Myung and Portnoy attended the Berklee College of Music – by leavening elaborately performed 10-minute songs with lyrical inspiration that draws from Shakespeare to the Twelve Steps to recovery. Parasomnia‘s eight tracks revolve around sleep disturbances; the music, suitably, exists in a space somewhere between sweet dreams and a nightmare.

READ MORE: 2025 Album Reviews

They waste little time setting a backdrop. Within the opening minutes of the album-launching instrumental “In the Arms of Morpheus,” melodic guitars stab and big drums roll in like they just came from an audition for a mid-’70s Genesis song. They’re soon set to metal speed: The nearly 10-minute “Night Terror” and eight-and-a-half-minute “A Broken Man” reflect their titles in both subject and execution.

If Parasomnia songs such as “Midnight Messiah” lyrically often lean toward superficial and obvious (“Eyes open wide, but I can’t see“), the music rarely takes simple routes. Head-spinning solos and rhythmically complex musical passages were essential to defining Dream Theater’s reputation; they’re no less exciting here, the 16-year break from each other rarely reveals any cobwebs. This shakes off any doubts about their return.

Top 25 Rock Albums of 2024

Once again, reports of the genre’s death have been greatly exaggerated. 

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

Even though the long-playing album had been around for more than a decade, and artists were using the form to construct entire thematic works from individual songs, the format came of age in 1965.

Just as one of the most important decades in the history and evolution of popular music reached its midpoint, the album started to grow, too. Before 1965, most pop and rock albums were built around two or three great singles; quickly assembled covers, standards and other LP filler would be added to make a 30-minute album.

The tide started to turn in 1965, as artists such as the Beatles and Bob Dylan began to view their music as more than the mere disposable pop moment of the week. Jazz musicians and more “adult” singers had been using LPs to tell stories and reflect narratives about particular times and places. Now it was time for pop and rock artists to do the same.

READ MORE: Top 40 Songs of 1975

The list of the Top 20 Albums of 1965 below charts the initial shift of the music landscape that would become even stronger by the decade’s end. This was the year the LP grew up and changed how popular music was listened to. Pop singles would still be the format of choice well into the ’70s and even into the earliest part of the ’80s, but albums would soon become the preference of serious artists across genres.

The albums outlined below form the bedrock of a new movement. Decades after their release, many of them still are significant works and essential in any discussion about the history of popular music.

Top 20 Albums of 1965

The year the LP came of age changed how popular music was listened to.

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

The Black Keys have announced the first leg of their their No Rain No Flowers North American tour, to take place in May and June.

It follows the dramatic cancellation of their planned 2024 International Players road trip, which led to the pair firing their management amid suggestions of poor tickets sales at arena level.

But on the bright side, Dan Auerbach and Patrick Carney reported, it offered them the opportunity to record a new album – which may share its name with the optimistically-titled tour. The first track, “The Night Before,” arrives on Feb. 7.

READ MORE: The Best Song From Every Black Keys Album

“After the tour was canceled, the consensus was, ‘Shit happens, and you just have to move through it,’” drummer Carney said in a statement. “We were already on a creative streak, and the best thing we could do, rather than sit at home, was just go back in the studio. Get back to work. So, that’s how the record started.”

Auerbach added: “Writing and recording has always been therapy for us, from the very beginning. We communicate best that way. It has always been the thing that’s brought us together, so I’m not surprised at all that we ended up back there so quickly after the last album.”

The theater-capacity tour follows a series of one-off appearances between February and April. Tickets go on sale at 10 a.m. local time on Feb. 7. Support comes from Hermanos Gutiérrez on the May dates (except the first) and from The Heavy Heavy on the June dates.

The Black Keys’ No Rain No Flowers 2025 Tour Dates

5/23: Durant Choctaw Casino & Resort Durant: Grand Theater, OK
5/25: Colorado Springs Ford Amphitheater, CO
5/27: Morrison Red Rocks Amphitheatre, CO
5/29: Bonner Kettlehouse Amphitheater, MT
5/30: Boise Outlaw Field at the Idaho Botanical Garden, ID
5/31: Bend Hayden Homes Amphitheater, OR
6/01: Berkeley Greek Theatre at UC Berkeley, CA
6/03: Los Angeles The Greek Theatre, CA
6/07: Austin Moody Amphitheater at Waterloo Park, TX
6/08: Rogers Walmart AMP, AR
6/11: Wilmington Live Oak Bank Pavilion, NC
6/12: Raleigh Red Hat Amphitheater, NC
6/14: Asbury Park Stone Pony Summer Stage, NJ

Our Top 10 Cher Songs list takes a look at one of music’s most iconic singers. In addition to being an iconic singer, she is an award-winning actress. She is known as the Goddess of Pop. She rose to fame by being one half of the folk-rock duo Sonny & Cher in 1965. By 1967, the duo sold 40 million records. She started her solo career in 1966 while she was still with Sonny Bono. As a solo artist, she sold an impressive 100 million records. She has won several awards. She is one award shy of being an EGOT (Emmy, Grammy, Oscar, Tony). She has an Emmy, Oscar and Grammy awards. She has also won Golden Globe and Billboard Awards. Cher is the only singer to have hits in six consecutive decades.

Let’s get to know Cher, the artist, a little bit better. Cher was born Cherilyn Sarkisian on May 20, 1946. Cher met Sonny Bono in 1962. He introduced her to Phil Spector, and he used her as a background singer. She is a backup singer on hit songs such as The Ronettes’ “Be My Baby” and The Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’.” Her first single is the rock song “Ringo, I Love You.” She performed the song under the name Bonnie Jo Mason. Unfortunately, radio stations rejected the song because they thought she was a man. People thought her deep contralto vocals belonged to a man.

Cher released her debut album All I Really Want To Do in 1965. The album peaked at number 16 on the charts. Sonny Bono produced the album. It is a cover album. The album received positive reviews. It features the single “All I Really Want To Do.” She released her second album The Sonny Side of Cher in 1966. The title of the album is a play on their names. Similar to her debut album, it’s a cover album. The album peaked at number 26 on the charts. It features the singles “Where Do You Go” and “Bang Bang (My Baby Shot Me Down).”

Cher released her eponymous album in 1966. This is another cover album. This album was more of a French style than her previous ones. The album peaked at number 59 on the charts. It wasn’t as successful as the other two albums. It features the single “Alfie.” She released her fourth album With Love, Cher in 1967. Like her other albums, this is a cover album. It peaked at number 47 on the charts. It features the singles “Behind the Door,” “Mama (When My Dollies Have Babies),” “Hey Joe” and “You Better Sit Down Kids.”

She released her fifth album Backstage in 1968. She changed up her style of music for this project. She experimented with different genres of music as well as different themes for the songs. The album didn’t match the success of her other albums. This is the first album not to have hit singles. The album features the singles “The Click Song” and “Take Me for a Little While.” Her sixth album 3614 Jackson Highway was the first album she did without Bono. The album came out in 1969 and peaked at number 160 on the charts. It features the singles “For What It’s Worth,” “I Walk on Guilded Splinters” and “Lay, Baby Lay.”

In 1971, Cher and Sonny starred in The Sonny & Cher Comedy Hour. It was a hit variety show and turned into a full-time show. She released her seventh album Gypsies, Tramps & Thieves in 1971. The album had positive reviews. It was her first successful album in the 70’s. The album peaked at number 16 on the charts. It features the hit singles “Gypsies, Tramps & Thieves” and “The Way of Love.” The album sold over 500,000 copies. It was one of her biggest hits at the time. She changed her fashion style when she released this album. She used to dress like a hippie. Once she worked with fashion designer Bob Mackie, her style was more glamorous.

Cher released her eighth album Foxy Lady in 1972. It peaked at number 43 on the charts. It didn’t do as well as her last album. It features the singles “Living in a House Divided” and “Don’t Hide Your Love.” She released her ninth album Bittersweet White Light in 1973. This is the last album she did with Bono. The album didn’t do well on the charts. It peaked at number 140 on the charts. It features the single “Am I Blue.” She released her tenth album Half Breed in 1973. The album peaked at number 28 on the charts. It features the number one single “Half Breed.” The album sold over 500,000 copies.

She released her eleventh album Dark Lady in 1974. The album had moderate success. It peaked at number 69 on the charts. It features the singles “Dark Lady,” “Train Of Thought,” “I Saw A Man and He Danced with His Wife” and “Rescue Me.” She released several albums that didn’t do well on the charts until she released her fifteenth album Take Me Home in 1979. The album peaked at number 25 on the charts. It features the singles “Take Me Home,” “Wasn’t It Good” and “It’s Too Late (To Love Me Now).” The album sold over 500,000 copies.

She released a couple of albums that didn’t fare well on the charts. She took a break from singing to pursue her acting career. She starred in the movies Silkwood, Mask, and Suspect. She won the Cannes Film Festival Award for the movie Mask. She released her eighteenth album Cher in 1987. The album peaked at number 32 on the charts. It features the singles “I Found Someone,” “We All Sleep Alone,” “Skin Deep,” “Bang-Bang” and “Main Man.” This album sold over one million copies.

Cher is just as known for her personal life as well as her professional life. She has been linked to celebrities such as Val Kilmer, Eric Stolz, Tom Cruise, Ron Duguay, Gene Simmons, Josh Donen, and Ritchie Sambora. She released her nineteenth album Heart of Stone in 1989. This is one of the biggest albums of her career. It reached number 10 on the charts. It is her first solo album to reach number 10 on the charts. It features the singles “After All,” “If I Could Turn Back Time,” “Just Like Jesse James,” “Heart of Stone” and “You Wouldn’t Know Love.” The album sold over four million copies.

Fresh off the success of Heart of Stone, she starred in the movie Mermaids in 1990. It was a box office hit. She recorded the hit single “The Shoop Shoop Song (It’s In His Kiss)” for the soundtrack. She released her twentieth album Love Hurts in 1991. It peaked at number 48 on the charts. It features the singles “Love and Understanding,” “Save Up All Your Tears,” “Love Hurts,” “Could’ve Been You” and “When Lovers Become Strangers.” The album sold over one million copies.

In 1996, Cher released her twenty-first album It’s a Man’s World. It peaked at number 64 on the charts. It features the singles “Walking in Memphis,” “One by One,” “Not Enough Love in the World,” “The Sun Ain’t Gonna Shine Anymore” and “Paradise.” The album sold over one million copies. She released her twenty-second album Believe in 1998. The album received mixed reviews. It peaked at number four on the charts. “Believe” is one of the best selling singles of all time. The album features the singles “Believe,” “Strong Enough” and “All or Nothing”

She released her twenty-fourth album Living Proof in 2001. It peaked at number nine on the charts. It features the singles “The Music’s No Good Without You,” “Song for the Lonely,” “Alive Again,” “A Different Kind of Love Song.” “When the Money’s Gone” and “Love One Another.” The album sold over one million copies. She released her twenty-fifth album Closer to the Truth in 2013. The album peaked at number three on the charts. It received positive reviews. It features the singles “Woman’s World,” “I Hope You Find It,” “Take It Like a Man” and “I Walk Alone.” The album sold over 500,000 copies.

Cher is a multi-talented artist who was able to sustain success through the 60’s and beyond. There aren’t too many acts that were able to accomplish this feat. She was able to make it in a male dominated industry and thrive. This Top 10 Cher Songs list will feature her hit singles. Do you think you know what will be number one on the list?

# 10 – Love and Understanding

The first song on our Top 10 Cher Songs list is the pop-friendly “Love and Understanding” from the Love Hurts album. This song has a pop and rock sound. This is an emotional song about needing love. It doesn’t matter if you have material things if you don’t have love in your life. It’s the type of song Diane Warren would write for other artists.

The song has a good, socially conscious message. The lyrics are poignant without sounding sappy. The music is melodic and energetic. It has impressive orchestral synths and guitar riffs. You don’t hear too many socially conscious songs with rock beats. Cher’s vocals are sincere and convincing. She doesn’t sing this in her signature deep contralto voice. She uses a higher register when she sings the pre-chorus. She shows control in her voice because she’s able to switch octaves effortlessly.

# 9 – I Found Someone

The next song on our Top 10 Cher Songs list is the cathartic “I Found Someone” from the Cher album. This is a therapeutic song about her telling her ex that she has found someone to replace him. The new guy she’s with has taken away the pain that her ex caused. This song is relatable to anyone who wants to prove that they can move on from a bad relationship to a good one. It’s hard to believe that this song is a remake because she sings the song as if it were written for her personally.

Cher is famous for having an active love life so it could have easily been about one of her own relationships. The song starts off slowly in the first verse and then soars in the hook. Cher sounds really passionate in this song. She is noticeably shouting in the hook once the music gets louder, but it doesn’t take away from the song.

# 8 – If I Could Turn Back Time

This remorseful song is on the Heart of Stone album. This has a pop rock and soft rock sound. This is a regretful song about regretting the pain she has caused someone. This is Cher’s comeback song. She had a lot of pitfalls in her career and this is one of the songs that help put her back on the charts. Here is some trivia about the song. Cher didn’t want to sing this song at first. Songwriter Diane Warren had to beg her to sing the song. Cher eventually changed her mind and sang the song. It’s a good thing Cher changed her mind because the song would go on to be one of her biggest hits in her career.

It’s hard to believe that she didn’t want to sing this song because the song is really catchy and upbeat. The song has an appealing chorus and is easy to sing. She proved that a female could do a rock song in a male dominated genre. The music is amazing. The guitar riffs are incredible and make the song sound even better. Cher sings in time with the music. Her tone is perfect for the track. She sings with full-throated glory. She even belts throughout the song. She proves that women with deep voices can belt.

# 7 – One By One

This love song is from the It’s a Man’s World album. This song has a pop rock and r&b sound. This is an emotional song about loving one another. This has a deep and meaningful message about loving one another. Cher sounds different in the verses. She sings in a higher octave than her other songs. She sings the verses softly and sensually. She sounds more like herself when she sings the chorus. She’s a little hard to understand in some of the lyrics so you might want to look at the lyrics to know what she is saying. Despite that little flaw, her vocals are on point with the rhythmic music. The music is perfect for moving around in your seat or on the dance floor.

# 6 – Strong Enough

This liberating song is from the Believe album. This song has a disco sound. This is a strong-willed song about her wanting to end a bad relationship. She wants to be free from the toxic relationship. This song is relatable to people in bad relationships who want to be free. This sounds like an updated version of Gloria Gaynor’s “I Will Survive” because they have the same message. The music is very dance-friendly. It starts off with a slow piano beat and then soars into a bouncy disco beat. This beat is guaranteed to get you out of your seat. The music is jubilant and irresistible. Cher’s vocals are very strong. You can feel the anger and bitterness in her voice while she is singing. “Believe” overshadows this song, but it’s just as good as that song.

# 5 – Believe

This bittersweet song is from the album of the same name. This song has a dance pop sound. This is an anthemic song about moving on from a painful relationship. This is another one of Cher’s comeback songs. This song earned her a place in the Guinness Book of World Records. This is a different type of song for her because she didn’t use Auto-Tune for her voice in the past. This is the first big hit to use Auto-Tune. She didn’t need to use Auto-Tune because her voice is fine on its own. This song is perfect for the club scene. The beat is fire and great for dancing. The verses of the song are bittersweet while the chorus is uplifting. You probably thought this song was going to be number one on this Top 10 Cher Songs list because it’s one of the biggest hits of her career. It’s a great song, but other songs came before it on the list.

# 4 – The Shoop Shoop (It’s In His Kiss)

This passionate song is from the Mermaids soundtrack. This has a pop and soul sound. This is an energetic song about how to tell when a man loves a woman. It’s in his kiss. This is a cover song. It has an old school Motown vibe to it. The music is uplifting and powerful. It has a 60’s vibe to it. She cleverly combined 60’s and 90’s music to get this sound. There’s no way to sit still through this song. Cher’s vocals are fire in this song. Her voice is so strong and powerful throughout the song. She sings in time with each beat change. She impressively belts throughout the song. Everything about this song is flawless from the catchy music to her amazing vocals.

# 3 – After All ft. Peter Cetera

This optimistic song is from the Heart of Stone album. It is also featured in the movie Chances Are. This song has a pop and adult contemporary sound. This is a soulful song about people in topsy-turvy relationships finding their way back to each other. The music is soft and romantic. The melody is very loving. It is perfect for slow dancing. It can make the perfect wedding song. Cher and Peter have great vocal chemistry with each other. Their voices blend well with each other. They bring out the best in each other. She sings in a higher octave in the hook. This song is in Peter’s comfort zone because he usually sings songs like this. Cher is out of her comfort zone because she didn’t sing songs like this. They manage to make the unlikely pairing work. This is a great pop rock love song. It’s too bad they didn’t sing more songs together.

# 2 – Save Up All Your Tears

This anthemic song is from the Love Hurts album. This song has a pop rock and soft rock sound. This is a bitter song about her telling the guy who hurt her that he would want her when she’s gone. The music is incredible. It’s a very guitar-driven rock track that is sure to please rock music fans. The guitar solo clearly stands out in the song. Cher’s vocals are aggressive and sassy. She sings this in a higher octave than she does in her other songs. Her vocals are heartfelt and passionate. She takes a lot of amazing vocal risks in this song. She holds a lot of notes, and she belts throughout the song. Everything about this song works and could have easily been number one on this list.

# 1 – Take Me Home

The number one song on our Top 10 Cher Songs list is the sexy “Take Me Home” from the album of the same name. This song has a disco sound. This is a seductive song about her wanting her lover to take her home. The melody of this song is spectacular. It sounds like something Donna Summer would have done. The music is funky and beautifully arranged. It was perfect for its disco genre. It’s a very dance friendly song. Cher sings this song is Donna Summer fashion. She sings the song with a lot of soul. She sings this in a higher octave. She belts throughout the song. She also holds notes throughout the song. This is an old school song, but it still works today. It is flawless and deserves to be number one.

Read More: Complete List Of Cher Albums And Discography

Make sure to check it our Sonny & Cher articles below

Top 10 Sonny & Cher Songs

Complete List Of Sonny & Cher Albums And Discography

Top 10 Cher Songs Of All Time article published on Classic RockHistory.com© 2025

Queens of the Stone Age emerged from the deserts of California in 1996, led by Josh Homme, with a distinct sound that blended elements of stoner rock, heavy metal, and experimental rock, breaking away from the confines of the genres they were associated with. Their music was defined by Homme’s mastery of innovative guitar tones, which often ranged from hauntingly atmospheric to raw, gritty riffs, and their ability to create complex rhythmic structures. Unlike many of their contemporaries, Queens embraced a fluid lineup, with Homme’s leadership at the core, and their willingness to evolve allowed them to shape an entirely unique musical identity. From their breakthrough album Songs for the Deaf (2002), which explored the intersection of hard rock and experimental soundscapes, to the more atmospheric and melancholic …Like Clockwork (2013), the band’s music has always been a mix of hard-driving anthems and deep, introspective moments.

What set Queens of the Stone Age apart from other rock bands was their ability to blend heavy riff-driven rock with elements of electronic and progressive music, creating a signature sound that was both innovative and commercially accessible. This fusion, led by Homme’s distinctive guitar work, was exemplified in hits like “No One Knows” and “Go With the Flow,” songs that became anthems not just in rock, but also in pop culture. With collaborations from high-profile musicians, such as Dave Grohl and Josh Homme’s work in Them Crooked Vultures, the band continuously evolved while maintaining a core sense of musical experimentation. Their approach to songwriting — emotionally charged, yet experimental — alongside their ever-shifting lineup, has left an indelible mark on the rock scene, ensuring that their legacy will continue to influence generations of musicians to come.

Josh Homme

Josh Homme is the visionary leader, guitarist, and primary songwriter behind Queens of the Stone Age, and his distinctive voice and innovative guitar playing have defined the band since its inception in 1996. Homme’s creative direction steered the band through its early stoner rock roots, while his willingness to experiment with different genres — including elements of hard rock, electronic music, and even blues — propelled the band to the forefront of rock music. Homme’s versatility extends beyond guitar, as he frequently plays piano, synthesizers, and bass, creating a layered, textured sound that defines the band’s evolving musical identity. His work on albums like Songs for the Deaf (2002) and Lullabies to Paralyze (2005) showcased his ability to merge raw energy with more atmospheric, experimental elements, while …Like Clockwork (2013) explored darker and more introspective themes.

In addition to his work with Queens of the Stone Age, Homme is involved in several notable musical projects. He is the founding member of Them Crooked Vultures, a supergroup featuring Dave Grohl and John Paul Jones, and he has also collaborated extensively with artists such as Arctic Monkeys, Iggy Pop, and the Eagles of Death Metal. Homme is also the owner of Third Man Records, which serves as a hub for vinyl releases, live recordings, and his solo work. Through his multiple musical ventures, Homme has earned his place as one of the most influential figures in rock music.

Troy Van Leeuwen

Troy Van Leeuwen joined Queens of the Stone Age in 2002, bringing with him a diverse musical background that included stints with A Perfect Circle and Sweethead. His contributions as guitarist, lap steel player, keyboardist, and synthesizer player significantly shaped the band’s sound, especially on albums like Songs for the Deaf (2002) and Lullabies to Paralyze (2005). Van Leeuwen’s versatile playing style allowed him to blend seamlessly with Homme’s vision, adding layers of complex textures to the music while maintaining the band’s raw, rock-driven energy. His skill on instruments like the lap steel guitar brought a unique sonic element to the band’s music, expanding their palette beyond traditional rock sounds.

Before joining Queens of the Stone Age, Van Leeuwen had already established himself as a sought-after musician, collaborating with various bands and projects. His ability to switch between multiple instruments and adapt to different musical styles has made him an essential part of the band’s evolution. In addition to his work with Queens, Van Leeuwen has worked as a member of various groups, including his solo projects, and continues to contribute to the broader rock music scene.

Michael Shuman

Michael Shuman joined Queens of the Stone Age in 2007 as the band’s bassist and backing vocalist, shortly after the departure of Nick Oliveri. Shuman’s contributions were first heard on Era Vulgaris (2007), where his bass work became an integral part of the band’s evolving sound. Shuman’s bass lines are known for being melodic yet heavy, providing a strong foundation for the band’s music while allowing for sonic exploration. On albums like …Like Clockwork (2013) and Villains (2017), Shuman’s contributions to the band’s more electronic-driven and experimental songs helped create a deeper, more atmospheric texture to the music.

Outside of Queens of the Stone Age, Shuman is also a member of Mini Mansions, a side project where he plays bass and vocals. Mini Mansions’ more pop-oriented and experimental sound allows Shuman to explore different musical territories and collaborate with artists like Alex Turner of Arctic Monkeys. His work in both bands has solidified Shuman’s reputation as a versatile and dynamic musician in the modern rock scene.

Dean Fertita

Dean Fertita, who joined Queens of the Stone Age in 2007, plays multiple instruments within the band, including keyboards, synthesizers, guitar, and percussion. Fertita’s multifaceted contributions expanded the band’s sound, particularly on albums like Era Vulgaris (2007) and …Like Clockwork (2013), where his synths and keyboard textures helped create a more atmospheric and experimental vibe. Fertita’s ability to contribute to both guitar and keyboard parts allowed Queens of the Stone Age to incorporate more layered and expansive sounds, adding to the band’s dynamic range.

Before his tenure with QOTSA, Fertita had already established himself as a member of The Raconteurs and the Dead Weather, two other high-profile rock bands that showcased his talent in a variety of musical genres. Fertita’s ability to seamlessly integrate into multiple projects while adding his unique touch to each has made him an invaluable asset to Queens of the Stone Age, helping them experiment with new sounds while maintaining their hard rock roots.

Jon Theodore

Jon Theodore joined Queens of the Stone Age in 2013, replacing Joey Castillo as the band’s drummer. Theodore’s technical drumming style, previously honed through his work with The Mars Volta, made him an ideal fit for the band’s more intricate rhythms and polyrhythmic structures. His drumming on albums like …Like Clockwork (2013) and Villains (2017) is characterized by its precision and fluidity, adding depth and complexity to the band’s rhythm section. Theodore’s ability to play with both power and finesse has been instrumental in shaping the band’s sound during his time with them.

Before joining QOTSA, Theodore had an extensive career, performing with The Mars Volta, where his drumming was central to the band’s progressive and experimental sound. He has also been involved with other projects, including One Day as a Lion, alongside Zack de la Rocha of Rage Against the Machine. Theodore’s work outside of QOTSA has helped him maintain a reputation as one of the most innovative drummers in rock music today.

Alfredo Hernández

Alfredo Hernández was the drummer for Queens of the Stone Age during the band’s early years, specifically from 1998 to 1999. Hernández contributed to the band’s second studio album, Queens of the Stone Age (1998), which marked the beginning of the band’s exploration of hard rock and stoner rock, and helped define the group’s distinctive sound. His drumming was instrumental in shaping the band’s raw, gritty approach to rock music, characterized by driving rhythms and minimalist patterns that would become a hallmark of the band’s sound. Hernández’s tenure was brief, and he left shortly after the album was completed.

After his departure from Queens of the Stone Age, Hernández played with various other bands, most notably with Kyuss Lives!, a reformation of his earlier band Kyuss. His experience with Kyuss, along with his time in Queens, cemented his reputation as a talented drummer in the desert rock scene. Hernández’s contributions during his time with QOTSA remain an important part of their early legacy.

Nick Oliveri

Nick Oliveri was a pivotal member of Queens of the Stone Age, serving as the bassist, co-lead vocalist, and backing vocalist from 1998 until 2004. His aggressive bass lines, powerful stage presence, and distinctive vocal style played a key role in shaping the band’s sound, particularly on albums like Rated R (2000) and Songs for the Deaf (2002). Oliveri’s contributions on tracks like “Feel Good Hit of the Summer” and “No One Knows” showcased his ability to add both intensity and melody to the band’s hard rock style. His vocal contributions on songs like “Go With the Flow” demonstrated his dynamic range, which added a unique contrast to Josh Homme’s vocals.

Oliveri’s time with the band ended in 2004 due to personal conflicts and his departure from the group marked a significant turning point for Queens of the Stone Age. After leaving QOTSA, Oliveri pursued a solo career, most notably with his band, Mondo Generator. He also briefly played with other groups, including the reformation of Kyuss and the supergroup Eagles of Death Metal, collaborating again with Homme. Despite his departure from QOTSA, Oliveri remains an influential figure in the desert rock scene.

Gene Trautmann

Gene Trautmann served as the drummer for Queens of the Stone Age from 1999 to 2001, following Alfredo Hernández’s departure. Trautmann’s drumming was featured on Rated R (2000), the band’s second album, which was a significant step forward in their musical evolution. His playing on songs like “The Lost Art of Keeping a Secret” and “Leg of Lamb” contributed to the album’s tight and dynamic rhythms, providing a solid backbone for the band’s harder, more experimental sound. Trautmann’s time with the band was relatively short, but he made a noticeable impact during his tenure.

After his departure from Queens of the Stone Age, Trautmann continued to work as a session drummer and contributed to other projects, including stints with bands such as Eagles of Death Metal and Desert Sessions, another Homme-led side project. His experience with multiple musical projects further showcased his adaptability and skill as a drummer in the rock genre.

Mark Lanegan

Mark Lanegan, known for his distinct gravelly voice and his work with the grunge band Screaming Trees, became a key member of Queens of the Stone Age from 2001 to 2005. Lanegan’s contributions on Songs for the Deaf (2002) were critical in expanding the band’s sound, particularly with his powerful, haunting vocals on tracks like “Song for the Dead” and “Hangin’ Tree.” He also added keyboards on the band’s Lullabies to Paralyze (2005), further showcasing his versatility as an artist. Lanegan’s deep, soulful voice provided a stark contrast to Homme’s higher-pitched vocals, adding a layer of emotional depth to the band’s music.

Lanegan had a prolific career outside of Queens of the Stone Age as well, releasing solo albums and working with a variety of artists, including Isobel Campbell, Greg Dulli (The Afghan Whigs), and even forming the collaborative group Mad Season. His work with QOTSA remains a significant part of his musical legacy, and his contributions were crucial to the band’s sound during his tenure. Lanegan passed away in 2022, leaving behind an indelible mark on rock music.

Dave Grohl

Dave Grohl, best known as the frontman of Foo Fighters and former drummer for Nirvana, briefly joined Queens of the Stone Age in 2001, playing drums on Songs for the Deaf (2002). Grohl’s powerful drumming on songs like “No One Knows” and “Go With the Flow” gave the album its hard-hitting and energetic rhythm, which became a defining feature of the band’s sound during this era. Grohl’s contributions helped the band achieve widespread commercial success, and his presence in the studio added a unique dimension to the album’s recordings. Grohl also participated in live performances, helping to solidify the band’s reputation as a powerhouse live act.

After his time with QOTSA, Grohl returned to his main project, Foo Fighters, but continued to collaborate with Homme in other ventures, such as Them Crooked Vultures. His time with Queens of the Stone Age marked a significant point in both bands’ histories and showed the synergy between two of rock’s most influential figures.

Joey Castillo

Joey Castillo was the drummer for Queens of the Stone Age from 2002 to 2012, playing on albums like Lullabies to Paralyze (2005) and Era Vulgaris (2007). Castillo’s drumming style was essential in driving the band’s aggressive, hard-rocking sound, and his rhythms helped create the foundation for some of the band’s most well-known songs. His contributions on tracks like “Little Sister” and “Make It Wit Chu” showcased his ability to combine groove-heavy beats with raw, powerful energy. Castillo was known for his intense live performances, which helped cement the band’s reputation as one of the most electrifying live acts in rock music.

After leaving Queens of the Stone Age in 2012, Castillo continued his musical career, joining other projects such as the Circle Jerks and performing with other rock bands. His drumming style remains highly regarded within the hard rock and punk scenes.

Alain Johannes

Alain Johannes joined Queens of the Stone Age in 2005, contributing bass, guitar, and keyboards to the band during the recording of Lullabies to Paralyze (2005) and Era Vulgaris (2007). Johannes, a long-time collaborator with Homme, was part of the band’s expanding sonic palette, adding layers of texture with his versatile musicianship. He played a crucial role in shaping the more experimental and atmospheric elements of those albums. His contributions on Lullabies to Paralyze added a darker, moodier tone to the band’s sound, particularly in songs like “Burn the Witch.”

Before his time with Queens of the Stone Age, Johannes was a key member of the band Eleven and also worked with various artists, including Chris Cornell and PJ Harvey. His diverse musical background allowed him to contribute to the band’s evolving sound during his time with them.

Natasha Shneider

Natasha Shneider was a keyboardist and backing vocalist for Queens of the Stone Age from 2005 to 2006. Shneider’s contributions on Lullabies to Paralyze (2005) added an atmospheric, ethereal element to the band’s music, complementing Homme’s intense guitar work. Her work on tracks like “Little Sister” and “In My Head” gave the band a broader, more textured sound, particularly with her keyboards and backing vocals. Shneider’s involvement with the band was brief, but her contributions were instrumental in shaping the sonic diversity of Lullabies to Paralyze.

Before her time with Queens of the Stone Age, Shneider had worked with various artists and as a member of the band Eleven. She also collaborated with Homme on several projects, including his work with Desert Sessions. Tragically, Shneider passed away in 2008, leaving behind a legacy of unique contributions to the music world.

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Music is to be taken seriously, Swedish supergroup Soen believe – and they illustrated their argument with their fourth album, Lotus. In 2019, tying in with its release, Martin Lopez and Joel Ekelöf told Prog about their intentions.

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Today we’re able to instantly spread a message worldwide through our phones – yet we dread the idea of speaking to our neighbour next door. Our devices trick us into projecting a virtual, and often deceitful, image of ourselves while we detach from our genuine selves.

The topic is explored on Swedish prog metallers Soen’s fourth album, Lotus. Drummer Martin Lopez and singer Joel Ekelöf are eager to explain their message.

“People’s confidence depends on what others think of them, instead of what they’re capable of,” drummer Martin Lopez says. “Kids are constantly judged because of social media. At the same time, culture disappears, because social media takes over the time that we could spend reading a book or listening to music.”

Vocalist Joel Ekelöf adds: “People go to new places just to take the perfect Instagram picture and Facetune it to make a perfect image of themselves; then they want to live up to that image. That’s unhealthy. What we want to get through is that if you try to be true to yourself – stand up for yourself, instead of being evaluated by others – you’ll feel you have self-value.”

While exploring the darkest twists and turns of society, Soen always try to find a semblance of hope – hence the album’s title. “The lotus is something beautiful that grows up in the mud,” Ekelöf explains. Their duality is explored both musically and visually: the sleeve art depicts a copper pyramid, and within it a series of symbols and their opposites, creating a strong sense of contrast.

“That’s has always been part of our music,” Lopez says. “Dynamics – hard parts mixed with mellow, the tense parts and the soothing parts – like a sort of yin and yang. In the past people used symbols much more. I can only take Sweden as an example, but my grandparents knew what symbols stood for and they’d use them as guides. We’ve totally lost this.”

The album definitely has that sort of Pink Floyd vibe, which I love

The album is intended to make personal connections through the band’s self-analytical lyrics. “We’ve all gone through a lot of shit,” Lopez says. “You start talking to your friends and family about it, then you try to channel it somehow. Music is the best way to do it, both writing lyrics and playing. It’s the same way some people do yoga or take drugs or go to a football game and start a fight. This is therapeutic for us.”

Lotus was excellently produced by David Castillo, who worked with Soen on their previous album, Lykaia. “We gave him free hand to use whatever he needed, mixing up both analog and digital equipment, but always keeping the live sound of the band, because it needed to be raw,” Lopez explains.

Ekelöf adds: “We had a really clear picture about what we wanted to do with the songs, but we gave David the possibility to elaborate on our ideas. We told him what kind of sound we wanted and how the songs were supposed to be. He’s been able to influence how we could get to our ideas.”

Despite defining themselves as a heavy band, Soen’s music is rooted in more traditional prog sounds. You can feel Pink Floyd in the quieter tracks of the album like Lotus or Covenant. Lopez agrees: “We listen to all kinds of music along with prog. To be a complete musician you need to listen to everything that’s good. The style of our guitar player is very David Gilmour-ish and the music structures are made for that kind of melodic guitar playing, so the album definitely has that sort of Pink Floyd vibe, which I love.”

A lot of bands are commanded by computer… you could have just stayed home and listened to the album

“The old prog is still very relevant – Jethro Tull, Yes, Genesis, Pink Floyd all have strong songs and melodies,” Ekelöf says. “Their style feels like going on a musical adventure. That kind of prog is the kind I can relate to, more than modern bands who are very focused on technique.

“We’re not inspired by that fast, technical ‘look-what-I-can-do’ kind of prog,” Lopez says. “We go for emotion in music and put value in the music we make. We have a modern approach to our sound, which has to be bass- and drum-driven – but at the same time we get a lot of the melodies and warmth from music from the 70s.”

Those considerations carry into live performances, he explains. “A lot of metal bands are commanded by a computer. The drummer follows a click track and everything is so perfect that you could have just stayed home and listened to the album. We go up there and we do make mistakes; we go slower sometimes, faster sometimes.

“But that’s the essence of being a musician – to play what you feel that night for your audience and make it special, because they’re not going to hear that show again. If you play with backing tracks and follow a click track, you play the same boring, essence-less show every night.”

If you’re not serious in your music, you cannot be honest

“I hope we can show young kids an alternative,” adds Ekelöf. “If they come to one of our concerts, they’ll see real musicians playing live music, for real, without backing tracks; no bullshit. Some kids have never heard live music – they go to DJ sets instead.”

Lopez notes: “When you’re serious – like we are – you open the doors for people to judge you and complain about you, because it’s you: this is what you are, this is what you believe in, this is what you’re saying

“If you’re always silly and joking around, you’re showing that either you have nothing to say, or you don’t dare to say it. If you’re not serious in your music, you cannot be honest. And when you’re honest with your music and your lyrics, that’s when you can start making people feel something real.”