In a new interview with Metal Insider, legendary Slayer guitarist, Kerry King, discusses his upcoming tour dates, his return to the stage, and much more. An excerpt from the chat follows…
Metal Insider: I love how you have such an extensive history, a legendary history. And your energy remains fresh, and that is something we need today as well.
Kerry King: “Well, that’s what keeps the music fresh, you know? If I were stagnant and old and not into society and what society offers or takes away, the music would be very different.”
Metal Insider: It’s a fresh record, probably one of the strongest of the year.
King: “Since you said that, I usually put a record out, and within two weeks after it comes out, I never want to hear it again. In this one, I still work out to. So I still like it as much as the day it came out, which I don’t know if it’s because I wrote all of it. But Repentless, I wrote 90% of that. I like that record, but if I go to the gym, I’m putting on From Hell I Rise.’
Metal Insider: It’s a new energy that you can feel the vibe from it.
King: “Yeah, I agree. I can’t explain it, but I hear what you’re saying.”
Metal Insider: And it’s like some performers who are ready to retire, including younger bands. It seems more bands have been calling it quits since the pandemic, or certain members have decided to leave because they’re exhausted. What have you? It’s tough. And your energy seems so rejuvenated, excited, and ready; we need that today.
King: “Yeah. You know, I’m not tooting my own horn, but when we were gone for five years, Slayer before I came back, I definitely felt a void in metal music. There was something I provided that wasn’t necessarily there. You can like Lamb Of God, I like Lamb Of God, fine, but they have a different heavy, you know? I can’t really describe it any differently than that. Their heavy is different than Slayer’s heavy. And what they do is great, but what we do was just gone. So when I came back, it seems like that void got filled up a little bit.”
Metal Insider: I do agree, or I hope; I think I know what you’re saying, too, in a way, because everybody talks about what’s going to be the next Big Four bands and who’s going to fill up arenas in like 40 years from now or something like that. And we don’t know the answer to that.
King: “Yeah, I was going to say, 40 years from now ain’t going to be me. I’d love to be part of the second Big Four, but that’s a little too far in the future.”
Metal Insider: But it’s like a lot of these like they don’t feel as strong as Slayer, Metallica, Megadeth, Anthrax, Kreator, and Testament. You guys had the era of the eras.
King: “Well, yeah, and, you know, the original Big Four, as well as Testament and Exodus, we all created a genre that didn’t exist that stemmed from our love of Priest, Sabbath, Maiden, punk, for us, obviously. And until something else breaks off and creates something new, I don’t think there’s really going to be anything like that.
“There’ll be popular bands that do their own thing, but unless a bunch of people get on the same thing that’s happening at the same time, like us, Metallica and Megadeth, we’re all West Coast, Anthrax was New York City or New York anyway, and we just all kind of came up with the same thing and ran with it.So I don’t know what that next one will be, but when that happens, that’s the next time you’ll get a chance to see anything like a future Big Four.”
Kerry King and his solo band – drummer Paul Bostaph (Slayer), bassist Kyle Sanders (Hellyeah), guitarist Phil Demmel (Machine Head), and vocalist Mark Osegueda (Death Angel) – will hit the road for the twenty-eight date “North American Headline Tour 2025”. With Municipal Waste as Special Guest and Alien Weaponry supporting, the tour is set to launch in San Francisco on January 15, and wrap at House of Blues in Las Vegas on February 22. Tickets can be purchased here. The complete itinerary is below.
“Getting back on the road for the first time in five years wasn’t exactly like riding a bike, that’s for sure,” King acknowledged. “I’ve never had that much time off, but the first tours with my new band – in the UK and Europe, and then in America with Lamb of God and Mastodon – were all total blasts. We’ll be headlining on this next tour, so we’re playing a longer set than we did with Lamb of God and Mastodon. We’ve got a little bit of a learning curve, so will start rehearsing the first week of November. And we might put an extra Slayer song into the set and learn a cover song or two.”
North American dates:
January 15 – The Regency Ballroom – San Francisco, CA 17 – Spokane Live Casino – Spokane, WA 18 – Showbox SoDo – Seattle, WA 19 – Roseland Theater – Portland, OR 20 – Commodore Ballroom – Vancouver, BC (Canada) 22 – The Palace Theatre – Calgary, AB (Canada) 23 – Midway Music Hall – Edmonton, AB (Canada) 25 – Burton Cummings Theatre – Winnipeg, MB (Canada) 26 – The Fillmore – Minneapolis, MN 28 – The Rave – Milwaukee, WI 30 – The Majestic Theater – Detroit, MI 31 – House of Blues – Cleveland, OH
February 1 – Danforth Music Hall – Toronto, ON (Canada) 2 – L’Olympia – Montreal, QC (Canada) 4 – Royale – Boston, MA 5 – Theatre of the Living Arts – Philadelphia, PA 7 – Irving Plaza – New York, NY 8 – Baltimore Soundstage – Baltimore, MD 10 – Buckhead Theatre – Atlanta, GA 11 – Jannus Live – St. Petersburg, FL 13 – House of Blues – Houston, TX 14 – Emo’s – Austin, TX 15 – The Studio at the Factory – Dallas, TX 17 – Ogden Theatre – Denver, CO 18 – Sunshine Theater – Albuquerque, NM 19 – The Nile Theater – Phoenix, AZ 21 – House of Blues – Las Vegas, NV 22 – The Fonda Theatre – Los Angeles, CA
King and his band also announced their “European Tour 2025”. The dates kick off on July 29 in Frankfurt, Germany, and are currently scheduled to wrap up on August 19 in Krakow, Poland.
European dates:
July 29 – Zoom Saal – Frankfurt, Germany * 30 – Simm City – Wien, Austria *
August 1 – Rockstadt Extreme – Transylvania, Romania * 4 – Komplex 457 – Zürich, Switzerland * 6-9 – Brutal Assault Festival – Jaromer, Czech Republic 7 – FZW – Dortmund, Germany * 8-10 – Alcatraz Festival – Kortrijk, Belgium 12 – Academy 2 – Manchester, UK * 13 – SWX – Bristol, UK * 14-17 – Motocultor Festival – Carhaix, France 17 – Dynamo Festival – Eindhoven, Netherlands 19 – Tauron Arena – Krakow, Poland *#
A new 90-minute documentary about Led Zeppelin tribute act Dread Zeppelin has appeared online, and it’s free to watch. Dread Zeppelin: A Song of Hope is produced by meme-friendly guitar manufacturer Chibson, whose motto is “more than just a shell company”, and are perhaps best-known for making cheap guitars that look a lot like other, more expensive guitars. Oh, and their ‘Cease and Desist’ toggle switch.
“This long-awaited documentary film chronicles the unlikely journey of the ’90s cult sensation, Dread Zeppelin, a band known for their revolutionary mashup of Led Zeppelin’s music with a reggae beat, led by the unforgettable 300-pound Elvis impersonator, Tortelvis,” say Chibson.
“From their first show in Pasadena in 1989, Dread Zeppelin was an instant success,” they continue, breathlessly. “Their unique blend of rock and reggae, paired with their theatrical performances, captured the attention of music fans and critics alike.
“Within just six months, the band was making waves on MTV, even earning the endorsement of Led Zeppelin’s own Robert Plant, who declared them his favourite band [Plant once said that he preferred Dread Zep’s version of Your Time Is Gonna Come to the Zep original]. The endorsement helped them secure a coveted three-record deal with IRS Records, propelling them to global success.”
Footage of Plant features in the movie – and in the trailer, both embedded below – which is narrated by Steel Panther frontman Michael Starr.
Dread Zeppelin may have been the first tribute act to perform rock covers in a reggae style, but others would swiftly follow. New York’s Easy Star All-Stars’ first album was a cover of The Dark Side Of The Moon entitled Dread Side Of The Moon, The Red Stripes gave a reggae spin to The White Stripes’ catalogue, and – perhaps best of all – Jamaican roots reggae star Little Roy covered Nirvana’s Nevermind in its entirety as The Battle For Seattle.
Dread Zeppelin: A Song Of Hope | Full Documentary | 2024 – YouTube
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Online Editor at Louder/Classic Rock magazinesince 2014. 38 years in music industry, online for 25. 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.
In our opinion, Aerosmith may be the greatest American rock band of all time. Formed in 1970 in Boston, Massachusetts, the band comprises Steven Tyler (vocals), Joe Perry (guitar), Brad Whitford (guitar), Tom Hamilton (bass), and Joey Kramer (drums). The group has maintained remarkable consistency in its lineup, with only brief changes during the late 1970s and early 1980s, when Joe Perry and Brad Whitford temporarily departed before rejoining in 1984.
Aerosmith has released 15 studio albums, beginning with their self-titled debut in 1973, which introduced their gritty sound and established the groundwork for their rock legacy. Albums like Toys in the Attic (1975) and Rocks (1976) propelled them to the top of the charts, featuring timeless classics like “Dream On,” “Sweet Emotion,” and “Walk This Way.” Over the years, their music catalog has sold over 150 million copies worldwide, making Aerosmith the best-selling American rock band of all time.
Despite personal and professional struggles, including battles with substance abuse and financial instability in the early 1980s, Aerosmith’s comeback in the mid-1980s is one of rock’s greatest success stories. Their collaboration with Run-D.M.C. on “Walk This Way” brought them back into the limelight, setting the stage for a new era with multi-platinum albums like Permanent Vacation (1987), Pump (1989), and Get a Grip (1993). These albums produced chart-topping singles, Grammy-winning hits, and iconic music videos that defined a generation.
Over their illustrious career, Aerosmith has won four Grammy Awards, ten MTV Video Music Awards, six American Music Awards, and numerous other accolades. They were inducted into the Rock and Roll Hall of Fame in 2001 and have a star on the Hollywood Walk of Fame.
Aerosmith has such a tremendous catalog of music, including some great rock and roll ballads, and some slick later day productions. Our favorite songs have always been pretty much from their earlier album in the 1970s. However, there is still a lot of great material that often gets overlooked from their later period, And we made sure to open up with one of them. So, in our opinion, here are 10 Aerosmith songs that always deserve to be turned up to 11!!!!!
# 10 – Rag Doll – Permanent Vacation
The swagger and energy of “Rag Doll” encapsulates the unabashed spirit of Aerosmith’s late 1980s resurgence, cementing its place as one of their most electrifying tracks to crank up to eleven. Featured on their 1987 album Permanent Vacation, this song marked a creative turning point for the band, showcasing their renewed focus on blending gritty rock with infectious melodies. Co-written by Aerosmith’s Steven Tyler, Joe Perry, and outside collaborators Holly Knight and Jim Vallance, “Rag Doll” became an instant classic, peaking at number 17 on the Billboard Hot 100 and solidifying the band’s commercial comeback.
Jim Vallance, a revered songwriter best known for his long-standing partnership with Bryan Adams, brought a meticulous touch to the writing process of “Rag Doll.” In an exclusive interview with Classic Rock History, Vallance described how the song evolved from its initial draft to the sultry, brass-infused anthem it became. Initially titled “Rag Time,” the track underwent a series of lyrical and arrangement adjustments, including the addition of its iconic honky-tonk piano and horn section, orchestrated by renowned producer Bruce Fairbairn. Vallance’s knack for structure and melody seamlessly complemented Aerosmith’s raw, unfiltered energy, resulting in a song that balances grit and polish with precision.
Lyrically, “Rag Doll” exudes a playful, risqué charm, with Tyler’s vocal delivery oozing charisma. The vivid imagery of lines like “Hot tramp, daddy’s little cutie” paints a vivid picture of the sultry dynamics that define the track’s persona. Musically, it’s a masterclass in rhythmic propulsion—Tom Hamilton’s driving bassline and Joey Kramer’s tight drumming lay the groundwork for Joe Perry’s scorching guitar riffs and Tyler’s bluesy harmonica flourishes. The inclusion of a brass arrangement, a relatively new addition to Aerosmith’s sound at the time, adds an extra layer of sophistication, distinguishing the song from their earlier catalog.
“Rag Doll” stands out among Aerosmith’s greatest hits as a testament to their ability to evolve while staying true to their roots. Its fusion of blues-rock, funk, and pop sensibilities captures the larger-than-life energy that makes it a natural choice for cranking the volume to eleven. This track not only exemplifies the revitalized Aerosmith of the late 1980s but also showcases the collaborative magic of Jim Vallance, whose contributions have left an indelible mark on rock music history.
# 9 – Toys In The Attic – Toys In The Attic
The title track from Aerosmith’s 1975 album Toys in the Attic is an adrenaline-pumping showcase of the band’s ability to craft a song that perfectly captures the chaos and energy of their live performances. Released as part of their third studio album, the track was written by Steven Tyler and Joe Perry and recorded at the Record Plant in New York City. Produced by Jack Douglas, Toys in the Attic marked a pivotal moment in Aerosmith’s career, with this high-octane track playing a significant role in propelling the album to multi-platinum success.
Musically, “Toys in the Attic” is a whirlwind of raw rock energy. Joey Kramer’s frenetic drumming sets the stage, driving the track with an urgency that mirrors the song’s lyrical theme of madness and disorder. Tom Hamilton’s thundering bassline anchors the chaos, while Joe Perry’s razor-sharp guitar riffs inject a sense of gritty rebellion. Steven Tyler’s vocals, alternating between unhinged yells and sly storytelling, perfectly encapsulate the manic energy of the track. The production, helmed by Jack Douglas, captures the band’s electrifying chemistry, with every instrument adding to the track’s relentless momentum.
Lyrically, “Toys in the Attic” taps into themes of insanity and the surreal, with the phrase itself being a slang term for mental instability. Tyler’s delivery makes these lyrics come alive, evoking a vivid sense of disorder that matches the track’s breakneck pace. This thematic intensity sets it apart from other songs on the list, like “Rag Doll,” which leans into playful sensuality rather than frenzied energy.
# 8 – Let The Music Do The Talking – Done with Mirrors
“Let The Music Do The Talking” is a blazing testament to Aerosmith’s triumphant return to form on their 1985 album Done with Mirrors. Originally written and recorded by Joe Perry for The Joe Perry Project in 1980, the song was reworked with new lyrics by Steven Tyler, giving it a fresh perspective and placing it firmly in Aerosmith’s lineup. The track was recorded at Fantasy Studios in Berkeley, California, and produced by Ted Templeman, known for his work with Van Halen. This reimagined version marked the reunion of Perry and Tyler, rekindling the dynamic chemistry that had defined Aerosmith’s earlier successes.
Musically, the song is a hard-hitting rock anthem built on Perry’s fiery guitar riffs and Kramer’s pounding drum rhythms. Hamilton’s bass provides a sturdy foundation, while Tyler’s electrifying vocal performance injects the track with raw emotion and swagger. The interplay between Perry’s ferocious lead guitar and Whitford’s complementary rhythm work is seamless, showcasing the band’s renewed energy and cohesiveness. This sonic assault makes “Let The Music Do The Talking” a perfect track to blast at maximum volume, capturing the essence of a band ready to reclaim their throne in the rock world.
# 7 – Mama Kin – Aerosmith
“Mama Kin,” one of Aerosmith’s most explosive tracks, originates from their 1973 self-titled debut album, Aerosmith. This electrifying anthem marked an early statement of intent for a band destined to become one of rock’s most enduring legends. Written by Steven Tyler, the song was recorded at Intermedia Studios in Boston, Massachusetts, under the production of Adrian Barber. Featuring the classic Aerosmith lineup of Tyler, Joe Perry, Brad Whitford, Tom Hamilton, and Joey Kramer, “Mama Kin” became a cornerstone of their live performances and a fan favorite that helped define their raw, unapologetic sound. For younger Aerosmith fans this is a deep track; for us old timers we know this one really well.
# 6 – Chip Away The Stone – Live! Bootleg
“Chip Away the Stone” stands as a testament to Aerosmith’s knack for delivering infectious rock anthems, and its inclusion on Live! Bootleg amplifies its raw, electrifying appeal. Originally written by outside collaborator Richie Supa, a frequent contributor to Aerosmith’s catalog, the song was first released as a single in 1978 and later featured in its full glory on the live album. The version on Live! Bootleg captures the band’s live energy and spontaneity, recorded during their 1978 tour at various locations, showcasing their ability to bring audiences to the edge of frenzy.
Musically, the track is driven by Joe Perry and Brad Whitford’s gritty guitar interplay, which balances Supa’s bluesy roots with Aerosmith’s hard rock edge. Steven Tyler’s commanding vocal performance infuses the song with an undeniable urgency, while Tom Hamilton and Joey Kramer lock into a groove that underscores the track’s infectious rhythm. The live rendition accentuates these elements, adding an improvisational feel that underscores why Aerosmith is often hailed as one of the greatest live bands in rock history. Jack Douglas, the producer who helmed many of Aerosmith’s classic albums, ensures that the live recording retains the raw energy and clarity needed to make the track resonate.
The lyrics of “Chip Away the Stone” carry a timeless message of persistence, as Tyler sings of chiseling away obstacles to reveal the treasure hidden beneath. Lines like “Chip away the stone / And all I want is you” encapsulate the song’s mix of determination and longing. When compared to tracks like “Mama Kin” and “Let the Music Do the Talking,” this song leans into a more melodic approach while maintaining the unrelenting energy that defines Aerosmith’s music. The themes of grit and perseverance align with Aerosmith’s ethos, making the song an enduring favorite.
Critically, “Chip Away the Stone” has often been lauded for its blend of blues and rock elements, with many fans considering it an underrated gem in Aerosmith’s discography. The Live! Bootleg version in particular captures the band at a pivotal moment, exuding the raw vitality that made their live performances legendary.
# 5 – Draw The Line – Draw The Line
“Draw the Line” was released on October 6, 1977, as the lead single from Aerosmith’s fifth studio album, Draw the Line. Written by Steven Tyler and Joe Perry, the song was recorded earlier that year at the Cenacle Mansion in Armonk, New York, a location chosen for its isolation to inspire creativity during the band’s increasingly chaotic lifestyle. The album was produced by Jack Douglas, who had worked extensively with Aerosmith on their earlier records.
The track features Aerosmith’s classic lineup: Steven Tyler on vocals, Joe Perry and Brad Whitford on guitars, Tom Hamilton on bass, and Joey Kramer on drums. Musically, the song is characterized by its driving guitar riffs and rhythm section, underscoring Tyler’s impassioned vocal delivery. Lyrically, “Draw the Line” explores themes of boundaries and inner conflict, reflective of the band’s struggles with substance abuse and interpersonal tensions at the time.
“Draw the Line” peaked at number 42 on the Billboard Hot 100 chart and became a staple of Aerosmith’s live performances. The Draw the Line album achieved commercial success, selling over 2.2 million copies in the United States and securing the band’s place as one of the dominant forces in 1970s rock music. Despite mixed critical reviews for the album as a whole, the title track received praise for its energy and encapsulation of Aerosmith’s raw, unfiltered sound during their peak years.
# 4 – Nobody’s Fault – Rocks
“Nobody’s Fault” is a cornerstone track from Aerosmith’s seminal 1976 album Rocks, released by Columbia Records on May 3, 1976. The album was recorded at the Record Plant in New York City and the Wherehouse in Waltham, Massachusetts, under the meticulous production of Jack Douglas, who had a significant hand in shaping the band’s raw, edgy sound during their peak years. The album itself is considered a milestone in hard rock, influencing countless bands in the decades to follow.
The track features Steven Tyler on lead vocals and Brad Whitford on lead guitar, who co-wrote the song with Tyler. The lineup for Rocks also includes Joe Perry on rhythm guitar, Tom Hamilton on bass, and Joey Kramer on drums. Whitford’s aggressive and intricate guitar riffing, paired with Tyler’s powerful and dramatic vocal delivery, make “Nobody’s Fault” a standout piece not only on Rocks but in Aerosmith’s entire discography.
Rocks reached number 3 on the Billboard 200 chart and was certified quadruple platinum by the RIAA, cementing Aerosmith’s status as one of the leading hard rock acts of the 1970s. Though “Nobody’s Fault” was not released as a single, it has since gained critical acclaim as one of the heaviest and most influential tracks in Aerosmith’s catalog. Its themes of natural disasters and societal collapse reflect a darker, more introspective side of the band’s artistry, setting it apart from their more commercially-oriented hits.
# 3 – Train Kept A Rollin’ – Get Your Wings
“Train Kept A-Rollin’,” originally written by Tiny Bradshaw, Lois Mann, and Howard Kay, was first recorded as a jump blues track in 1951 by Bradshaw. Aerosmith’s version, featured on their 1974 album Get Your Wings, drew heavily from the hard rock arrangement popularized by The Yardbirds in the 1960s. Aerosmith modernized the track further, turning it into a signature piece of their early catalog.
Get Your Wings was recorded at the Record Plant in New York City and produced by Jack Douglas. The album marked a pivotal point for Aerosmith, as it showcased their raw, hard-rock energy and hinted at the superstardom they would achieve in later years. The lineup included Steven Tyler on vocals, Joe Perry and Brad Whitford on guitars, Tom Hamilton on bass, and Joey Kramer on drums. Session musicians Steve Hunter and Dick Wagner provided additional guitar work on the track, particularly in the climactic second half designed to mimic a live performance.
The album Get Your Wings peaked at No. 74 on the Billboard 200 and was certified triple platinum by the RIAA, underscoring its long-term impact. While “Train Kept A-Rollin’” itself was not released as a single, it became a staple of Aerosmith’s live shows and has been featured prominently in their setlists for decades. It gained further recognition when performed during their legendary 1978 tour supporting Live! Bootleg. The song also appeared in various live albums, showcasing the band’s ability to electrify audiences.
# 2 – Sweet Emotion – Toys In The Attic
“Sweet Emotion” is a cornerstone of Aerosmith’s legacy, blending masterful instrumentation with a bold, swagger-filled attitude. Released in May 1975 as the lead single from their Toys in the Attic album, the song was recorded at the Record Plant in New York City under the production of Jack Douglas. The track showcases the band’s ability to merge intricate musical arrangements with emotionally charged lyrics, capturing a moment when Aerosmith was ascending to superstardom.
The iconic opening of “Sweet Emotion” is driven by Tom Hamilton’s hypnotic bassline, played on a Fender Jazz Bass, and an innovative talk-box effect used by Joe Perry on guitar. This distinct introduction sets the tone for the track’s experimental and daring sound. Steven Tyler’s lyrics, delivered with his signature sly charisma, are laced with thinly veiled jabs and personal reflections, particularly referencing tensions within the band at the time. Lines like “Can’t catch me ’cause the rabbit done died” epitomize the song’s rebellious and provocative spirit.
Charting at No. 36 on the Billboard Hot 100, “Sweet Emotion” became Aerosmith’s breakthrough hit, propelling the band to national prominence. The Toys in the Attic album itself was a commercial juggernaut, peaking at No. 11 on the Billboard 200 and earning eight-times platinum certification from the RIAA. Critically, the song was praised for its boundary-pushing production techniques and remains a staple in discussions of 1970s rock innovation.
# 1 – Back In The Saddle – Rocks
“Back in the Saddle” is one of Aerosmith’s most iconic tracks, embodying the raw energy and swagger that defines their 1976 album Rocks. Written by Steven Tyler and Joe Perry, the song was recorded at the Record Plant in New York City and produced by Jack Douglas. Rocks is widely regarded as one of the band’s greatest albums, and “Back in the Saddle” stands out as its electrifying opening track.
Joe Perry’s use of a Fender Bass VI to create the song’s galloping bassline adds a distinct dynamic to the track. Perry also crafted the haunting intro riff that immediately pulls listeners into the song’s gritty atmosphere. Steven Tyler’s lyrics reference themes of resilience and unapologetic confidence, with lines like “I’m back in the saddle again” delivering a powerful sense of triumph. Tyler’s use of a whip during the recording process for added percussion and ambiance was a creative touch, emphasizing the track’s cowboy-inspired imagery. The dual-guitar interplay between Perry and Brad Whitford is another highlight, showcasing the band’s hard rock prowess.
The album Rocks peaked at No. 3 on the Billboard 200 chart and has been certified quadruple platinum by the RIAA, solidifying its status as one of Aerosmith’s most successful releases. “Back in the Saddle” itself reached No. 38 on the Billboard Hot 100, underscoring its commercial appeal despite its aggressive, heavy sound.
Aerosmith is one of our favorite bands on ClassicRockHistory.com. So, of course, we have written about them many times. Check out these other Aerosmith articles that we have published on the site.
On Saturday (December 21), REO Speedwagon performed their final concert at the Venetian Theatre in Las Vegas, Nevada. Some video from the show can be viewed below.
Back in September, REO Speedwagon announced that they “will cease touring effective January 1, 2025.” The band shared the following message via social media on September 16:
“To our fans: [Bassist] Bruce [Hall] has intended to be Back On the Road Again by now [he underwent back surgery last November]. If it were up to just him, he’d be back on tour… but it’s not up to just him. The consensus opinion was that he had not recovered sufficiently to be able to perform at the level the fans have come to expect. Bruce respected that opinion and is grateful that Matt [Bissonette] has been around to keep the Wagon rolling through the summer tour. Bruce never had any intention of retiring or walking away from the band, fans, and crew he has loved for almost 50 years.
“For Kevin’s part, he too has never had any intention of leaving the band, and the fans and crew mean the world to him, as well.
“Due to this complex situation, irreconcilable differences arose between Bruce and Kevin. So, it is with great sadness that we announce REO Speedwagon will cease touring effective January 1, 2025. Neal, Kevin, and Bruce thank their fans for all their years of loyal support and for giving back to the band such wonderful memories that will remain with each of them forever.”
Kevin Cronin then opened up on the end of REO Speedwagon, and according to Billboard, he wants to make it perfectly clear that ending the band was not his idea, or desire. But he’s also “really excited” to still be riding the storm out, but under his own name.
“Never in my wildest dreams did I ever see this coming,” Cronin – who will make his solo debut on January 25 in Thackerville, Oklahoma, and will be part of next summer’s Brotherhood of Rock tour with Styx and former Eagles guitarist Don Felder – tells Billboard in his first interview about the situation. “I didn’t want to end REO Speedwagon. This is sad, and I would do anything in my power to continue (as) REO Speedwagon. I never quit the band; I never will quit the band. I just got outvoted and…have to stop calling it REO Speedwagon at the end of this year.”
REO Speedwagon performed the following setlist at their final show:
“Don’t Let Him Go” “Keep On Loving You” “Follow My Heart” “In Your Letter” “Take It On The Run” “Tough Guys” “Out Of Season” “Shakin’ It Loose” “Someone Tonight” “I Wish You Were There” “Music Man” (acoustic) “In My Dreams” (acoustic) “Time For Me To Fly” “Keep Pushin'” “Live Every Moment” “Golden Country” “Ridin’ The Storm Out” “Can’t Fight This Feeling” “Roll With The Changes”
Styx and Kevin Cronin, the iconic voice and writer behind REO Speedwagon’s greatest hits, have one of the strongest brotherly bonds spanning 25 years, especially since they’ve crossed paths on the North American concert trail along with the occasional joint festival concert. Fittingly, next summer they’ll join forces for the sixth time for their “Brotherhood Of Rock” tour, along with special guest Don Felder (a former lead guitarist for the Eagles), that will kick off May 28, 2025 in Greenville, SC at the Bon Secours Wellness Arena.
It wouldn’t be summer without a live celebration of some of the greatest Rock anthems of all time, including “Renegade,” “Keep On Loving You,” “Come Sail Away,” “Can’t Fight This Feeling,” and “Hotel California.”
The official trailer for the “Brotherhood Of Rock” tour can be seen below.
Styx and Kevin Cronin (as part of REO Speedwagon) first toured together in 2000 and in 2001 after the 9/11 attacks, they came together to form the Rock to the Rescue 501(c)3 nonprofit organization, which still collects donations for local charities at every stop on Styx’s on-going tour.
General tickets for the trek, produced by Live Nation, are on sale now at LiveNation.com.
“The winter of 1975 I had returned home to Montgomery, Alabama after accepting the fact that there was very little, if any interest from club owners for seven-piece rock bands who played their original songs, (some of which were 10 minutes long) and we’d finally accepted the reality that people wanted disco music hits to dance to,” says Styx singer/guitarist Tommy Shaw. “A musician friend from home called me about a steady gig he and two other local musician friends had in the lounge of the local bowling alley. There was no dance floor, only tables and chairs, and they were playing music from bands like the Eagles, Dan Fogelberg, etc. and singing three-part harmony to locals who were loving it and not wanting to dance. And a steady weekly paycheck! I joined them and spent the rest of that year playing whatever we liked, bought a modest house, bought a used car, and was relieved to be off the road after two years of night club managers who wanted us to play disco. Thinking I’d found a secure life in my hometown, I got a call from a guy named Jim Vosecek, who’d introduced himself to me and the band at a club in Chicago. He explained that he was tour manager of the rock band Styx, that they had just released a new album called Equinox, and they were scheduled to embark on their first national tour when a member suddenly quit and left the band. He said to get on the plane they’d booked and come audition. Arriving at O’Hare airport, I met Kevin Cronin who was returning to rejoin his band, REO Speedwagon. It was the beginning of a lifelong friendship that finds us back on the road together, this time under much different circumstances! The BROTHERHOOD of ROCK is stronger than ever!”
“I remember seeing Tommy’s seven-piece funk/rock band at the Rush Up club in Chicago, during my mid-‘70s REO hiatus, and then bumping into him at O’Hare Airport a few weeks later,” remembers Kevin Cronin. “In no time I was back in REO Speedwagon and Tommy had become the newest member of Styx. REO and Styx dominated the Billboard charts in 1981 with Hi Infidelity and Paradise Theatre, but for reasons unknown we had never toured together. So in the year 2000, Tommy and I decided to give it a shot. The ‘Arch Allies’ tour was a smashing success, and a life-long friendship was formed. Now, here we are 25 years later, having always had each other’s back, and psyched for our bands to join forces once again for the ‘Brotherhood of Rock’ tour. A lot has changed since that chance encounter at the airport in 1975, but our brotherhood has only become stronger through the years, as the songs of Styx and REO Speedwagon have found a place in the hearts and souls of people all across America.”
“I’m so excited to be hitting the road this summer with my friends Styx and Kevin Cronin,” declares Don Felder. “It’s such a great line up full of hit songs and lots of ROCK AND ROLL!!! We have so much fun together both on stage and off stage that it’s hard to find a more wonderful combination of great music and great friends. This is one show you won’t want to miss. See you soon.”
Check out the “Brotherhood Of Rock” tour at any of stops listed below.
Tour dates:
May 28 – Greenville, SC – Bon Secours Wellness Arena 31 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
June 2 – Jacksonville, FL – Daily’s Place 4 – Austin, TX – Germania Insurance Amphitheater 6 – The Woodlands, TX – The Cynthia Woods Mitchell Pavilion presented by Huntsman 7 – Ridgedale, MO – Thunder Ridge Nature Arena 9 – Denver, CO – Fiddler’s Green Amphitheatre * 11 – Salt Lake City, UT – Utah First Credit Union Amphitheatre 13 – Concord, CA – Toyota Pavilion at Concord 14 – Bend, OR – Hayden Homes Amphitheater 15 – Ridgefield, WA – RV Inn Style Resorts Amphitheater 28 – Albuquerque, NM – Isleta Amphitheater 30 – Colorado Springs, CO – Ford Amphitheatre *
July 2 – Kansas City, MO – Starlight Theatre 5 – Birmingham, AL – Coca-Cola Amphitheater 6 – Alpharetta, GA – Ameris Bank Amphitheatre 8 – Charlotte, NC – PNC Music Pavilion 9 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek 11 – Virginia Beach, VA – Veterans United Home Loans Amphitheater 12 – Bristow, VA – Jiffy Lube Live 14 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview 15 – Bridgeport, CT – Hartford HealthCare Amphitheater 18 – Gilford, NH – BankNH Pavilion 19 – Mansfield, MA – Xfinity Center 20 – Holmdel, NJ – PNC Bank Arts Center
August 1 – Dallas, TX – Dos Equis Pavilion 2 – Brandon, MS – Brandon Amphitheater 4 – Franklin, TN – FirstBank Amphitheater 6 – Richmond, VA – Allianz Amphitheater at Riverfront 8 – Camden, NJ – Freedom Mortgage Pavilion 10 – Burgettstown, PA – The Pavilion at Star Lake 12 – Saratoga Springs, NY – Broadview Stage at SPAC 13 – Toronto, ON – Budweiser Stage 15 – Noblesville, IN – Ruoff Music Center 16 – Clarkston, MI – Pine Knob Music Theatre 19 – Cincinnati, OH – Riverbend Music Center 20 – Cuyahoga Falls, OH – Blossom Music Center 22 – St. Louis, MO – Hollywood Casino Amphitheatre 23 – Tinley Park, IL – Credit Union 1 Amphitheatre 24 – Milwaukee, WI – American Family Insurance Amphitheater
Metallic Blue Records will release Lethal X’s new album, 90 Tons Of Thunder, on January 17. The album will also be released in Japan via Avalon Records, who have sub-licensed this highly anticipated release.
Lethal X consists of two original members of Racer X with vocalist Jeff Martin (Badlands, Surgical Steel, Michael Schenker Group) and drummer Harry Gschosser. The band lineup is rounded out with bassist Mike Szuter and guitarist Milan Polak.
Paul Gilbert (Racer X, Mr. Big) and Billy Sheehan (Mr. Big, Sons Of Apollo, Talas) both guest on the album. The album cover even has the original Racer X – Street Lethal car in the rear view mirror.
Pre-order the album here, and check out a few tracks from the upcoming release below.
Tracklisting:
“90 Tons Of Thunder” “Daredevil” “Fallen” “Dancing With Shadows” “Dead By Sunday” “Sinister Minister” “Tormental” “God, Guts, Faith And Glory” “Running Away From Freedom” “Chasing The Flaw” “Queen Of Pain”
Fox News host Bill O’Reilly has shared his uncut interview with KISS frontman Gene Simmons from the “No Spin News” podcast. Simmons talks about his contribution to the Reagan film, liberal Hollywood, and whether or not rock ‘n roll is dead.
When O’Reilly brings up the fact that KISS wrapped up their touring career a year ago, and that Gene and his solo band will be touring in 2025, Simmons interjects, saying, “I have to tell you that being on stage is difficult to talk about, because there’s something that happens. You know, we are social animals, there’s something that happens when you’re on stage and the fans are going crazy… I don’t care if you’re the Pope, there’s that give and take of emotions, and that’s what it’s all about….”
O’Reilly then asks Gene to tell his audience about “one big change” in the music industry that he’s witnessed in the arc of his career. “Unfortunately the business model is dead,” says Simmons. “And new band’s don’t have a chance, especially rock bands. In a certain way, rock is finally dead. Rock and roll is dead, because the freckled-faced kid next door to you, who’s a good kid and good family and everything, has become entitled, feels entitled to be able to download and file-share, and get all this music for free. And, you know, it’s interesting that people don’t understand this. It’s like, ‘So what? You’re too rich to care. Why do you care?’ Well, imagine you work for a living, you write a book, you sell groceries, or whatever, and people don’t pay you for the work that you put in. Then you understand. Then you say, ‘well wait a minute, I worked for this, how come I don’t get paid?’ And that’s what’s happening with new artists, and it breaks my heart.”
The Gene Simmons Band tour dates can be found below, and tickets are available via genesimmons.com.
2025 tour dates:
April 5 – The Event at Graton Resort & Casino – Rohnert Park, CA 25 – Ruth Eckerd Hall – Clearwater, FL 26 – Miami Beach, FL – Fillmore 28 – The Moon – Tallahassee, FL 29 – Florida Theater – Jacksonville, FL 30 – Hard Rock Live – Orlando, FL
May 3 – Beaver Dam Amphitheater – Beaver Dam, KY 5 – Basie – Red Bank, NJ 6 – Wellmont – Montclair, NJ 8 – Wind Creek Casino – Bethlehem, PA 9 – The Paramount – Huntington, NY 15 – Fallsview Casino – Niagara Falls, ON 20 – Brown County Music Center – Nashville, IN 22 – House Of Blues – Dallas, TX 23 – Tobin Center – San Antonio, TX 24 – House Of Blues – Houston, TX
newsmaiden unitediron maidendennis strattondoogie white
Maiden uniteD, the acoustic Iron Maiden tribute project, have shared the video below, along with the following introduction…
“This video takes you back to an unforgettable October evening in 2023. A recording of Maiden uniteD ‘1980’ live featuring Dennis Stratton (original Iron Maiden guitarist) on guitar and backing vocals, Doogie White (Rainbow, Yngwie Malmsteen, Michael Schenker Group) on vocals, Ricardo Gordo on guitar, Joey Bruers on bass, Michiel van den Boer on Hammond, and Pim Goverde on drums.
“The raw emotion and camaraderie of these legendary musicians, blending their unique styles into a seamless tapestry of powerful but acoustic storytelling. This performance isn’t just a concert – it’s a journey through the heart of classic rock, delivered by a group of artists who live and breathe the music.”
Billy F Gibbons will take his solo band, The BFGs, out on the road early next year.
The 25-date tour begins with four shows at Blue Note in Honolulu, Hawaii, followed by another four shows at Blue Note in Napa, California. The complete routing can be found below.
January 17 – Blue Note Hawaii – Honolulu, HI 18 – Blue Note Hawaii – Honolulu, HI 19 – Blue Note Hawaii – Honolulu, HI 20 – Blue Note Hawaii – Honolulu, HI 21 – Blue Note Napa – Napa, CA 22 – Blue Note Napa – Napa, CA 23 – Blue Note Napa – Napa, CA 24 – Blue Note Napa – Napa, CA 25 – Agua Caliente Casino – Cathedral City, CA 26 – Musical Instrument Museum – Phoenix, AZ 28 – Vilar Performing Arts Center – Beaver Creek, CO 31 – The Pageant – St. Louis, MO
February 1 – Park West – Chicago, IL 2 – House Of Blues – Cleveland, OH 4 – Jergel’s Rhythm Grille – Warrendale, PA 6 – Kentucky Theatre – Lexington, KY 7 – The Paramount Theater – Charlottesville, VA 8 – Borgata Theater – Atlantic City, NJ 10 – The Bardavon 1869 Opera House – Poughkeepsie, NY 12 – The Music Hall – Portsmouth, NH 13 – The Cabot – Beverly, MA 14 – Ridgefield Playhouse – Ridgefield, CT 15 – Mahaiwe Performing Arts Center – Great Barrington, MA 19 – The Birchmere – Alexandria, VA 20 – Paramount – Bristol, TN
“Too big for our boots? We were a bunch of kids destined for factory life. We were not going to screw this up”: The tempestuous story of Def Leppard’s High ’N’ Dry, the album that turned them into US stars
(Image credit: Tom Hill/Getty Images))
Sunday, August 24, 1980: the final night of Reading festival. Second-on-the-bill to headliners Whitesnake, this should be the crowning glory of what has been a momentous year for Def Leppard. Instead disaster awaits them. No longer the darlings of the New Wave Of British Heavy Metal, thanks to poisonous reviews of their debut album On Through The Night, and being lambasted for sounding ‘too American’ – a hanging offence in 1980 – Leppard have suddenly taken on the mantle of sell-outs, even traitors. At least to a particularly vociferous section of hard-core metal fans, that is.
Party Seven (seven-pint) beer kegs – some not empty – fly onto the stage as the band run about on it, doing their best to ignore them. Eggs are thrown at them. A huge grass sod flies up and hits guitarist Pete Willis square in the bollocks.
“Some of it was self-inflicted,” Leppard singer Joe Elliott admits today. “I went on stage in a pair of bright-red trousers, and a white shirt covered in hearts. That was me going: ‘I’m not fucking wearing a leather jacket and jeans like every other bastard band in this movement that we don’t think we’re in anyway.’”
Be that as it may, it hadn’t stopped Elliott and Leppard lapping up the attention that their self-financed, self-titled EP was given in music weekly Sounds – birthplace of the NWOBHM – when it was released a year before. After championing them, along with Iron Maiden, as the cream of the NWOBHM crop, Sounds had done a 360-degree turn on Leppard, accusing them of being more interested in pursuing the American dollar than in making it big in their own backyard. That perception was only reinforced by the release of the album’s apparent mission-statement, Hello America.
“I swear to God we really weren’t that intelligent,” bassist Rick Savage says with a laugh. “It was the lyrics of a kid fantasising… I can see how people read into it, but it was way more innocent than that, way more naive.”
Not that the people throwing crap at them on stage at the Reading festival in 1980 saw things that way. Regarded now as the lowest point of their career, Reading may have shown the young Leppards to be naive; innocent they most assuredly were not.
Def Leppard in 1981: (from left) Steve Clark, Rick Allen, Pete Willis, Joe Elliott, Rick Savage (Image credit: Tom Hill/Getty Images)
Formed in Sheffield in 1977, Def Leppard had always been a band with big plans. Hence the later ditching of the small-town management team that got them their major record deal with Phonogram, in 1979, and replacing them with Leber-Krebs, the same New York-based management operation behind the then-recent Stateside success of AC/DC, and who went on to form Q-Prime.
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No wonder they so soon inspired the sobriquet ‘flash bastards’. Def Leppard had set out to be the flashiest bastards around, and by 1980 they were well on the way to achieving it. Not least on the streets of Margaret Thatcher’s Britain, which were then crumbling beneath the twin economic perils of rampant inflation and sharply rising national unemployment figures.
“We were teenagers,” says Savage, “and we had this belief that anything was possible. When that way of thinking is moulded into the group at that very early stage, it never really leaves you.”
This feature originally appeared in Classic Rock issue 159 (May 2011) (Image credit: Future)
It would be several more years before a new generation of British fans would come along that had grown up with the same aspirations. None of which seemed probable back in the cold, stark winter of 1980, as Leppard set about writing the follow-up to their provocative debut. The result was an even more outgoing and determinedly America-friendly album called High ’N’ Dry.
“The trouble was, we were moving so fast, we couldn’t see that we were doing anything wrong,” says Elliott. Indeed, it had been the band’s energy and colour that had first attracted people to Def Leppard. At the time I first saw them play live, opening for Sammy Hagar at London’s Hammersmith Odeon, in September 1979, I was working as a PR with both old- and new-wave rock and metal bands such as Thin Lizzy and Black Sabbath, the Damned and Motörhead. Unburdened by the narrow parameters of the self-styled NWOBHM scene, as then portrayed each week in Sounds, I saw only a British band with a very definite international future.
When their greater ambitions led them to fall foul of the NWOBHM police, they were puzzled. As Elliott points out, by the time Leppard set off for their first US tour, in the late spring of 1980, “there was nowhere else left [in Britain] to play”. They had played 47 club shows already that year, “from Aberdeen to Bournemouth”. When On Through The Night came out in March ’80 and went Top 20, they moved up to theatres, proudly selling out their biggest local venue, Sheffield City Hall. “The next logical thing to do was what every great British band has ever done – go to the States and see if we can crack it.”
Iron Maiden had actually arrived in America a month before. “I didn’t see them getting any flak, nor should they have. So why the hell did we?”
The answer, of course, lay beyond the music. Leppard had never conformed to the blokey stereotype of the NWOBHM. Young, exciting and defiant, with their musical and sartorial influences as much about Queen and David Bowie as about Led Zeppelin and Judas Priest, there was never anything remotely ’umble about their ’eaviness. These attributes set Leppard apart from the inherently parochial mien of any so-called movement with the word ‘British’ in its title.
It wasn’t just in the pages of the music press they were now being attacked, either. It was also on the streets of Sheffield, where they all still lived with their mums and dads. Elliott recalls going out with guitarist Steve Clark and having to fight their way out of Sheffield bars they had once been regulars in. Another time “a couple of kids gobbed on us. Me and Steve just looked at each other and went, ‘Sod this,’ and we rented a car and drove to London, and slept on the Tottenham Court Road for two days in the back of the car.”
By the time they’d made their fateful Reading appearance, Elliott had already moved permanently to London. His parents were on holiday at the time. He left them a note.
“It was a very emotional moment. But I wasn’t a kid any more. I took my belongings – all 75 albums and a couple of pairs of socks – and legged it down to this house in Isleworth. I had 10A in the basement. [Gillan guitarist] Bernie Tormé had 10B. I had a crappy old Morris Marina that my dad had helped me buy for £595 – those were my rock’n’roll wheels.”
It wasn’t long before the others began to follow. “Joe was always the leader,” says Savage, “the guy who took the responsibility for the whole entity of Def Leppard, not just the music.”
Closest to Elliott was Rick Savage, the stereotypically ‘quiet one’ on bass, who took on the “responsibility to make sure there wasn’t too much of a distance created between the other factions in the band”. Namely the band’s two wildfire guitarists: co-founder Pete Willis, and Steve Clark. The former was a super-solid rhythm player whose essentially shy character – happy to hide on stage behind curtains of dark hair – and diminutive stature belied an equally short temper, especially when he’d been drinking, something that was already growing into a crisis by 1980. The latter was the spontaneous soloist of the group, whose ability to improvise sensational breaks and flurries also disguised a greater insecurity away from the stage, especially in the demanding, do-it-again environment of the recording studio, and whose own drinking habits would also later spiral dangerously out of control.
The loner of the group was also the youngest: drummer Rick Allen, whose brilliance had landed him the gig at the tender age of 15, but whose off-stage proclivities threatened to have him thrown out of the band before it had barely got going. As he puts it now: “I was very young then and – what do they say? – experimenting.”
Or, as Savage says: “Rick was just happy trying to get away from reality by taking loads of silly drugs and hallucinating. But we were a proper band, with a mutual respect for each other’s position, a gang.”
Def Leppard’s Joe Elliott backstage at a gig in 1981 (Image credit: Gary Gershoff/Getty Images)
By the time Leppard began work on High ’N’ Dry, the gang’s shared sense of injustice was also growing.
“Too big for our boots?” Elliott asks rhetorically, the edge still in his voice 30 years later. “On stage, absolutely. We were a bunch of kids destined for factory life. We knew the opportunities we were being given. We were not going to screw this up. Off stage, though, there’s nothing more humbling than trying to make a record and signing on, or poncing off your girlfriend who’s signing on.”
The most money they had seen so far was the £30-a-week stipend they enjoyed on tour. Everything was riding on the success of their next album. Enter their knight in headmaster’s clothing: legendarily reclusive producer Robert John Lange – ‘Mutt’ to his few friends.
Born in Northern Rhodesia (now Zambia) in 1948, Lange was the son of a South African mining engineer father and a mother from a well-to-do German family. A multi-instrumentalist in his own right but whose band Hocus had failed to make the charts, Lange had subsequently forged a career as an in-demand producer of hits for late-70s punk-pop outfits such as the Boomtown Rats (Rat Trap and I Don’t Like Mondays both owed their success to Mutt’s cathedral-like production) and several others. More recently he had masterminded multi-platinum hits for AC/DC (Highway To Hell, Back In Black) and Foreigner, whose album 4 was about to become their biggest-selling ever.
Leppard’s new American manager, Peter Mensch, had originally wanted Mutt for their first album but he’d been unavailable. Now they would have to wait again while he finished working on Foreigner’s 4, filling in time by supporting the Scorpions in Europe. Elliott was working on a building site when, in January 1981, he was told they’d have to wait another month for Mutt. “I went to my record collection, took Double Vision out and snapped it in half.”
When Leppard did finally start recording with the producer, in March 1981, it was the start of what would become the most fraught yet ultimately rewarding relationship of the band’s career. With his chiselled, clean-shaven looks and light-coloured, curly hair, Lange could have been Elliott or Sav’s elder brother. In fact he would become the father figure of the group as, over the next seven years, he helped to transform Leppard from NWOBHM rejects into globally acclaimed rock superstars. Mutt held the keys to all this and more, as he proved time and time again. All you had to do was follow his rules – to the letter.
Def Leppard – High ‘N’ Dry (Saturday Night) – YouTube
“The first day, he was giving us directions,” Elliott recalls, “and Pete was eating this apple. Mutt just went off at him, really ripped into him, cos Pete wasn’t paying attention. It was like being at school; we were all staring at the floor going, ‘Oh, God…’”
That had been at the well-appointed John Henry’s Rehearsal Studios in north London. With the steady-as-she-goes commercial breakthrough of On Through The Night, and now the recruitment of a producer of Lange’s stature, the budget for Leppard’s second album had increased exponentially – as had expectations for its success. Suddenly the pressure was on.
When, in March 1981, recording finally commenced, at Battery Studios in Willesden Green, north-west London, Mutt was already “like the sixth member,” says Allen. “High ’N’ Dry was starting with a blank canvas, all we had was just riffs and beginnings of ideas. [Mutt] proceeded to tear the fucking thing apart and piece it back together, bit by bit.”
Despite its out-of-the-way location, Lange favoured Battery for its excellent 1976 Cadac analogue desk – an antique now, state-of-the-art then. Originally known in the 70s as Morgan, Battery had hosted a wealth of UK rock talent, including Led Zeppelin, Pink Floyd and Paul McCartney. A decade later it was the crucible in which the Stone Roses forged their game-changing debut, and where Lange returned to record albums for Shania Twain and Bryan Adams. When Leppard first arrived, Iron Maiden had just vacated it, having been working with their own stellar producer, Martin Birch, on their second album, Killers.
Leppard would turn up each day at Studio One – the larger of Battery’s two main studios – to find Lange already hard at work. “He was always first in and last out,” says Elliott. “Later on, he’d just sleep in the studio – work until 4am then pass out on the couch. He worked his butt off, and he instilled that in us.”
One of the new songs they’d been played at Reading was When The Rain Falls. “Mutt saw it as potentially our Highway To Hell,” says Elliott. “But the words were all wishy-washy, introspective bollocks: me stuck in my parents’ house ’cause it’s raining. Mutt said: ‘We’ve gotta go more global.’ So we thought more of Queen, We Will Rock You, and renamed it Let It Go.”
Def Leppard’s Joe Elliott and Rick Allen with Ozzy Osbourne backstage at Nassau Coliseum, Uniondale, New York, August 14, 1981 (Image credit: Gary Gershoff/Getty Images)
During the vocal recording of A Certain Heartache – which, at Mutt’s instigation, had been renamed Bringin’ On The Heartbreak – an exasperated Elliott went next door to Battery’s Studio Two, where Whitesnake were recording Saints & Sinners, seeking advice from vocalist David Coverdale.
“I watched David lay down a vocal with one take. Next thing he gets out the brandy, and I’m leaning on the piano, listening to him tell all these Deep Purple stories. I’m getting bollocks-drunk, and David’s going [deep-voiced and Yorkshire accent]: ‘Don’t you worry, brother Joseph, it’s gonna be all right!’”
Elliott’s only other memory of that day is “puking all over the pavement”. But the next day, however, “it started to click. I’d got the verses done, just piecing them all together, and [Peter] Mensch looked at Mutt and went: ‘Is that my fucking singer?’ He’d never heard me sing like that – neither had I. I thought, if this is what working with [Mutt] can do for me, then I’ll put up with all the pain.”
“It was the first time any of us really experienced what hard work is about,” says Allen, who’d begun “to doubt my ability to play drums. I was competing with [AC/DC drummer] Phil Rudd. People ask who your influences are as a drummer. Well, really, it’s Mutt Lange.”
When the album was finished three months later – “lightning-fast compared to the months and years we spent on the next two albums with Mutt,” says Elliott – they had created what Savage calls “the launch pad for the rest of our career”.
Not that anyone could have foreseen that when High ’N’ Dry was released in July 1981. For despite a recanting five-star review in Sounds, the album singularly failed to catch fire in the UK, barely scraping the Top 30. “Everybody loved it,” recalls Elliott, “but nobody bought it. We toured the same places we did a year earlier, this time to balconies closed off. Horrible, cold, wintery, crap, half-sold-out venues.”
More worryingly, it was a similar story in the US, where sales of High ’N’ Dry stalled at around the quarter-million mark – less than half what the record company suits had been projecting, and only slightly more than On Through The Night .
There were, however, other consolations. “The American girls were lovely,” says Joe. “I couldn’t get a girl to look at me in England, even on stage, for God’s sake! [In America] we were shocked at some of the stuff we saw. The first time I saw [well-known groupie] Sweet Connie, in Little Rock, I ran a mile. I didn’t go where other people have been; it was either the girl behind the counter at the hotel or the stewardess on the plane.”
Def Leppard – Bringin’ On The Heartbreak (Version 1) – YouTube
Party nights on the road in the US also presented other temptations. “I kind of pushed that envelope as far as I could,” Allen admits. Already chastised for spending too much time with the roadies, smoking dope, Allen now began to experiment with cocaine. “I remember lying in bed in Reno the first time I ever experienced an earthquake. But I didn’t realise it was an earthquake. I thought it was my friggin’ heart.”
There was one major casualty from that tour, though: Pete Willis. “Pete was great,” says Allen, “but every time he had a drink it would completely change his personality. He’d go from ‘we, we, we’, to ‘my, me, mine’.”
Unfortunately, Willis’s drinking was now an everyday thing. “At first it’s funny,” says Elliott, recalling how they’d had to “pour Pete off the plane” the first time they flew to Los Angeles. “They were all jolly japes, but you’d get angry with him if he had a bad gig the next night. That’s when you start going nuts. We had fisticuffs about it, and tears. He didn’t let anybody down in the studio on High ’N’ Dry, but on the tour that followed he was a bigger problem than he’d ever been.”
So much so that Elliott was now making clandestine calls from America to former Girl guitarist Phil Collen. “I’d say: ‘Can you learn 18 songs in three days?’ Then in the sober light of day I’d phone and say: ‘Look, he’s apologised, so it’s not going to happen. But bear this in mind – in case.’ Pete must have been given a hundred chances.”
“Pete was finding it difficult to either believe what was happening or understand it, and was uncomfortable with it,” says Savage.
Sacked during the formative stages of Pyromania, after Mutt lost patience and refused to work with him further until he cleaned up his act, Willis’s departure may have been, as Elliott insists, “when we woke up to the real us”. But it was a devastating blow to their former school pal. He came back, in 1985, to record an EP with the Jonathan King-led ‘metal supergroup’ Gogmagog (also featuring ex-Maiden members Paul Di’Anno and Clive Burr) but it was a short-lived, disenchanting affair. Other brief forays followed over the years – notably Roadhouse, whose 1991 self-titled album sneaked into the lower reaches of the UK Top 30 – but in 2003 he announced his retirement from the music business.
Def Leppard onstage at The Fabulous Fox Theater, Atlanta, Georgia on September 4, 1981 (Image credit: Tom Hill/Getty Images)
Whatever the rights and wrongs, Willis’s replacement by Collen also marked the moment when Leppard ceased to be a gang and became something else entirely: a veritable hit machine. In fact High ‘N’ Dry was to live a charmed after-life when, eight months after its anti-climactic release, the newly launched MTV started rotating the Bringin’ On The Heartbreak video like a spit.
Elliott: “We were getting telexes telling us the album had sold 10,000 copies that week, then 30,000 copies a month. By the time Pyromania came out, High ’N’ Dry had done 800,000 in America. Now we’ve got an audience that’s primed and ready to go, at least in the States.”
In Britain it would take the total reinvention with their 1987 album Hysteria to reopen the commercial floodgates. By this time Lange was taking two years to record a Leppard album, and all the curvaceous twists and jagged turns of High ’N’ Dry had been erased in favour of a more svelte sonic plateau.
For many Leppard fans High ’N’ Dry remains a true rock classic and, as Savage says, the springboard for all that followed it. “Because it wasn’t as successful as we would have liked, Mutt was hell-bent on making sure everything else we did was a hit. And that’s why we started taking so long making records. When High ’N’ Dry wasn’t as successful as Mutt thought it should have been, then it became personal.”
Originally published in Classic Rock 159 (May 2011)
Mick Wall is the UK’s best-known rock writer, author and TV and radio programme maker, and is the author of numerous critically-acclaimed books, including definitive, bestselling titles on Led Zeppelin (When Giants Walked the Earth), Metallica (Enter Night), AC/DC (Hell Ain’t a Bad Place To Be), Black Sabbath (Symptom of the Universe), Lou Reed, The Doors (Love Becomes a Funeral Pyre), Guns N’ Roses and Lemmy. He lives in England.
Gary Holt says Exodus used to cut hair metal shirts to threads with knives during concerts.
In a new interview with Ultimate Guitar, the guitarist, who plays in Slayer as well, reflects on the thrash metal vs. hair metal rivalry which dominated the California scene in the 1980s. He also claims his band lifted the conflict to new, physical extremes during their time with Paul Baloff on vocals.
After saying that Exodus’ following was “the most violent and most over-the-top” of any fanbase in the Bay Area, he adds, “In the Baloff era in Exodus [1982 to ’86], if someone showed up with a Ratt shirt, we’d pull out the pocket knife and cut strips of the shirt off.”
He continues: “If you look at some of the old photos of Baloff, he’s got all these pieces of cloth, like, for three inches, tied around his wrist. Those are threads of a poser shirt!”
However, Holt admits that he and his bandmates harboured a secret appreciation for Ratt and fellow hair metal stars Dokken. “But, at the same time, us guitar players were secretly coveting every Warren DeMartini riff, like the sickest, greatest guitar player on Earth with the best tone ever, him and Robbin [Crosby]. So, we were like actively sitting there listening to him and [Dokken guitarist] George Lynch.”
Holt is far from the first thrasher to voice the subgenre’s early rivalry with hair metal. In 2013, Metallica singer/guitarist James Hetfield said thrash “probably” wouldn’t exist were it not for its musicians distaste towards Mötley Crüe, Poison and the rest.
“There was a giant hatred for that that fueled a lot of thrash,” he told MK Onderground (per Ultimate Guitar). “Metallica growing up in Los Angeles right in the heart of glam, right at the peak of glam and your Mötley Crües, your Ratts, your Poisons… all that stuff was based in L.A. and we were the hated figure, but they were hated even more. We were thrown out of clubs because they thought we were punk rock.”
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Earlier this month, Holt announced his memoir – A Fabulous Disaster: From The Garage To Madison Square Garden, The Hard Way – will come out on April 1, 2025 via Hachette Books. It was co-written by Adam Tempedelen and features a foreword by Metallica guitarist Kirk Hammett, who founded Exodus in 1979.
