Former Skid Row frontman Erik Grönwall has shared a new Wheel Of ForTunes video. Check it out below.
Erik: “I spin a prize wheel to randomly select a music genre and a theme. I then write and record a new song in that genre on the spot.”
Live In London, Skid Row’s first official live album and concert film in a 35+ year career, is now available on heavyweight 2LP gatefold, CD + DVD, digital download and all streaming services via earMUSIC.
“Youth Gone Wild” is the latest video from the full program, and captures the rapture of a sold out 02 Forum Kentish Town London gone wild for the Skids and the culmination of a dream years in the making.
“As teens, we dreamt of playing places like the Stone Pony in Asbury Park, NJ and CBGB in New York City… our dreams became bigger with London, England at the forefront. We fantasized one day to headline a show in the very city where so many of our favorite bands came from,” the band says.
Following the release of their critically acclaimed, hugely fan-embraced 2022 album The Gang’s All Here, the band took the 02 stage on October 22 and delivered a Skid Row set for the ages. Running through their multi-platinum career, the packed venue could barely contain the band’s and the fans’ energy on “18 And Life,” “Monkey Business,” “I Remember You” and so many other peak Skid Row moments.
Live In London is a defining live rock album… a band playing at the top of their game in front of a crowd that expected no less. Both Skid Row and the 02 public went far beyond expectations…and now the world can share in that moment.
Order/save the album now on Vinyl, CD, and all digital formats, here
Live In London tracklisting:
“Slave To The Grind” “The Threat” “Big Guns” “18 And Life” “Piece Of Me” “Livin’ On A Chain Gang” “Psycho Therapy” “In A Darkened Room” “Makin’ A Mess” “The Gang’s All Here” “Riot Act” “Tear It Down” “Monkey Business” “I Remember You” “Time Bomb” “Youth Gone Wild”
German hard rockers, Bonfire, have released their new studio album, Higher Ground, via Frontiers Music Srl. To celebrate, the band have released a visualizer for the new single, the title track of the record, available to view below.
Guitarist Hans Ziller describes the new single, by saying: “’Higher Ground’ is the title track from the new album. It features crunchy guitar riffs with a pulsing rhythm in classic Bonfire powerhouse style. All fans of real melodic anthems will love this track!”
Ziller also expresses his enthusiasm for the new album: “The new Bonfire album is a masterpiece. Bonfire have reinvented themselves with Higher Ground, never neglecting their virtues – fat hard guitars, incredible solos, great choir passages and stirring vocals. The band plays as one and is at its best.”
Watch the visualizer for “Higher Ground” below, and order the album here.
Higher Ground tracklisting:
“Nostradamus” “I Will Rise” “Higher Ground” “I Died Tonight” “Lost All Control” “When Love Comes Down” “Fallin'” “Come Hell Or High Water” “Jealousy” “Spinnin’ In The Black” “Rock’n’Roll Survivor” (2024 Version)
“Higher Ground” visualizer:
“Lost All Control” video:
“I Will Rise” video:
“I Died Tonight” video:
Bonfire is one of the most seminal German hard rock bands of the past 50 years. Originally founded as Cacumen in 1972 by guitarist Hans Ziller in Ingolstadt, Germany, the group initially played local venues, steadily building a fan base before releasing their first album under the name Cacumen.
In 1986, the band rebranded as Bonfire, and their debut album as Bonfire, Don’t Touch the Light, marked their international breakthrough. They followed it up with Fireworks in 1987, which further cemented their status in the rock and metal scene. Despite their success, Bonfire experienced several lineup changes, including the departure of key members. However, Ziller, the band’s driving force, kept Bonfire alive, continuously adapting to the challenges faced by the group.
In the 1990s, Bonfire briefly disbanded but returned in 1996, with Ziller reclaiming the rights to the band’s name. Since then, Bonfire has released numerous albums and maintained a strong presence on the international rock scene. Bonfire has remained a resilient force in hard rock, continuing to tour and release new material well into the 21st century.
During their most successful phase with album classics such as Don’t Touch The Light (1986), Fireworks (1987) and Point Blank (1989), the group – alongside Scorpions and Accept – counted among the three most popular German acts on a global basis, including triumphal accomplishments throughout Europe and overseas, celebrated tours alongside Judas Priest and ZZ Top, gold records, high chart positions, TV appearances and more than 35 million YouTube views of their hit “You Make Me Feel” alone.
The band’s trademarks continue to be and always have been deeply melodic hard rock songs, driven by captivating guitar parts, grooving rhythms, and haunting vocal melodies. To this day, band founder/guitarist Hans Ziller and his exceptional group regularly awe their fans with new releases and impressive shows.
Higher Ground is a new life chapter for Bonfire and the very first release under the wings of Frontiers Records.
Bonfire are:
Hans Ziller – Guitar Dyan Mair – Vocals Frank Pané – Guitar Ronnie Parkes – Bass Fabio Alessandrini – Drums
Talented reggae band, Dukes Of Roots, has released a fresh and vibrant rendition of the popular classic rock song “Money”, originally performed by the iconic band, Pink Floyd.
This exciting new interpretation infuses the classic track with reggae rhythms and a laid-back vibe, breathing new life into the familiar lyrics that critique the pursuit of wealth.
Fans of both reggae and Pink Floyd will experience an innovative take on a timeless classic, showcasing Dukes Of Roots’ unique sound and musical artistry. This release resonates with a diverse audience, and can be found on all online platforms.
Stream/download the track here, and watch the official lyric video below:
Rock band merch is a way for fans to express their passion for music and connect with their favorite bands on a deeper level. Whether it’s a T-shirt from a concert, a rare vinyl record, or a signed poster, merch has become a key part of music culture. For decades, fans have proudly worn and collected these items to show their love and loyalty. However, what makes rock band merch so meaningful? Let’s explore why merch is such an essential part of being a music fan and why it continues to matter today.
It’s a Way to Express Yourself
Wearing rock band merch is like carrying a badge of honor. When someone wears a shirt with their favorite band’s logo, it’s a statement about who they are and what they love. Band merch lets fans share their passion with the world and connect with others who have similar tastes. Whether you’re at a concert, a festival, or even just out shopping, spotting someone wearing the same band’s gear can feel like meeting a kindred spirit. It’s a simple way to celebrate your identity and show the world what music means to you.
Collectibles That Feel Like Personal Treasures
Rock band merch isn’t limited to T-shirts. It includes rare and special items like signed guitars, vintage records, and exclusive posters. These collectibles feel like owning a piece of the band’s history. Fans often hunt for limited-edition items. By doing this, they turn merch into more than just a purchase. It becomes a treasure. For some, collecting rare band merch is a passion as thrilling as listening to the music itself. These items carry stories and memories, which makes them far more valuable than their price tags suggest.
Rock Merch Inspires Creativity in Other Industries
The bold designs, logos, and imagery of rock band merch have inspired creativity far beyond the world of music. From fashion to gaming, rock-inspired visuals are everywhere. For example, some online slots now feature themes based on legendary bands, incorporating their artwork and music into the game design. This shows how far-reaching the influence of rock merch can be. This is proof of how rock culture shapes creativity in unexpected ways, proving its lasting impact on pop culture.
It’s All About the Memories
Every piece of merch tells a story. A tour T-shirt might remind you of your first concert, or a signed poster could bring back memories of a favorite album release. For fans, merch is a time capsule that preserves special moments tied to the music they love. It’s why people often hold onto their band merch for decades. It’s not just stuff, but a connection to meaningful experiences. Rock merch allows fans to relive the emotions and excitement of their favorite musical moments again and again.
It’s Easier Than Ever to Get
With the rise of online shopping, fans no longer have to wait for a concert to get their hands on band merch. Official band websites, fan shops, and marketplaces offer a wide range of items, from classic designs to exclusive releases. Bands are also using social media to promote limited-edition drops, making it easy for fans to grab something unique. No matter where you live, you can find rock merch that celebrates the bands you love. In a digital world, merch continues to connect fans to their favorite music in a personal and powerful way.
Birmingham City Council recently announced that the members of Black Sabbath are set to be given Freedom Of The City. The honorary title of City Freeman is awarded to people in recognition of their service to the city and is one of the oldest traditional ceremonies in the country.
Birmingham Live is now reporting that campaigners fighting to ‘save’ the birthplace of Black Sabbath have called for a “lasting legacy” ahead of the Brummie band being given Freedom Of The City. Each of the four founding members of the heavy metal band are set to become a Freeman Of The City in a prestigious ceremony next Tuesday.
The city council has said the honorary title is awarded to people in recognition of their service to the city and is one of the oldest traditional ceremonies in the country. Ozzy Osbourne, Tony Iommi, Terence “Geezer” Butler and Bill Ward will join the likes of William Adlington Cadbury, founder of the world-famous chocolate brand, and former Prime Minister Sir Winston Churchill, in the recognition.
But those campaigning to ‘protect’ Birmingham’s Station Street, a road steeped in cultural importance, want to see further action to celebrate the band’s enormous success and impact. The future of the street, which runs behind Grand Central and New Street, was thrust back into the public consciousness last year following the sudden closure of the Electric Cinema.
It is also home to The Crown Inn, best-known for being the venue where Black Sabbath performed their first gig. Despite its historic importance, the pub has been vacant for many years.
Darren John, from the Save Station Street campaign, told the Local Democracy Service today that he was “delighted” to see Black Sabbath being awarded Freedom of the City. “Icons don’t do Osbourne, Butler, Iommi and Ward justice,” he said.
However he said that Birmingham City Council should use their compulsory purchase powers to “save” The Crown and provide a “true, lasting legacy”. He went on to describe the pub as the “birthplace of Black Sabbath and spiritual home of Brummie music”.
“More than 20 Rock and Roll Hall of Famers learned their trade in that pub,” he said. “John Bright Street, Hill Street and Station Street were the centre of the musical universe.
“You can trace Led Zepellin, ELO, Judas Priest, UB40, The Beat, Fleetwood Mac, Steve Winwood, Sabbath and dozens more to that triangle of venues. The Crown should be the inspiration and platform for a new wave of Brummie music and Hall of Fame stars while shouting about the best of local culture.”
Black Sabbath has sold over 75 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in 2006, awarded a Lifetime Ivor Novello Songwriting Award in 2015 and were presented with a Grammy Lifetime Achievement Award in 2019. The band has a star on the Broad Street Walk of Stars, alongside individual stars in their own right, together with a bench in their honour.
Cllr Sharon Thompson, deputy leader of the city council, said: “Birmingham has a fantastic musical culture and Black Sabbath are a major part of that history, a pioneering band that still influences today’s musicians. They have become synonymous with the city and have been true ambassadors throughout their phenomenal careers. Conferring these honours on these Birmingham legends would be the perfect way of saying thank you for all that they have done for the city.”
Members of Black Sabbath said:
Ozzy Osbourne – “I’m honoured and, at the same time, shocked that I would have ever been considered for this very special commendation. I’m a proud Brummie from Aston through and through. I’m still amazed to this day that no one outside of Birmingham can understand a word I say, but that’s always made me laugh. I started with nothing but a dream, which I shared with Tony, Geezer and Bill. We never gave up on that dream. My only regret is that my Mom and Dad are not here to see what I became. Birmingham Forever!”
Tony Iommi – “I’m over the moon! What a great honour to be a City Freeman. I’m aware that very few are given out. It ties us to the rich history of our hometown Birmingham, and that’s fantastic. I’m deeply grateful for the recognition.”
Terence “Geezer” Butler – “It is a great honour to be awarded a City Freeman by my hometown, the great City of Birmingham. Growing up in Aston I couldn’t have wished for a better childhood, from top notch schools, friendly neighbours and life-long friends, and of course the world’s greatest football team, Aston Villa. Birmingham has given the world some of the greatest inventions and innovations, in science, industry, the arts, literature, music, and all walks of life, and without Birmingham, the world would be a much poorer place. Thank you, fellow Brummies, for this amazing honour.”
Bill Ward – “Thank you, Lord Mayor and Birmingham City Council. For our legendary fans, a solemn bow. Long live Black Sabbath.”
“I got a phone call asking me for a quote about Lennon. Apparently I was one of the last musicians seen talking to him before his death”: Rick Wakeman’s wild tales of John Lennon, David Bowie, Keith Moon and Ozzy Osbourne
(Image credit: Michael Ochs Archives/Getty Images)
Even before he achieved worldwide fame and notoriety with prog rock legends Yes, Rick Wakeman was already rubbing shoulders with the soon-to-be rich and famous thanks to his job as in-house keyboard player at Trident Studios in central London. Before long he passed through folk proggers the Strawbs and was playing massive arenas with Yes. He also hit the headlines for his excessive solo shows in the 70s, not least his grand attempt to present his 1975 solo album The Myths And Legends Of King Arthur And The Knights Of The Round Table on ice at Wembley Arena! Along the way there was his well-documented battle with booze which ended in the mid-80s, since when he’s performed with Yes and as a solo artist, as well as becoming something of a media celebrity in his own right. And, as Classic Rock discovered when we sat down with him in 2010 to talk about his encounters with the great and the good of music and beon, not only is he great mates with Sooty, but he’s also been given the, er, brush-off by foul-mouthed fox Basil Brush.
David Bowie
I first met David back in the late 60s, back when word-of-mouth and the Melody Maker were still how you found out about what was still then called the ‘underground’.
I’d been doing a session for [Bowie producer] Tony Visconti with this band Junior’s Eyes in Willesden in 1969. I walked into the studio and there was a Mellotron there. They were really new at the time and no one actually knew how to play them, so I asked if I could mess around with it. And I managed to get it working. Because of that I got a call while I was at Reading Top Rank club – I used to play in the house band on a Thursday, playing 60s soul tunes – and it was Tony asking me if I could play on [Bowie’s] Space Oddity session at Trident Studios in Soho, because David was recording a single and wanted strings and Mellotron featured on there.
The session only took half an hour. David turned up with a Stylophone [hand-held ‘keyboard’]. David loved using anything new. We all said that it wouldn’t work, but when the single came out, there it was and it worked fine.
I remember David arguing with this guy from his label, Philips, insisting that the record had to come out as a stereo single, and the record company wanted mono. He got his way. He always struck me as a very dedicated artist.
He also helped me out when I ran a small folk club called Booze Droop at the White Hart pub in North Acton. We owed the landlord a bit of money and he was hassling us. I was having dinner with David and mentioned this, and he offered to play a gig there for us to help out. So we took these ads out plugging Bowie. And about four people turned up. Everyone thought it was a wind-up. He played the gig, though. The next week the place was packed. We covered our debts, and I announced that was the last Booze Droop ever.
John Lennon and Yoko Ono in 1980 (Image credit: Jack Mitchell/Getty Images)
John Lennon
I was living in Switzerland at the time, and was in New York to promote a Yes tour. I always like to eat at the Tavern On The Green by Central Park. They had this room, the Crystal Room, where you could eat without being pestered, although people did like to have a look around at who was dining. I was in there with my then-wife, and looked around and there were John and Yoko sat at a nearby table.
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I knew Ringo very well, and I’d met Paul and George a few times, but I’d never met John. I didn’t think he’d know who I was, but he came over and introduced himself and we had a chat. He seemed very nice. He was telling me about the problems he was experiencing with his new album [Double Fantasy], and he struck me as being very much like David Bowie in that he was clearly an inspirational and dedicated artist. I went over and said hello to Yoko.
This feature originally appeared in Classic Rock magazine issue 145 (April 2010) (Image credit: Future)
When I returned to Switzerland I remember getting a phone call from a journalist asking me for a quote about Lennon. Given this was pre-internet, and communications were nowhere near what they are today, I didn’t really know what she was going on about, until she told me that he’d been murdered. Apparently I was one of the last musicians to be seen talking to him. She then asked me the most stupid question I’ve ever been asked: did John mention anything that suggested he’d had a premonition about his death? Some people!
Black Sabbath
I loved Black Sabbath. I loved them musically and loved them as people as well. I knew them pretty well because Yes had supported Sabbath in America on a few tours in the early 70s and they all liked a drink, like I did. Socially Sabbath were much more my cup of tea than Yes were – drinkers and hell-raisers who really loved their rock’n’roll. I used to travel with Sabbath on their plane because we got on so well. In fact Tony Iommi, who I have remained great friends with over the years, once told me the band were seriously considering asking me to join them at one point, because we got on so well and they were looking to expand their sound. But Ozzy was worried, probably quite rightly, about how the metal fans would react.
I first worked with them in the early 70s when they were recording Sabbath Bloody Sabbath and they needed a Mini-Moog on one track. Yes were in the studio next door, and I told them I’d pop in after we’d finished. When I got there, they were all… ‘asleep’ is the politest way of describing it. Except for one frightened young tape op, who put the track in question on. I tried a few things out, and after the third thing I played, Ozzy lifted his head up, said: “Fucking great,” and passed out again.
Jack Lemmon
As a rocker gets older there are things that seem to creep into one’s life. Like gardening. Cooking. Walking. And golf. I’d taken up golf when I stopped drinking in the 80s, and through that I used to get invited to the Howard Keel Golf Classic, a pro-celebrity event held in Manchester.
The highlight of this used to be a showbiz gala that Howard would put on at the Piccadilly Theatre in Manchester, which would normally feature a lot of his celeb mates from America. Anyway, this one year he asked me if I’d like to play because “Jack is going to play and he likes your piano playing. So you come on, play some stuff, introduce Jack, and then he’ll play and then he’ll introduce me.”
I didn’t really think any more of it. I turned up on the night, and Howard comes over and keeps talking about Jack, indicating this bloke stood to the side of the stage, when the penny dropped that it was Jack Lemmon. I stood there dumbstruck when he came over and said hello. Howard had given him some of my records, and he liked them and asked if we could play something together. He was a pretty jazzy pianist, if memory serves me right. I just remember being so embarrassed sitting next to this massive film legend.
Jim Davidson
I’ve known Jim for a long time. He’s a huge prog rock fan and we’ve become very good friends over the years. Jim’s another one of those who you know that if you go out with him, then there’s likely to be trouble. He still drinks a bit, although he’s nowhere near as bad as he was. But, again, he’s like Moony in that no one ever gets hurt, nobody’s ever done any damage and no one’s ever felt threatened when we’ve been out on our benders. Even at our worst it was always about being funny.
The Who’s Keith Moon in 1973 (Image credit: Michael Putland/Getty Images))
Keith Moon and Vivian Stanshall
If you were going out with Keith, then you always knew that the police would very likely be involved at some point during the evening. And they most definitely would if [Bonzo Dog Band’s] Vivian Stanshall was along for the ride as well. The two of them were such lovely people, and there was never any malice behind what they did. They really were arch pranksters. But the thing about the many nights I spent in their company was that all their high jinks were the by-product of drink and good, harmless spirits and a childish enthusiasm. I had my wildest nights out with these two. Keith really was like a naughty little boy.
Sooty
Yes, Sooty’s a friend! I never knew the original [puppeteer], Harry Corbett, but I did know his son, Matthew. Anyway, Matthew had sold Sooty on, and the bloke who owned him also lived, like me, on the Isle of Wight.
I was playing a gig in Barnstaple, and my tour manager at the time also lived on the Isle of Wight, and this guy came along to the gig and I got introduced to him. I asked him where Sooty was, and he told me he was in the manager’s office. So he went and got him and I had my photo taken with him. When I was leaving, I was outside the stage door signing autographs for about 200 people. Then this bloke left, and I mentioned that he had Sooty, and ten seconds later there’s no one in front of me and this bloke’s surrounded with all these people wanting their photo taken with Sooty!
Basil Brush
I was at the BBC doing [erstwhile TV arts show] Omnibus, and I accidentally walked into the wrong studio. And there in front of me was Basil Brush, sat at his desk just like you see him on the TV. Obviously the puppeteers were at work. But as I’m stood there not knowing what to do, he says in that Basil Brush voice: “I say, it’s Rick Wakeman!” As there’s an audience, I mumbled: “Hello, Basil. Very nice to meet you.” And he just says: “Right. We’re in the middle of rehearsal and ever so behind, so if you could just fuck off, there’s a good chap.”
I walked out in a bit of a daze and bumped into [TV presenter] Barry Norman, who looked after Omnibus at the time. He directed me to the proper studio, and asked me if I was okay. I could only tell him: “Basil Brush just told me to fuck off!”
Originally published in Classic Rock issue 145, April 2010
Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.
“Walk into a strip joint and nine times out of 10 you’ll hear this song. It brings tears to my eyes”: The chaotic story of Girls, Girls, Girls, the album that almost killed Motley Crue
(Image credit: Ross Marino/Getty Images)
Mötley Crüe helped put the 80s Sunset Strip glam metal scene on the map – and their fourth album, 1987’s Girls, Girls, Girls, took them to another level. In 2009, Crüe drummer Tommy Lee looked back on the record that celebrated sex, strippers and motorbikes – even if their lifestyles almost killed them.
Long before Guns N’ Roses clawed and snarled their way to superstardom, Mötley Crüe were the hottest band to emerge from the 80s Sunset Strip scene.
Sleazier, trashier and more outrageous than any of their peers, they hit the ground running with 1981’s instant-classic debut album Too Fast For Love, initially released on their own Leathür Records before being snapped up, remixed and reissued by major label Elektra.
The subsequent injection of cash and corporate muscle only helped propel them upwards. The parent-baiting shock-metal of their second album, 1983’s Shout At The Devil, helped it reached the US Top 20, while 1985’s Theater Of Pain saw them tone down the make-up slightly and hit the Top 10.
The band themselves left a trail of carnage in their wake, thanks to their predilection for vast quantities of booze and class A drugs. But it had a dark side too, not least when Nicholas ‘Razzle’ Dingley, the English-born drummer with Finnish glam tarts Hanoi Rocks, was killed in a car crash while being driven by drunken Crüe singer Vince Neil.
As the band geared up to record their fourth album, Girls, Girls, Girls, it was clear to everyone that Mötley Crüe were out of control. Everyone except Mötley Crüe themselves, that is.
“If I had to describe our state back then, I’d say we were beautifully broken, or functionally dysfunctional,” says Tommy Lee now. “It seemed to us that we had our shit together, but we were really fucked up. The trouble was, we were in no fit state to realise how bad things had become. Which was perhaps a good thing.”
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Mötley Crüe in 1987: (from left) Vince Neil, Tommy Lee, Nikki Sixx, Mick Mars (Image credit: Ross Marino/Getty Images)
The job of herding these drunken, messed up cats into the studio fell to producer Tom Werman, who had worked with the band on Shout At The Devil and Theatre Of Pain.
“Summing up our relationship with Tom, I’d say that he was like our mum!” says Lee. “I don’t know how he dealt with the craziness that surrounded us. “He was like an old lady on ADT. He also drank a lot of wine to help him cope, and he’d occasionally freak out at us. But Tom kept coming back for more, so he must have liked what we did!”
This feature originally appeared in Metal Hammer issue 193 (June 2009) (Image credit: Future)
Despite the band’s success so far, the pressure was on to keep it up. Elektra reportedly demanded their new album contain at least two hit singles, though Lee denies any meddling on the part of the label.
“We never bothered about that sort of thing,” he says. “If Elektra had demanded singles from us – which they didn’t – I think our response would have been, ‘Fuck you!’ We never sat down and thought about having hits. We just wrote what we felt worked.”
Despite their increasingly wayward lifestyles – bassist Nikki Sixx’s drug of choice had become heroin – Mötley Crüe were nothing if not prepared before they began work on the album in November 1986.
The songs might have been ready, but that doesn’t mean the band themselves were. They spent four months recording the album in three different studios in LA.
“If we’d been straight and hadn’t been fucked up so much, then the album would have been done in about two months,” says Lee. “But we were off our heads a lot of the time. There’d be times when one or more of the band didn’t show up for a day or two, because we’d been partying too hard. It wasn’t unusual for one or more of us to go missing, so the days just slipped away. In the end, we were lucky to have as much time as we needed. Nobody was putting the screws on us to get it finished.”
The album, brazenly titled Girls, Girls, Girls, was finally finished in the early spring of 1987. The Crüe’s debauched spirit was summed up in its first two tracks.
Electrifying opener Wild Side began with guitarist Mick Mars’ revving his instrument like a motorbike, before the song takes a tour of Hollywood’s seedy underbelly with all its street dealers and trash queens. Even more emblematic was the title track, a hymn to some of the Crüe’s favourite people on the planet: strippers.
“Man, that was written about what we did every day when out there touring,” says Lee. “We’d go into a city and what happened? We’d check out the strip bars. It was so normal for us. And every one of them would have a flashing neon sign outside screaming ‘Girls Girls Girls!’ That phrase was just burnt into my head. So, for us it was just logical to write this song – paying tribute to what kept us going on the road.”
But there was a flipside to the tales of neon-soaked strip joints and junkie-infested sidewalks. Girls, Girls, Girls also featured a handful of songs that showed the band’s sensitive side. Chief among these was the stirring Nona, inspired by the death of Nikki Sixx’s beloved grandmother.
“They were very close, and she had helped to bring him up,” says Lee. “It was very much Nikki’s song. I know some people have questioned whether a tune like that belongs on a Mötley Crüe album, because it seems out of character with what we usually write about, but… well, we are Mötley Crüe, so if we decide something goes on a record, then it should be there.”
Another track was the showstopping power-ballad You’re All I Need. While rumours suggested it was written by Sixx about an ex-girlfriend who had cheated on him, Lee recalls its beginnings being much darker.
“From what I can recall, Nikki was inspired to write it after watching a news report about a guy who’d killed his girlfriend because he couldn’t bear the thought of her being with another man,” he says. “It is a tragic love song – one of the great tragic love songs, actually.”
Jon Bon Jovi – who shared the same management with Crüe at the time – described this as the “best pop song Mötley have ever written”. The drummer isn’t arguing with that opinion.
“It is a beautiful ballad,” he says. “When Nikki brought it in, we heard what he’d done and really felt it was something special. So, the rest of us pitched in, did our thing, and it came out very well.”
Mötley Crüe on the Girls, Girls, Girls tour in 1987 (Image credit: Ross Marino/Getty Images))
The combination of the priapic and the poignant worked. Released in May 1987, Girls, Girls, Girls became Mötley Crüe’s biggest hit yet, reaching No.2 in the US. Lee shrugs off the fact that it was kept off the top spot by Whitney Houston.
“Does anyone really imagine that we kept poring over the charts to see whether we made it to number one?” he says. “Ha! We didn’t give a fuck. So, Whitney Houston had a bigger album than us? Big fucking deal! So, Madonna might have sold more records than us – we didn’t give a shit. Let other people bother about that – we were just glad to be out of the studio, back on the road, and having a party every night!”
The song Girls, Girls, Girls itself was released as the album’s first single. Its video, featuring the band taking a tour of Hollywood’s strip clubs on their motorbikes, became an MTV staple, albeit in censored form.
“We never really thought it would become so popular,” says Lee of the song. “But anywhere you go in the world, walk into a strip joint and nine times out of 10 you’ll hear this song. That is something I am so proud of having done. It brings tears to my eyes. You go to a Mötley show these days, and there will be kids – some as young as five years old – who just holler out the lyrics when we play it. Great to know that there are Mötley Crüe fans from the old days, bringing up their children just right!”
In many ways, Girls, Girls, Girls is peak Mötley Crüe – not least in terms of lifestyle. But band’s partying reached a peak later that same year when Nikki Sixx clinically died for two minutes after overdosing on heroin. They knew it was time to reel in the partying. Their next album, 1989’s Dr Feelgood, was the first album they’d made sober and drug free – it paid off, finally giving them the No.1 album they wanted.
As for Girls, Girls, Girls, it stands as a prime slice of 80s sleaze – one that Tommy Lee remains proud of.
“How do I view the album now? I adore it,” concludes Tommy. “I firmly believe that it’s a classic, and one of the best records we ever made. I love listening to it.”
Originally published in Metal Hammer issue 193, June 2009
Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica, published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term “thrash metal” while writing about the Anthrax song Metal Thrashing Mad in 1984. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He died in 2021.
Over the years, Humble Pie underwent several lineup changes, but they consistently produced high-energy rock infused with blues and soul influences. Between 1969 and 2002, the band released thirteen studio albums, earning a reputation as one of the hardest-working and most dynamic live bands of their time. Despite periods of disbandment and reunion, the band maintained a loyal fan base, and their contributions to rock have influenced numerous artists.
While Humble Pie officially ended in 2002 following the deaths of key members Steve Marriott and Greg Ridley, their legacy endures. With classic tracks like “Natural Born Bugie” and “I Don’t Need No Doctor,” they remain a significant force in the evolution of blues-based rock.
Steve Marriott
Steve Marriott was the heart and soul of Humble Pie, co-founding the band in 1969 after leaving the Small Faces. As the band’s primary vocalist, guitarist, and songwriter, Marriott’s powerful voice and charismatic stage presence defined their sound. He contributed to all of the band’s albums except Live at the Cleveland Agora Theatre (1990) and Back on Track (2002). Notable contributions include writing and performing on tracks like “30 Days in the Hole” and “Shine On.”
Marriott’s ability to seamlessly blend rock, blues, and soul was evident throughout the band’s career, particularly on albums like Performance: Rockin’ the Fillmore (1971) and Smokin’ (1972). His leadership guided the band through its most successful years. Outside of Humble Pie, Marriott had a solo career and briefly re-formed the Small Faces in the late 1970s. Tragically, he passed away in 1991, but his legacy as one of rock’s most dynamic frontmen remains.
Jerry Shirley
Jerry Shirley was a founding member of Humble Pie, serving as the band’s drummer and percussionist. Joining the group in 1969, Shirley’s dynamic drumming provided the backbone for the band’s powerful sound, helping to shape their fusion of blues, rock, and soul. His contributions extended beyond drumming, as he occasionally played keyboards, piano, guitar, and provided backing vocals. Shirley appeared on every Humble Pie release, from their debut album As Safe as Yesterday Is (1969) to Back on Track (2002), solidifying his status as a cornerstone of the band.
Shirley’s rhythmic versatility is particularly evident on tracks like “I Don’t Need No Doctor” and “30 Days in the Hole,” where his ability to adapt to different tempos and styles added depth to the band’s arrangements. His drumming on the live album Performance: Rockin’ the Fillmore (1971) is often cited as one of the highlights of the record, showcasing his energy and technical precision during live performances.
Beyond Humble Pie, Shirley pursued various musical endeavors. He played with Fastway in the 1980s and collaborated with other artists as a session musician. Shirley also took on the role of bandleader during Humble Pie’s later iterations, ensuring the group’s legacy continued after the deaths of key members Steve Marriott and Greg Ridley. Although no longer touring, Shirley remains active in overseeing the band’s affairs, preserving their history and influence in rock music.
Greg Ridley
Greg Ridley was Humble Pie’s bassist and a founding member, joining the group after his tenure with Spooky Tooth. His deep, groove-heavy basslines became a cornerstone of the band’s sound. Ridley contributed to all the band’s albums from As Safe as Yesterday Is (1969) to Street Rats (1975) and later returned for reunion recordings like Natural Born Bugie (1995). His work on tracks like “Black Coffee” and “Stone Cold Fever” highlighted his ability to create complex yet soulful rhythms.
Ridley’s rich backing vocals and occasional guitar and percussion performances added depth to the band’s arrangements. After the band’s initial breakup, he pursued other musical projects before rejoining for a brief reunion in 2001. He passed away in 2003, leaving behind a legacy as a vital force in Humble Pie’s history.
Peter Frampton
Peter Frampton co-founded Humble Pie in 1969 as their lead guitarist and one of the primary vocalists. His melodic and technically skilled guitar playing was integral to the band’s early sound. Frampton appeared on seminal albums like As Safe as Yesterday Is (1969), Town and Country (1969), and the live masterpiece Performance: Rockin’ the Fillmore (1971). Songs like “Four Day Creep” showcased his ability to combine intricate solos with a soulful edge.
Frampton left Humble Pie in 1971 to pursue a highly successful solo career, achieving global fame with his live album Frampton Comes Alive! (1976). Despite his departure, his contributions to Humble Pie’s formative years remain a defining element of their legacy. His collaborations with the band during this period helped solidify their reputation as a pioneering force in rock.
David “Clem” Clempson
David “Clem” Clempson joined Humble Pie in 1971, replacing Peter Frampton as lead guitarist. Clempson’s more aggressive, blues-driven style brought a new dimension to the band’s music, evident on albums like Smokin’ (1972) and Street Rats (1975). Tracks such as “Hot ’n’ Nasty” and “30 Days in the Hole” feature Clempson’s fiery solos and distinctive tone.
Before joining Humble Pie, Clempson was a member of Colosseum, and his experience with jazz-rock fusion added depth to his playing. After leaving the band in 1975, Clempson continued a prolific career as a session guitarist, collaborating with artists such as Roger Waters and Jack Bruce. His contributions to Humble Pie during their peak years remain an essential part of their legacy.
Anthony “Sooty” Jones
Anthony “Sooty” Jones joined Humble Pie as their bassist in 1980, during the band’s reformation after a five-year hiatus. His solid basslines and vocals were crucial to the albums On to Victory (1980) and Go for the Throat (1981), both of which marked the band’s effort to return to prominence in the hard rock scene. Jones’ playing style added a fresh groove to tracks like “Fool for a Pretty Face,” which became a moderate hit.
Following his time with Humble Pie, Jones occasionally collaborated with other musicians but primarily remained connected to the band’s resurgence in the 1980s. He briefly rejoined the group during their 1989 activities before his untimely death in 1999. His contributions are remembered as a vital part of Humble Pie’s second chapter.
Bobby Tench
Bobby Tench joined Humble Pie in 1980 as a guitarist, vocalist, and keyboardist during their comeback era. Tench, previously known for his work with Jeff Beck and the Streetwalkers, brought his versatile musicianship and soulful voice to the group. He contributed significantly to On to Victory (1980) and Go for the Throat (1981), where his guitar work and vocal harmonies complemented Steve Marriott’s dynamic presence. His contributions to tracks like “Teenage Anxiety” demonstrated his ability to blend rock and blues seamlessly.
Tench returned for the band’s 2001 reunion, contributing to the album Back on Track (2002). Beyond Humble Pie, Tench enjoyed a prolific career as a session musician and band member, collaborating with artists such as Van Morrison and Eric Burdon. Tench’s death in 2024 marked the loss of a versatile and celebrated figure in rock music.
Fallon Williams III
Fallon Williams III briefly joined Humble Pie as a drummer between 1982 and 1983. Though he did not contribute to any studio albums, his live performances helped sustain the band’s momentum during a period of lineup transitions. His energetic drumming style supported the group’s dynamic stage shows, maintaining the high-energy performances fans had come to expect.
Details about Williams’ career outside of Humble Pie are sparse, but his role during this transitional phase underscores his importance in the band’s continued existence during the early 1980s.
Jim Leverton
Jim Leverton, a talented bassist and vocalist, contributed to Humble Pie during one of their later iterations. While his tenure with the band was relatively short, Leverton’s skillful bass playing and harmony vocals added depth to their sound, particularly in live performances. Leverton’s involvement came during a time when the band was experimenting with new lineups and evolving their style.
Outside of Humble Pie, Leverton built a notable career as a session musician and collaborator, working with bands such as Caravan and Steve Marriott’s solo projects. His versatility and professionalism made him a valuable asset to the band during his time with them.
Goldy McJohn
Goldy McJohn, best known as the keyboardist for Steppenwolf, briefly joined Humble Pie in 1982. His signature organ style added a distinctive flair to the band’s sound during live performances, though he did not contribute to any studio recordings. McJohn’s time with Humble Pie showcased his adaptability as a musician, blending his blues-influenced keyboard work with the band’s hard rock style.
McJohn passed away in 2017, but his brief stint with Humble Pie remains a testament to his enduring impact on rock music and his ability to seamlessly integrate into different musical settings.
Keith Christopher
Keith Christopher played bass for Humble Pie during a brief stint in 1983. Although his time with the band was short and did not include contributions to studio recordings, his live performances helped maintain the group’s momentum during this transitional phase. Christopher’s solid basslines and stage presence provided continuity for fans during a period of flux.
Christopher has enjoyed a lengthy career as a session musician and performer, contributing to projects across various genres. His brief involvement with Humble Pie is a reflection of his ability to adapt to the demands of a legendary band.
Tommy Johnson
Tommy Johnson joined Humble Pie as a guitarist during one of their later lineups. While his contributions were primarily in live performances, his role helped maintain the band’s reputation for delivering high-energy shows. Johnson’s time with Humble Pie came during a period of experimentation and lineup changes, showcasing his ability to step into a storied legacy.
Details of Johnson’s career outside of Humble Pie are limited, but his time with the band highlights his role in sustaining their musical legacy.
Rick Richards
Rick Richards, known for his work with bands like Georgia Satellites and Izzy Stradlin & The Ju Ju Hounds, contributed to Humble Pie during one of their later lineups. His guitar work added a raw and gritty edge to the band’s sound, enhancing their live performances. Richards’ ability to deliver powerful riffs and solos ensured that Humble Pie’s classic rock essence remained intact.
Outside of Humble Pie, Richards has been a respected figure in the Southern rock and hard rock scenes, known for his dynamic playing and distinctive style.
Dave Hewitt
Dave Hewitt, another bassist to join Humble Pie during their later years, brought his skills to the group during a transitional period. While his contributions were not captured in studio recordings, his live performances helped sustain the band’s rhythm section and maintain their powerful sound.
Hewitt’s work outside of Humble Pie includes collaborations with other artists and projects, further demonstrating his versatility as a bassist. His role in the band, though brief, reflects his ability to adapt to the demands of a legendary rock act.
Charlie Huhn
Charlie Huhn joined Humble Pie in 1989 as their lead vocalist and guitarist, stepping into the band’s lineup during a period of reformation. His tenure included the release of Live at the Cleveland Agora Theatre (1990), where his powerful voice and energetic guitar work brought a revitalized sound to the group. Tracks on the album highlighted his ability to deliver classic Humble Pie material while injecting his own dynamic style.
Huhn’s contributions helped sustain the band during the late 1980s and 1990s, a challenging era for many classic rock bands. After leaving Humble Pie in 2000, Huhn continued his career with acts like Foghat and Ted Nugent, solidifying his reputation as a versatile and dependable musician.
Wally Stocker
Wally Stocker, formerly of The Babys, joined Humble Pie in 1989 as a guitarist and backing vocalist. His melodic playing style added a fresh dimension to the band’s sound during live performances, complementing Charlie Huhn’s contributions. Stocker’s work helped maintain the band’s classic rock essence while introducing subtle new influences.
Stocker’s time with Humble Pie was brief, ending in 1990. However, his broader career includes collaborations with high-profile artists and bands, showcasing his skills as a guitarist in various settings.
Sean Beavan
Sean Beavan briefly served as Humble Pie’s bassist during one of their transitional phases. Although he did not contribute to studio recordings, Beavan’s live performances added a solid rhythm foundation for the group. His time with Humble Pie marked an early stage in his career, which later included work as a producer and engineer for renowned acts like Nine Inch Nails and Marilyn Manson.
Scott Allen
Scott Allen joined Humble Pie as a bassist from 1990 to 1992. While his time with the band did not include any studio recordings, Allen played a key role in their live shows during this period. His steady basslines ensured the band’s rhythm section remained cohesive as they navigated lineup changes.
Alan Greene
Alan Greene served as Humble Pie’s guitarist from 1990 to 1999. His intricate guitar work and bluesy style were integral to the band’s live performances during the 1990s. Greene’s ability to channel the essence of Humble Pie’s classic sound while adding his own flair helped maintain the band’s reputation for electrifying shows.
Greene’s career outside Humble Pie includes extensive work as a session musician and collaborations with blues and rock artists. His tenure with the band remains a significant chapter in his musical journey.
Sam Nemon
Sam Nemon played bass for Humble Pie from 1992 to 1996. Although he did not appear on any studio recordings, Nemon’s live performances were essential during this period. His strong stage presence and reliable rhythm work contributed to the band’s ability to maintain their signature sound.
Brad Johnson
Brad Johnson joined Humble Pie as a bassist from 1996 to 1999. His contributions during live performances helped solidify the band’s rhythm section as they continued to tour. Johnson’s ability to adapt to the band’s blues-rock style ensured their shows remained compelling for fans.
Ean Evans
Ean Evans, later a member of Lynyrd Skynyrd, briefly played bass for Humble Pie in 2000. His short tenure came during a transitional phase for the band, and his bass work added a fresh dynamic to their live performances. Evans’ broader career highlights his versatility as a musician, with his work in Lynyrd Skynyrd cementing his place in Southern rock history. He passed away in 2009.
Kent Gascoyne
Kent Gascoyne briefly joined Humble Pie in 2000, contributing as a bassist during their live performances. While his time with the band was short and did not include studio recordings, his role supported the group during a period of lineup adjustments.
Jamie Darnell
Jamie Darnell served as Humble Pie’s drummer during a transitional phase. Although his time with the band is not well-documented in terms of recordings, his live performances helped maintain the band’s energy and rhythm.
Rick Craig
Rick Craig joined Humble Pie as a guitarist, contributing to their live performances with his energetic playing style. His ability to handle the band’s classic material demonstrated his skill and adaptability as a musician.
Patrick Thomas
Patrick Thomas played with Humble Pie during one of their later iterations, contributing to live performances. His role in the band is less documented in recordings but reflects his versatility as a musician.
Zoot Money
Zoot Money, a legendary keyboardist and vocalist, joined Humble Pie from 2001 to 2002. He contributed to the band’s final studio album, Back on Track (2002), where his keyboard work and vocals added a layer of sophistication to the group’s sound. Tracks like “Big Black Dog” showcased his blues-influenced style and ability to complement Steve Marriott’s vision.
Outside of Humble Pie, Money has had a prolific career as a solo artist and collaborator with acts like Eric Burdon and Alexis Korner. His time with the band reflected his enduring impact on British blues and rock.
Dean Rees
Dean Rees briefly joined Humble Pie as a keyboardist in 2002. While he did not contribute to studio recordings, his live performances demonstrated his skill and ability to integrate into the band’s evolving sound.
Johnny Warman
Johnny Warman contributed as a vocalist and guitarist during one of Humble Pie’s later iterations. His dynamic performances helped maintain the band’s energy and connection with audiences during live shows.
Jimmy Kunes
Jimmy Kunes joined Humble Pie as a vocalist from 2018 to 2022. Known for his work with bands like Cactus, Kunes brought a powerful vocal style to the group’s performances, ensuring the band’s legacy continued in live settings. His ability to honor the band’s classic material while adding his own energy was a highlight of this era.
James Volpe Rotondi
James Volpe Rotondi served as a guitarist and vocalist for Humble Pie during one of their later lineups. His contributions to live performances helped sustain the band’s reputation for delivering high-energy rock shows. Rotondi’s broader career includes work with notable bands and projects across the rock genre.
Check out more Humble Pie articles on ClassicRockHistory.com Just click on any of the links below……
Modern metal frontrunners, Ad Infinitum, have released an official video for the song “Aftermath”, taken from their latest album, Abyss. Check it out below.
Ad Infinitum have come into their own only over the last year or two, but they have released a whopping four albums since 2020. Vocalist / founder Melissa Bonny spoke with BraveWords about the band’s new record, Abyss, and revealed they are playing the long game when it comes to their music.
“We’ve done the albums Chapter I: Monarchy, II: Legacy, and III: Downfall, which were connected in that they were all influenced by history. We wanted to step away from that but still offer a new trilogy, so we decided to go more personal on Abyss by basing the songs on personal experiences and emotions. We sorted those ideas out into three albums, and Abyss is the darkest of them. The fears, the demons, stuff like that.”
Meaning fans should expect another trilogy….
“Yes, but it not just planned out in our heads (laughs). We’ve done the work for the next three records; not all the songs are written, but we’ve been working on the visuals for the artwork and the videos. If you wantch the videos you will see that there are easter eggs that connect the songs. The goal is to have this connection through the whole trilogy. It’s the same for the artwork, so we had to inform everyone of what are going to do for the next three records (laughs).”
Watch for the complete story, coming soon.
Abyss is available in the following formats:
– 1LP Recycled Colored Vinyl (inlc. 12” Booklet, Slipmat) – ltd. to 300 copies worldwide – 1LP Recycled Black Vinyl – 36 page Earbook – ltd. to 300 copies worldwide – 1CD-Digisleeve + Abyss Pendant Bundle – ltd. to 200 copies worldwide – 1CD Digisleeve + T-Shirt Bundle – 1CD Digisleeve – Digital Album – Abyss Pendant – Cover Artwork T-Shirt
“My Halo” “Follow Me Down” “Outer Space” “Aftermath” “Euphoria” “Surrender” “Anthem For The Broken” “The One You’ll Hold On To” “Parasite” “Dead End” “My Halo” (Orchestral Version)*
Finnish folk metal goliaths, Ensiferum, are currently on the Pagafest 2025 tour with Alestorm, Týr, Heidevolk and Elvenking. Fan-filmed video of their entire January 19th show in London, England at O2 Academy Brixton can be viewed below.
Setlist:
“Fatherland” “Twilight Tavern” “Treacherous Gods” “Winter Storm Vigilantes” “Lai Lai Hei” “Andromeda” “Victorious” “Victory Song” “Two of Spades” “Iron”
Ensiferum recently unveiled their official video for “The Howl”. The track is taken from their Winter Storm full-length, out now on Metal Blade Records.
Says the band: “Winter Storm has been out for a few months now, so how about we release a new video? The official music video for ‘The Howl’ is here, and it’s as wild as the track itself! Watch it now.”
Ensiferum’s Winter Storm was produced by Janne Joutsenniemi, mixed and mastered by Jens Bogren, and includes guest appearances by Lassi Logrén on Nyckelharpa and violin and Mikko Mustonen on orchestration as well as Eleine’s Madeleine Liljestam who provides all vocals on “Scars In My Heart”.
“Long Cold Winter Of Sorrow And Strife” lyric video:
“Winter Storm Vigilantes” video:
Petri Lindroos – vocals, guitars Markus Toivonen – guitars, vocals Sami Hinkka – bass, vocals Janne Parviainen – drums Pekka Montin – keyboards, vocals
