Author: Logan Rocker

Producer / Songwriter RICK BEATO Discusses The Death Of Music Genres – “What Musical Era Are We In Today?” (Video)

Posted on by Logan Rocker

December 21, 2024, 2 hours ago

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Producer / Songwriter RICK BEATO Discusses The Death Of Music Genres -

Producer / songwriter / educator Rick Beato has shared a new video trying to answer the question, “What musical era are we in today?”

Beato recently shared a new interview video along with the following introduction:

“I said it wouldn’t happen, but I was wrong! In this interview, David Gilmour discusses his latest solo album, Luck And Strange, sharing insights into its creation and the stories behind the music. Dive into the iconic guitarist’s creative process, his legendary tone, and the evolution of his sound and singing from Pink Floyd to the present.”


“We drank a lot because of the blow and we got blown a lot because we drank a lot”: The wired story of Aerosmith’s drug-fuelled classic Rocks

Posted on by Logan Rocker
Aerosmith posing for a photograph in the mid-70s

(Image credit: Fin Costello/Redferns)

Their third album, Toys In The Attic, had changed everything for Aerosmith in 1975, going Gold and rising to No. 11 in the Billboard chart. In 1976, with the follow-up, Rocks, the band would take things to yet another level.

While the Toys… album has subsequently outsold it two to one, notching up eight million sales thanks in a large part to it containing Sweet Emotion and Walk This Way, Rocks actually charted higher, peaking at No.3, and highlighted a year when the band had five hit singles.

With hindsight, the albums used the same template and play like twins. Rocks, though, is the lyrically darker and musically heavier. Its songs chronicle the band’s growing stature as a touring act as well as an unhealthy level of drug abuse.

After years when critics regularly lambasted the Boston five-piece as the poor man’s Rolling Stones, influential US music magazines Rolling Stone and Creem finally began showering Aerosmith with compliments. The audiences (dubbed The Blue Army by the band due to the prevalence of denim in the arenas they were playing) grew exponentially and started behaving almost as outrageously as their heroes – boozing, popping pills and throwing firecrackers.

Aerosmith had always liked but to drink but, during the nine-month, 99-date Toys In The Attic tour (which never left the North American continent), cocaine was everywhere – thanks often to a crew who were as keen on it as the band.

“We drank a lot because of the blow and we got blown a lot because we drank a lot,” shrugged singer Steven Tyler. The backstage term “production meeting” was slang for going somewhere to do a load of lines. Come the sessions for Rocks, as their buddies The Faces had observed a year earlier, what were once vices were now habits.

Guitarist Joe Perry told me in 2014: “The main influence that the drugs will have had was that we were partying too much and didn’t notice the kind of money we were spending or take care of the decisions we were making – I don’t think we could have spent that much on drugs…”

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They didn’t, of course, as Perry’s fellow guitarist Brad Whitford recalled.

“My back account started to grow and I felt very wealthy all of a sudden,” Whitford later said of the sudden upswing in the band’s income. “I wasn’t, but $10,000 felt like a million. I was 22. I thought, ‘Man, I can buy the kind of car I’ve always dreamed about. That’s when I got my first Porsche. I think that’s when we all got our first Porsches.”

Aerosmith posing for a photograph in the mid-70s

Aerosmith in 1975: (from left) Joe Perry, Steven Tyler, Tom Hamilton, Brad Whitford, Joey Kramer (Image credit: David Tan/Shinko Music/Getty Images)

On December 30, 1975, after the third of three shows at the 14,000-capacity San Diego Sports Arena, Aerosmith finally drew breath. At the suggestion of co-manager David Krebs of the band’s management company Leber-Krebs Inc, Columbia had re-released Dream On, the power ballad from their self-titled 1973 debut that had always been a hit with audiences on tour. Three years earlier it peaked at No.59 on the Billboard chart. This time, it sailed to No.6 following its release in January 1976.

Basking in this glory Aerosmith took January off and investigated their new “clubhouse”, purchased for them in the autumn of ’75 while they pinballed around North America. It was sourced for them by Ray Tabano, the guitarist who co-founded the band with Tyler and Perry before being replaced by Whitford in 1971. Since then, Tabano had run the fan club and done anything else management asked of him.

One such task was identifying premises that could serve the band as a lock-up, offices and rehearsal space. Up a cul-de-sac on an unassuming residential street in Waltham – a city suburb about 10 miles east of the band’s apartment in Beacon Street in the centre of Boston – Tabano found it.

Krebs checked over the empty corrugated-iron clad warehouse, designated 55 Pond Street, and agreed a $40,000 deal. That investment saw the upstairs space converted into a lounge and offices, from where Tabano ran the lucrative merchandising business, installation of some state-of-the-art wiring and the construction of a stage.

The band christened the building, big enough for them to park their flash new cars in, the Wherehouse. They hung drapes from the high ceiling to improve acoustics and ambience, and adorned the walls with heroes – a huge montage of Mick’n’Keef images, alongside Chuck Berry, Rod Stewart and more. When Aerosmith weren’t in residence, fellow Leber-Krebs outfits Ted Nugent and Mahogany Rush would also use the space. It also provided a launchpad for up-and-coming local band Boston – the future AOR superstars played a showcase there that got them their deal.

Aerosmith – Back In The Saddle (Live At The Summit, Houston, TX, June 25, 1977) – YouTube Aerosmith - Back In The Saddle (Live At The Summit, Houston, TX, June 25, 1977) - YouTube

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In February, the Record Plant’s mobile unit backed into the Wherehouse and when the door closed behind it, work on Rocks began in earnest. Jack Douglas – who had co-produced Aerosmith’s second album Get Your Wings and was at the helm for Toys In The Attic – unsurprisingly got the job again, although this time the band took a co-production credit.

Whitford explained why their working relationship with Douglas proved so fruitful. “The thing about Jack was he was there living with us in Boston, working, playing drums, a little pot/blow/beer,” said the guitarist “He‘d try anything, and it inspired us. He was a mad genius but so solid.”

Douglas was also a joker, as drummer Joey Kramer recalled: “Jack convinced me that if ate nothing but greens for two weeks I’d smell like a freshly cut lawn. This went great until I got really constipated, then Jack had me drink a quart of prune juice to push it all through. He hid a prototype sound-activated tape recorder in the bathroom. When he rewound the tape there was a full day of horrible gas and flushing toilets…”

Whitford: “When you’re in the studio with Jack you laugh, roar, do silly shit – it’s loose. I’d throw ideas back and forth with him and leave it up to Steven to come up with a great lick and a vocal.”

On Rocks the lyrics, almost exclusively written by Tyler, came last and usually infuriatingly late. All the band knew, though, that the singer made Aerosmith unique and that came at price. Bassist Tom Hamilton told me of his respect for the singer’s wide range of input.

Steven, musically, has so much knowledge,” said Hamilton. “Not schoolbook knowledge just built-in knowledge from growing up with his father being a classical pianist…”

Douglas, meanwhile, saw the strengths of the others and encouraged them to write. On Toys In The Attic that encouragement prompted Tom Hamilton to deliver Sweet Emotion and Uncle Salty, while Whitford chipped in with Round And Round. For Rocks the pair stepped up to the plate again.

Aerosmith posing for a photograph in the mid-70s

Aerosmith’s Steven Tyler onstage at RFK Stadium in Washington DC, May 30, 1976 (Image credit: Fin Costello/Redferns)

In the Wherehouse, as the band tracked through February and into March, the character of the two guitarists was highlighted on their respective songs. Jack Douglas has subsequently described Joe Perry as a great improvisor; Whitford more a technician, methodical and dedicated – recording take after take if needed.

On Rocks the pair of them got to shine, although predictably, Perry’s contributions were the flashier. Joe conceived Rats In The Cellar as a counterpart to Toys In The Attic’s title-track, as he would later quip: “We were getting lower down and dirty. So the cellar seemed like a good place to go.”

Tyler’s lyrics were clearly about the influx and impact of drugs on Aerosmith: “Things were coming apart, sanity was scurrying south…” When he sang about “losing my connection” in the third line of the song he was referring to a dealer who supplied top-purity heroin to Perry – until the dealer was killed in nefarious circumstances.

In his 2014 autobiography Rocks: My Life In And Out Of Aerosmith, Perry paid the dealer some kind of complement when he recalled the genesis of Back In The Saddle.

“I was in my bedroom, flat on my back, fucked up on heroin, playing my six-string bass,” he recalled. “The music flew out of me – all the parts, all the riffs. It came in one special-delivery package. I was still in the stage when drugs were opening doors to my imagination…”

Two of Perry’s other songs – Lick And A Promise (about the band’s efforts at winning an audience) and Get The Lead Out (Tyler’s exhortation for them to get up and dance) – were both brutal and fast-paced, the products of a restless mind as well as his habit. “In some sense all these songs were about movement,” the guitarist later reflected.

Aerosmith – Rats In The Cellar (Live Texxas Jam ’78) – YouTube Aerosmith - Rats In The Cellar (Live Texxas Jam '78) - YouTube

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His fifth, Combination, written alone, nails the band’s health and wealth in the lines: “Walkin’ on Gucci, wearin’ Yves Saint-Laurent, Barely stay on ’cause I’m so Goddamn gaunt.”

Whitford, meanwhile, conceived the funky Last Child – the album’s first and biggest selling single, complete with folk musician Paul Prestopino on banjo – and Nobody’s Fault. The latter starts with the sound of Perry and Whitford’s guitars playing odd chords loud and in-synch – Tyler’s idea as the song didn’t have an intro. Seventeen seconds in the vocal mic picks up the noise of a door opened by the union “engineer” Columbia Records insisted was present at all sessions – Tyler’s idea to leave it in as he doubted he’d better his take. That kind of loose flexibility was common.

Perry recalled Tom Hamilton writing Sick As A Dog on guitar, “so when we recorded it he played it on guitar with Brad. I’m in the control room playing bass listening to what I was doing. Then it needed a solo so I gave the bass to Steven and went back into the studio to play guitar. So the end is three guitars and Steven playing bass…”

Long before he ever wrote a finished lyric, Tyler’s fingerprints were over every song. Eventually they had an album almost complete, but relocated to Manhattan’s Record Plant studios to finish. There – as he had done on the previous three albums – Tyler came up with a piano-led power ballad, this one called Home Tonight. Better loved, though, was opener Back In The Saddle, the singer’s “nostalgic harkening to every Spaghetti Western I ever saw”.

It was a big production number full of sound effects: coconut shells as horses hooves; a whip effect produced by Tyler whirling a guitar chord overhead close to strategically placed mics; and multi-tracked foot-stomps for which he wore an old pair of boots he’d had in high school boosted by a tambourine gaffer-taped to them by David Johansen, who dropped by, the New York Dolls having befriended Aerosmith earlier in the year.

Aerosmith backstage at Madison Square Garden in 1976

Aerosmith’s Joe Perry, Tom Hamilton and Joey Kramer backstage at Madison Square Garden in 1976 (Image credit: Fin Costello/Redferns)

Rocks – a title Perry had originally proposed for Toys in The Attic – was released on in May 1976, after the band had already been touring the US for a month. Its black sleeve featured a band logo and five diamonds perched on a mirror, representing both the five members and the cocaine slang of the title. It pretty much set the tone for hedonism that would follow.

Tyler: “The stadiums we played were getting bigger. Backstage set-ups became more elaborate. When we performed at the Cow Palace in San Francisco, there were pinball machines and ridiculously slammin’ naked mannequins that lined the hallways from the stage to our dressing rooms…”

Back at the hotels, Tyler’s room was party central. “We threw the TVs out of the window into the pool,” he wrote in his autobiography, Does The Noise In My Head Bother You? “If you kept the extension chords on the TVs, when they hit the water they exploded like depth charges.”

The singer was arrested more times than he can remember. He was incarcerated in Memphis after “repeated profanities” on stage, in Lincoln, Nebraska for setting off firecrackers in a Holiday Inn, and in Germany with new girlfriend Bebe Buell for blowing hash in the face of a customs officer at the airport.

The whole touring party’s reliance on drugs made crossing international borders a high-risk enterprise. For Rocks, in addition to 74 dates in the States – including their first big outdoor headliner to 80,000 at Michigan’s Pontiac Stadium in June – they played 14 shows in Europe (four of those in the UK) and seven in Japan. But brushes with the law like the one in Germany meant that apart from two dates in 1977, including the Reading Festival, Aerosmith wouldn’t need a passport again until touring Pump in 1989. The album though, knew no barriers.

The last word goes to Joe Perry. “I have a theory that with any kind of art you go through phases, periods of creativity – then periods where you have to work at it,” he said. “Sometimes you just wake up and explode, others you have to make yourself do it. There’s an ebb and a flow – especially in a band where not everyone is going to be in the same place at the same time.

“In the ’70s, when we were learning how to be recording artists, Rocks was arguably the peak, when everybody was firing on all cylinders. We were in a really creative space and everybody was in that space at the same time. That’s why it worked.”

Freelance contributor to Classic Rock and several of its offshoots since 2006. In the 1980s he began a 15-year spell working for Kerrang! intially as a cub reviewer and later as Geoff Barton’s deputy and then pouring precious metal into test tubes as editor of its Special Projects division. Has spent quality time with Robert Plant, Keith Richards, Ritchie Blackmore, Rory Gallagher and Gary Moore – and also spent time in a maximum security prison alongside Love/Hate. Loves Rush, Aerosmith and beer. Will work for food.

20 Best Songs With “Saturday” In The Title

Posted on by Logan Rocker

Come Saturday Morning  – The Sandpipers / Tony Bennett versions

“Come Saturday Morning,” performed by The Sandpipers, captures a serene and nostalgic vision of companionship and hope. This version was recorded in 1969 and featured as part of the The Sterile Cuckoo film soundtrack, produced by Mack David. The Sandpipers’ rendition became synonymous with the gentle and reflective mood of the late 1960s, perfectly complementing the film’s introspective themes. Their version was also included on their 1970 album of the same name, further cementing its place in their catalog. The soft harmonies and understated arrangement evoke a sense of wistfulness that reflects the song’s lyrical promise of meaningful moments and quiet joys.

The song’s lyrics, with lines like “Come Saturday morning, I’m goin’ away with my friend,” convey the simplicity of escaping life’s routines for a moment of connection. The Sandpipers’ version resonates with an air of quiet optimism, enhanced by their tender vocal delivery. The track charted modestly, reaching No. 17 on the Billboard Hot 100 and No. 8 on the Adult Contemporary chart, proving its appeal across audiences. This rendition’s ethereal qualities make it distinct from more energetic tracks that celebrate “Saturday,” emphasizing introspection over exuberance.

Critics praised The Sandpipers’ “Come Saturday Morning” for its elegant arrangement and its ability to evoke emotion without overwhelming instrumentation. The restrained orchestration complements the melody’s delicate rise and fall, making it a timeless piece of soft pop. Its contemplative atmosphere offers a poignant contrast to the Tony Bennett version, which explores the same song with a more refined, jazz-influenced approach.

Read More: Top 10 Tony Bennett Albums

The Sandpipers’ Original Version

Tony Bennett’s Cover Version

Tony Bennett’s version of “Come Saturday Morning” reimagines the song with a sophisticated and jazzy sensibility. Recorded for his 1970 album Tony Sings the Great Hits of Today!, this interpretation showcases Bennett’s signature vocal phrasing and nuanced expression. Produced by Teo Macero, known for his innovative work with Miles Davis, this version imbues the track with a subtle swing that transforms the wistful tune into a more polished, urban reflection. Bennett’s smooth delivery elevates the lyrics, providing an elegant contrast to The Sandpipers’ folk-pop softness.

Lyrically, Bennett’s “Come Saturday Morning” retains the heartfelt themes of companionship and respite but presents them through a lens of worldliness. His delivery of lines like “We’ll travel for miles in our Saturday smiles” carries a sophistication that adds layers of interpretation. While The Sandpipers’ version feels intimate and rural, Bennett’s rendition resonates with the allure of urban Saturday mornings filled with promise and renewal.

Although not as commercially successful as The Sandpipers’ charting single, Bennett’s version received critical acclaim for its jazz-inflected arrangement and his impeccable vocal control. It stands out as a testament to Bennett’s ability to adapt contemporary songs into his own timeless style. When compared to other songs celebrating “Saturday,” this version offers a more refined and introspective take, fitting seamlessly within Bennett’s illustrious career and broadening the emotional palette of this list.

Both renditions of “Come Saturday Morning” reflect the song’s enduring charm while showcasing the unique artistry of The Sandpipers and Tony Bennett. Their distinct interpretations enrich the song’s legacy, demonstrating how music can transcend genres and contexts to remain both meaningful and evocative.

Almost Saturday Night – John Fogerty / Dave Edmunds versions

Dave Edmunds Cover

Dave Edmunds’ rendition of “Almost Saturday Night” brings a punchier, rockabilly flair to Fogerty’s original. Released in 1981 on his album Twangin’, Edmunds recorded this version at Rockfield Studios in Monmouth, Wales. As a producer himself, Edmunds injected the song with his distinctive rockabilly sound, featuring jangling guitars, an upbeat tempo, and a slightly edgier tone. His version highlights the song’s rock roots while giving it a sharper, more rhythmic drive.

Lyrically, Edmunds stays faithful to the song’s themes of anticipation and joy, delivering lines like “Gonna call my friends on the telephone” with a spirited enthusiasm that underscores the universal appeal of Saturday’s approach. His spirited guitar solos and energetic vocal performance breathe new life into Fogerty’s original, emphasizing the song’s celebratory nature. This upbeat interpretation contrasts with Tony Bennett’s reflective and jazzy rendition of “Come Saturday Morning,” showcasing how “Saturday” songs can span a range of emotions and styles.

Edmunds’ version achieved commercial success, particularly in the UK, where it reached No. 58 on the charts. Critics praised his ability to transform the song into a rockabilly anthem, with many considering it one of the standout tracks on Twangin’. The song’s energetic delivery makes it a natural fit for Edmunds’ catalog, sitting comfortably alongside his other hits that celebrate the intersection of rock and roll with timeless storytelling.

Read More: Top 10 Dave Edmunds Songs

John Fogerty’s Orginal Version

John Fogerty’s “Almost Saturday Night” is a celebratory anthem of anticipation, capturing the excitement and promise of a night out. Originally released in 1975 on his self-titled album John Fogerty, the song was recorded at Fantasy Studios in Berkeley, California. Produced by Fogerty himself, this track epitomizes his signature blend of swamp rock and Americana. Fogerty handled most of the instrumentation, showcasing his skills on vocals, guitar, and keyboards, with the rhythm section adding a driving, upbeat pulse to the track’s infectious energy.

The lyrics, with lines like “Outside my window, I can hear the radio, and I know that the weekend’s near,” paint a vivid picture of small-town life and the communal joy of weekend escapism. Fogerty’s gravelly voice brings a sense of authenticity, making the song resonate as a universal celebration of winding down from the week. Compared to the reflective tone of “Come Saturday Morning” by The Sandpipers, “Almost Saturday Night” is unabashedly joyous, a declaration of embracing the moment with open arms.

Critically, the song didn’t achieve major chart success, but it has since become a beloved staple in Fogerty’s catalog, often highlighted as a perfect example of his ability to craft relatable, feel-good rock songs. Its driving rhythm and catchy melody have earned it a lasting place in classic rock playlists, standing as a quintessential track about Saturday’s anticipation.

Looking For The Heart Of A Saturday Night – Tom Waits / Diana Krall version

Diana Krall’s Cover Version

Diana Krall’s interpretation of “Looking for the Heart of a Saturday Night” reimagines the song with a smooth jazz sensibility, bringing a new warmth to Tom Waits’ contemplative original. Featured on her 2007 compilation album The Very Best of Diana Krall, Krall recorded her version with an ensemble of accomplished jazz musicians, highlighting her signature sultry vocals and sophisticated piano accompaniment. The production, overseen by Tommy LiPuma, lends the song a lush, polished texture that transforms its mood while staying true to the spirit of the lyrics.

In Krall’s hands, the song’s narrative takes on a more intimate, introspective tone. Her delivery of lines like “And you’re stumbling, you’re stumblin’ onto the heart of Saturday night” carries a sense of yearning tinged with hope, offering a fresh emotional perspective. The understated instrumentation complements her vocal nuances, emphasizing the reflective quality of the lyrics. While Tom Waits’ original evokes the restless search for meaning, Krall’s version leans into the quiet beauty of the journey, creating a contrast that adds depth to the song’s interpretation.

Read More: Top 10 Diana Krall Songs

Tom Waits’ Orginal Version

Tom Waits’ “Looking for the Heart of a Saturday Night” is a poetic and evocative exploration of longing, nostalgia, and the quiet magic of ordinary moments. Released in 1974 as the title track of his second studio album, The Heart of Saturday Night, the song was recorded at Wally Heider Studios in Los Angeles. Produced by Bones Howe, the track captures Waits’ early jazz and folk-inspired sound, featuring his gravelly voice accompanied by a subdued arrangement of piano, upright bass, and acoustic guitar. The musicianship provides a perfect backdrop for Waits’ vivid, lyrical storytelling.

The song’s lyrics, rich with imagery, transport the listener into the world of a solitary wanderer searching for connection and meaning amidst the nightlife. Lines such as “You’re barrelling down the boulevard / Looking for the heart of Saturday night” convey both the physical journey and the emotional depth of yearning for something intangible. Waits’ delivery is intimate and reflective, allowing the listener to feel the weight of his words. Compared to the jubilant energy of “Almost Saturday Night” by John Fogerty, Waits’ approach is contemplative, capturing the melancholy side of Saturday’s allure.

Critically, “Looking for the Heart of a Saturday Night” has been hailed as one of Waits’ most defining songs, showcasing his ability to blend narrative depth with understated musical arrangements. The album itself is considered a cornerstone of Waits’ early career, setting the stage for his evolution into a more experimental artist. The song’s quiet power and timeless themes resonate with audiences, making it a reflective counterpoint to other entries on this list that celebrate Saturday with unbridled energy.

Read More: Top 10 Tom Waits Songs Of The 1970s

Saturday Night (Is The Loneliest Night In The Week) – Frank Sinatra / Julie London versions

Julie London Ballad Version

Julie London’s rendition of “Saturday Night (Is the Loneliest Night in the Week)” offers a sultry and intimate take on the classic tune. Recorded in 1961 and featured on her album Whatever Julie Wants, this version was produced by Si Waronker and arranged by Pete King. London’s smoky vocals, paired with a softer, jazz-infused arrangement, bring a more introspective and personal feel to the song, contrasting with the lively swing of Sinatra’s interpretation.

London’s nuanced delivery brings out the poignancy in lyrics such as “I sing the song that I sang for the memories I usually seek,” revealing the quiet heartache behind the music. Her slower tempo and stripped-down instrumentation highlight the song’s melancholy, offering a fresh emotional perspective. While Sinatra’s version dances around the pain with upbeat exuberance, London leans into the solitude, creating a performance reminiscent of Diana Krall’s reflective approach to “Looking for the Heart of a Saturday Night.”

Though not a major chart hit, London’s rendition earned critical acclaim for its restrained elegance and emotional depth. Critics have praised her ability to reinterpret standards with a unique blend of warmth and detachment, adding layers of complexity to the song’s narrative. Her version stands as a testament to her skill as a jazz vocalist, transforming a big-band staple into a smoky lounge ballad.

Frank Sinatra Swing Version

Frank Sinatra’s “Saturday Night (Is the Loneliest Night in the Week)” stands as a timeless classic, combining heartfelt lyrics with a lively big-band arrangement. First recorded in 1944 at Columbia Records under the production of Axel Stordahl, Sinatra was backed by a robust orchestra that brought vibrancy to this bittersweet tune. Written by the legendary songwriting duo of Jule Styne and Sammy Cahn, the song captures the aching loneliness of a Saturday night spent alone, juxtaposed with an upbeat, danceable rhythm that heightens the emotional contrast.

Sinatra’s vocal performance brims with charm and longing, perfectly encapsulating the duality of the lyrics. Lines like “Saturday night is the loneliest night in the week” resonate universally, speaking to the solitude felt in the absence of companionship. His delivery gives the song both intimacy and broad appeal, reflecting the same emotional depth found in Tom Waits’ “Looking for the Heart of a Saturday Night,” though with a distinctly upbeat presentation. Sinatra’s version was a commercial success, reaching No. 2 on the Billboard charts in 1945, cementing its place as one of his early career highlights.

Critically, the song has been lauded for its clever arrangement and relatable sentiment, earning praise for its ability to balance melancholy with exuberance. The energetic brass sections and syncopated rhythm create a lively backdrop, while Sinatra’s smooth phrasing adds a touch of sophistication. Compared to Diana Krall’s introspective version of “Looking for the Heart of a Saturday Night,” Sinatra’s performance transforms Saturday’s loneliness into a communal experience, resonating across generations.

Read More: Top 10 Frank Sinatra Songs

Saturday’s Child – The Monkees / Herman’s Hermits versions

The Monkees’ “Saturday’s Child” is a dynamic blend of rock and pop, showcasing the band’s early penchant for catchy melodies and youthful energy. Written by David Gates, who later found fame with the band Bread, the song was featured on The Monkees’ self-titled debut album, released in 1966. Produced by Tommy Boyce and Bobby Hart, the track was recorded at RCA Victor Studios in Hollywood, California. The song captures the carefree spirit of the 1960s, highlighting the band’s fresh sound and their ability to bridge pop sensibilities with rock undertones.

Lyrically, “Saturday’s Child” tells the story of a free-spirited girl born under the astrological influence of Saturday, believed to be hardworking and loving. Lines like “She’ll work and slave with a smile on her face” reflect a blend of admiration and lighthearted storytelling, delivered with a driving beat and jangly guitar riffs. Lead vocals by Micky Dolenz bring an infectious energy to the track, with his vibrant delivery perfectly complementing the playful instrumentation. While less introspective than Tom Waits’ “Looking for the Heart of a Saturday Night,” “Saturday’s Child” offers an upbeat celebration of youth and optimism.

Critics have often highlighted the song as an example of The Monkees’ ability to deliver polished pop-rock that resonated with their fanbase. Although it wasn’t released as a single, “Saturday’s Child” became a favorite on the album, praised for its spirited arrangement and Dolenz’s standout performance. It remains a testament to the band’s early success in combining commercial appeal with credible musicianship.

Read More: Top 10 Songs From The Monkees

The Monkees Version

Herman’s Hermits Version

Herman’s Hermits’ version of “Saturday’s Child” provides a breezier and more polished take on David Gates’ original composition, leaning heavily into the band’s signature British Invasion style. Recorded in 1967 and included on their album Blaze, the track was produced by Mickie Most, whose expertise in crafting hit records helped define the band’s sound. With its lighter instrumentation and Peter Noone’s charismatic vocals, this version carries a distinctly playful charm that distinguishes it from The Monkees’ more robust arrangement.

In Herman’s Hermits’ hands, the song’s lyrics, such as “She’s the kind of girl who makes you want to stay out late,” feel less grounded in rock grit and more aligned with the polished, carefree pop that defined the British Invasion. Noone’s vocal delivery is soft and endearing, giving the track a warm, approachable feel. Compared to the more rebellious tone of Elton John’s “Saturday Night’s Alright for Fighting,” Herman’s Hermits’ “Saturday’s Child” leans into a cheerful and upbeat aesthetic.

Though not as commercially prominent as other songs in https://www.youtube.com/watch?v=qxIGQEiPlhUtheir repertoire, Herman’s Hermits’ rendition of “Saturday’s Child” received favorable reviews for its effortless charm and catchy melody. It reflects the band’s ability to adapt songs to their distinct style, delivering a version that feels lighter and more refined while still capturing the song’s core themes of love and admiration.

Read More: Top 10 Herman’s Hermits Songs

Jukebox Saturday Night – Glenn Miller

Glenn Miller’s “Jukebox Saturday Night” is a lively celebration of the post-war jukebox culture that defined a generation. Recorded in 1944 by Glenn Miller and His Orchestra, the song features vocals by Marion Hutton, Tex Beneke, and The Modernaires. Written by Albert Stillman and Paul McGrane, the track captures the essence of Saturday evenings spent reveling in the joy of music, camaraderie, and the vibrant nightlife of the era. Produced during a time when big band music was at its peak, the recording epitomizes the upbeat and joyous spirit synonymous with Miller’s orchestra.

The song’s lyrics, rich with clever references to popular hits of the day, such as “Mairzy Doats” and “Little Brown Jug,” provide a playful and nostalgic glimpse into the jukebox scene. Lines like “Moppin’ up soda pop rickeys / To our hearts’ delight” convey a sense of youthful exuberance and carefree fun, perfectly matched by the orchestra’s swinging rhythm and tight brass arrangements. Marion Hutton’s bright vocals add a layer of charm, while Tex Beneke and The Modernaires’ harmonies bring a sense of community to the track. Compared to the introspective tone of Tom Waits’ “Looking for the Heart of a Saturday Night,” Miller’s track offers a buoyant and communal celebration of the weekend.

Critically, “Jukebox Saturday Night” has been recognized as a quintessential example of 1940s big band music, blending sophisticated arrangements with a playful, accessible charm. While it wasn’t a chart-topping single, the song became a favorite among Miller’s fans and remains a beloved classic in the big band repertoire. Its depiction of a simpler, more carefree era adds a nostalgic charm that has allowed it to endure for decades.

Nino and the Ebb Tides Version

Nino and the Ebb Tides’ version of “Jukebox Saturday Night” reinvents Glenn Miller’s big band classic with a doo-wop twist, bringing the song into the 1960s. Released in 1961, this rendition blends the nostalgic elements of the original with the vocal harmony-driven style that defined doo-wop music. The group’s vibrant performance introduces the song to a new generation, infusing it with a modern energy while retaining its joyful spirit.

Lyrically, Nino and the Ebb Tides remain faithful to the original, preserving its playful nods to jukebox culture and the spirit of carefree Saturday nights. However, their arrangement strips back the big band instrumentation in favor of tight vocal harmonies and a rhythm section characteristic of the doo-wop genre. This reimagined sound makes the track feel more intimate while still celebrating the communal aspects of a night centered around music and dancing. In contrast to Elton John’s raucous “Saturday Night’s Alright for Fighting,” this version exudes a more lighthearted and nostalgic vibe.

Although it didn’t achieve significant commercial success, Nino and the Ebb Tides’ version of “Jukebox Saturday Night” was praised for its inventive reinterpretation of a big band standard. Critics noted the group’s ability to balance reverence for the original with their unique stylistic spin, making it a standout track in their discography. This rendition underscores the versatility of the song, proving its timelessness as it transitions seamlessly between musical eras.

Both Glenn Miller’s and Nino and the Ebb Tides’ versions of “Jukebox Saturday Night” highlight the enduring appeal of music as a communal experience. While Miller’s original reflects the exuberance of the 1940s, Nino and the Ebb Tides’ doo-wop update offers a nostalgic yet modern take, demonstrating the song’s ability to resonate across decades and genres. Together, they celebrate the joy and unity that Saturday nights—and jukeboxes—have brought to countless generations.

Another Saturday Night – Sam Cooke / Cat Stevens versions

Cat Stevens’ Cover Version

Cat Stevens’ version of “Another Saturday Night” reinterprets the song with a folk-rock sensibility, bringing a fresh perspective to Sam Cooke’s original. Recorded in 1974 and included on the compilation album Buddha and the Chocolate Box, Stevens’ rendition retains the humor and charm of the original while adding his signature blend of introspection and warmth. Produced by Stevens and Paul Samwell-Smith, the track features acoustic guitar, gentle percussion, and Stevens’ rich, emotive vocals, giving the song a more contemplative feel.

Lyrically, Stevens stays faithful to the original, delivering lines like “I’ve got some money ’cause I just got paid” with a mix of playful optimism and subtle melancholy. His vocal approach brings a different emotional dimension, leaning more toward self-reflection than Cooke’s lively yet frustrated tone. Compared to Sinatra’s “Saturday Night (Is the Loneliest Night in the Week),” which transforms solitude into an upbeat swing, Stevens’ rendition offers a quieter, more grounded take on the same theme of isolation.

Stevens’ version achieved moderate success, charting in the Top 10 in several countries, including the UK and Canada, showcasing the song’s universal appeal across genres and generations. Critics have noted how Stevens’ interpretation underscores his ability to reinterpret classics without losing their essence, making it a standout moment in his catalog. The song’s folk-rock flavor complements Stevens’ other works, while its lighthearted lyrics keep it engaging and accessible.

Read More: Top 10 Cat Stevens Songs

Sam Cooke’s Orginal Version

Sam Cooke’s “Another Saturday Night” is a soulful lament about loneliness and the search for companionship, capturing the universal experience of a Saturday night spent alone. Recorded in 1963 and released as a single in 1964, the song was produced by Hugo & Luigi and recorded at RCA Studios in Hollywood, California. Featuring Cooke’s velvety voice and a playful melody, the track is underpinned by a gospel-influenced rhythm section that mirrors Cooke’s roots while delivering a crossover pop hit. The lighthearted, upbeat tempo contrasts beautifully with the song’s lyrical theme of frustration and yearning.

The lyrics, with lines like “Another Saturday night and I ain’t got nobody,” reflect the irony of feeling alone on a night traditionally associated with social connection and celebration. Cooke’s delivery balances humor and sincerity, allowing the listener to feel both the wistfulness and the wry self-awareness embedded in the song. This duality sets it apart from more introspective Saturday-themed tracks like Tom Waits’ “Looking for the Heart of a Saturday Night,” which delves into existential longing, while Cooke keeps the tone accessible and relatable.

“Another Saturday Night” became a commercial success, peaking at No. 10 on the Billboard Hot 100 and No. 1 on the R&B Singles chart. Critics have praised the song for its clever lyricism and Cooke’s magnetic performance, solidifying its place as one of his many timeless hits. The track’s mix of upbeat rhythm and heartfelt lyrics makes it an enduring anthem for solitary Saturday nights, standing as a high point in Cooke’s illustrious career.

Read More: Top 10 Sam Cooke Songs

Saturday Night Special –  Lynyrd Skynyrd / Armored Saint versions

Lynyrd Skynyrd Orginal Version

Lynyrd Skynyrd’s “Saturday Night Special” is a hard-hitting critique of gun violence, delivered with the band’s signature Southern rock swagger. Released in 1975 as the opening track of their third studio album, Nuthin’ Fancy, the song was recorded at Studio One in Doraville, Georgia, and produced by Al Kooper. The lineup included Ronnie Van Zant on vocals, Gary Rossington and Allen Collins on guitars, Ed King on bass, Billy Powell on keyboards, and Artimus Pyle on drums. Together, the band created a gritty, powerful track that combines social commentary with the energy of rock and roll.

The lyrics of “Saturday Night Special” take aim at the prevalence of handguns and the dangers they pose, with lines like “Handguns are made for killing / They ain’t no good for nothing else” making its anti-gun stance clear. Van Zant’s vocal delivery, filled with both conviction and weariness, underscores the gravity of the message. Musically, the song features Rossington and Collins’ searing guitar riffs, which elevate the urgency of the track while grounding it in the band’s Southern rock roots. Compared to the soulful loneliness of Sam Cooke’s “Another Saturday Night,” this track offers a more intense and politically charged perspective on Saturday nights.

“Saturday Night Special” reached No. 27 on the Billboard Hot 100 and became a staple of Lynyrd Skynyrd’s live performances. Critics praised the band’s willingness to tackle a controversial topic, as well as the track’s tight musicianship and raw energy. Its success helped solidify Nuthin’ Fancy as a pivotal album in the band’s career and highlighted their ability to blend socially conscious lyrics with their hard-rocking sound.

Read More: Top 10 Lynyrd Skynyrd Songs

Armored Saint’s Cover Version

Armored Saint’s version of “Saturday Night Special” reimagines the Lynyrd Skynyrd classic through the lens of heavy metal, bringing a darker, more aggressive edge to the track. Released in 1988 on their album Saints Will Conquer, a live album that also featured studio recordings, this rendition retains the song’s anti-gun message while amplifying its intensity. The band, consisting of John Bush on vocals, Phil Sandoval and Jeff Duncan on guitars, Joey Vera on bass, and Gonzo Sandoval on drums, infused the track with their characteristic metal sound.

While Armored Saint remains faithful to the original lyrics, Bush’s commanding vocal delivery brings a heightened sense of urgency to lines like “It’s time we stop the fight,” emphasizing the track’s call for change. The heavy guitar riffs and pounding drums inject the song with a new vitality, making it feel more suited to the late 1980s metal scene. Compared to Julie London’s sultry jazz rendition of “Saturday Night (Is the Loneliest Night in the Week),” Armored Saint’s version of “Saturday Night Special” brims with unrelenting intensity and raw power.

Read More: Joey Vera of Armored Saint: The ClassicRockHistory.com Interview

Saturday Night’s Alright For Fighting – Elton John / The Who versions

Elton John’s Orginal Version

Elton John’s “Saturday Night’s Alright for Fighting” is an adrenaline-fueled anthem of youthful rebellion and rowdy weekend nights. Released in 1973 as the lead single from his Goodbye Yellow Brick Road album, the song was recorded at Château d’Hérouville in France and produced by Gus Dudgeon. Written by John and longtime lyricist Bernie Taupin, the track is a tribute to Taupin’s memories of lively Saturday nights in his youth, complete with barroom brawls and an electric atmosphere. Featuring Elton John on piano and vocals, Davey Johnstone on guitar, Dee Murray on bass, and Nigel Olsson on drums, the song is a high-octane blend of rock and roll energy and vivid storytelling.

The lyrics capture the reckless thrill of cutting loose, with lines like “Don’t give us none of your aggravation / We’ve had it with your discipline” reflecting the defiant spirit of its protagonist. John’s driving piano riffs, paired with Johnstone’s ferocious guitar work, create a soundscape that mirrors the chaotic energy of the night described in the song. Unlike the introspection found in Sam Cooke’s “Another Saturday Night,” John’s track embraces unrestrained exuberance, making it a definitive rock anthem for weekend revelry.

“Saturday Night’s Alright for Fighting” was a commercial success, charting at No. 7 in the UK and No. 12 on the Billboard Hot 100. Critics praised its raw power and John’s ability to channel a more aggressive sound without losing his signature melodic touch. Over the years, the song has become a staple of John’s live performances, cementing its place as one of his most enduring hits. Its unbridled energy contrasts sharply with more somber entries on this list, highlighting the multifaceted ways artists approach the theme of Saturday night.

Read More: 20 Best Elton John Songs To Turn Up To Eleven

The Who’s Cover Version

The Who’s rendition of “Saturday Night’s Alright for Fighting” takes Elton John’s original and amplifies its raw rock intensity. Featured on the 1991 Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin tribute album, The Who recorded their version with characteristic swagger and explosive energy. Produced by Jon Astley and featuring Roger Daltrey on vocals, Pete Townshend on guitar, John Entwistle on bass, and Simon Phillips on drums, the track captures the band’s ability to channel aggression and controlled chaos into their music.

The Who’s interpretation leans heavily on their signature sound, with Townshend’s blistering guitar riffs and Phillips’ thunderous drumming giving the song an added layer of ferocity. Daltrey’s vocals inject a rebellious grit into lines like “Get about as oiled as a diesel train / Gonna set this town alight,” emphasizing the reckless abandon at the heart of the song. Compared to Julie London’s smoky rendition of “Saturday Night (Is the Loneliest Night in the Week),” The Who’s version of “Saturday Night’s Alright for Fighting” is a full-throttle celebration of defiance and liberation.

While The Who’s version didn’t chart as a single, it was widely praised for its high-energy reinterpretation and its ability to honor the spirit of the original while making it unmistakably their own. Critics noted the seamless match between the song’s themes and The Who’s rebellious ethos, making it a standout track on Two Rooms. This version further underscores the song’s enduring appeal as an anthem for breaking free and living boldly.

Read More: The Who’s Best Song On Each Of Their Studio Albums

Saturday in the Park – Chicago / Peanuts Gang versions

“Saturday in the Park” by Chicago is a timeless anthem of joy, community, and optimism, encapsulating the spirit of a carefree weekend afternoon. Released as the lead single from their 1972 album Chicago V, the track was written by keyboardist and vocalist Robert Lamm and recorded at Columbia Recording Studios in New York City. Produced by James William Guercio, the song features Chicago’s signature fusion of rock and jazz, with Lamm on lead vocals and piano, Peter Cetera on bass and backing vocals, Terry Kath on guitar, Danny Seraphine on drums, and the iconic horn section—Lee Loughnane, James Pankow, and Walter Parazaider—adding vibrant brass flourishes.

The lyrics, inspired by Lamm’s experience in Central Park, evoke vivid imagery of a sunny, festive scene with lines like “Saturday in the park / I think it was the Fourth of July.” The song captures a universal feeling of contentment and togetherness, underscored by the jubilant arrangement. Compared to the nostalgic melancholy of Sam Cooke’s “Another Saturday Night,” “Saturday in the Park” radiates unbridled optimism, celebrating life’s simple pleasures. Lamm’s soulful delivery and the lively interplay of the horns create a mood that is as uplifting as it is timeless.

“Saturday in the Park” was a commercial triumph, peaking at No. 3 on the Billboard Hot 100 and becoming one of Chicago’s most enduring hits. Critics lauded its warm, accessible vibe and sophisticated musicianship, with the song often cited as a highlight in the band’s extensive catalog. Its ability to resonate across generations underscores its universal appeal, standing out among the varied takes on Saturday highlighted in this list.

Adding a unique twist to this closing entry is a fan-made parody video by Garren Lazar, who cleverly syncs “Saturday in the Park” with footage of the beloved Peanuts gang. This whimsical reinterpretation, blending the song’s joyous tone with the charm of Charles Schulz’s iconic characters, has garnered widespread appreciation online. The video’s playful execution underscores the song’s versatility, proving it can bridge eras and mediums while retaining its joyful essence.

By concluding the list with “Saturday in the Park,” we return to the heart of what makes Saturday such a celebrated day in music—a time for relaxation, connection, and embracing the simple joys of life. Whether through Chicago’s vibrant original or the Peanuts-inspired parody, this song captures the universal allure of a perfect Saturday.

Read More: Complete List Of Chicago Albums And Songs

Peanuts Gang Lip Synching Version (Fan Creation) by Garren Lazar

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

20 Best Songs With “Saturday” In The Title  article published on Classic RockHistory.com© 2024

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ACCEPT Announced As Special Guests For JUDAS PRIEST Dates In Germany

Posted on by Logan Rocker

December 20, 2024, 9 minutes ago

news heavy metal accept judas priest

ACCEPT Announced As Special Guests For JUDAS PRIEST Dates In Germany

German heavy metal legends, Accept, have announced four dates supporting Judas Priest on their “Shield Of Pain” tour in June and July, 2025.

Says Accept: “EXCITING ANNOUNCEMENT FOR METAL FANS!! Accept will be sharing the stage with Judas Priest in 2025! FOUR shows in Germany!! Save these dates in your Metal Diary and get your tickets today! Bonus points for diehard fans who know when the last time these 2 Heavy Metal Titans toured together last!”

Accept dates with Judas Priest:

June
17 – Stuttgart, Germany – Schleyerhalle
18 – Bad Vilbel, Hessen, Germany – Stadtwerke Arena

July
13 – Munich, Germany – Olympiahalle
20 – Oberhausen, Germany – Rudolf-Weber-Arena

(Photo – Christoph Vohler)


KING DIAMOND Legends Answer BraveWords Rapid Fire Questions – “I Was A 13 Year Old Guitarist, Big KISS Fan And We Were Called DEUCE And I Said To Myself, ‘This Is What I Wanna Do’”

Posted on by Logan Rocker

KING DIAMOND Legends Answer BraveWords Rapid Fire Questions - “I Was A 13 Year Old Guitarist, Big KISS Fan And We Were Called DEUCE And I Said To Myself, ‘This Is What I Wanna Do’”

Legendary King Diamond members Andy LaRocque and Pontus Egberg spoke to BraveWords recently about their current tour and they answered our always-popular Rapid Fire questions where we keep things light and have a little fun with some revealing responses!

BraveWords: Do you remember the moment that you looked in the mirror and said, “Music is going to be my life, that’s it.”?

Egberg: “I think for me, when I first heard AC/DC‘s live album If You Want Blood You’ve Got It, that was pretty much, ‘OK this seems like fun’. I mean that recording is just incredible. That really hooked me into music and hard rock and metal music. That’s what I wanted to do.”

LaRocque: “I think I was about 13 years old, playing with another guy, he was the bass player, I was a guitarist, and we were called Deuce – the song from KISS, you know the song from ‘75 or ‘76. And you know I said to myself, ‘This is what I wanna do.’ 13 years old. And I loved KISS back at that time. And of course, other bands too, but KISS was a great inspiration when I was really really young. KISS, Alice Cooper, T-Rex, all these bands back in the 70s.”

BraveWords: Who is your rock star?

Egberg: “Hmm, Andy LaRocque!”

BraveWords: Good one! That will pay the bills!

LaRocque: “I would say for me, oh, there are so many. One of my heroes was Randy Rhoads. And Michael Schenker, and you know, actually, talking about Randy Rhoads, a few days ago we met the producer of the first Ozzy album, Max Norman, who I’m a big fan of. Such a great guy! Totally down to earth. He told me some things about the recordings with Randy and stuff that was so interesting and so cool to hear, because I’ve got my own studio too of course, where I produce a lot of other bands. Very, very interesting to hear his side of things because he’s a few days older than me, and back in the analogue days, you know? Where everything was on tape, and all the tricks they had back in that time so, to me, he is also a kind of an inspiration. Max Norman, a really great, legendary producer.”

BraveWords: Have you ever asked for an autograph?

LaRocque: Yes! Phil Lynott back in 1980. I was like 17 or 18 I met Phil Lynott, and I was like, ‘Wow!’ I got his autograph. I was a big Thin Lizzy fan back then.”

BraveWords: That’s amazing actually. I don’t meet too many who met Phil or saw the band perform live.

LaRoque: “Yeah, great band.”

Egberg: “Yeah, really.”

BraveWords: What do you think about this vinyl craze and do you remember buying your first piece of vinyl? And what was it?

Egberg: “My first vinyl was KISS’ Love Gun. Yes, me and my dad drove to the record store.”

LaRoque: “My first album was a band called Status Quo, a British band. There was an album called Piledriver. You know it?”

BraveWords: Yes, I do. That was a famous record.

LaRocque: “That was a great album.”

Egberg: “But about vinyl becoming as popular as it was again, actually it’s a better format than the CD, it’s a little bigger and you can see the artwork, all that stuff. Which is nice.”

BraveWords: Tell me about the support system from your family, when they realized you weren’t going to be a doctor or a lawyer. And I’m sure your families have seen you perform. What do they think when they see you on stage? Are they running away (laughs)!?

Egberg: “No, my parents have always been, even when I was younger, supportive of what I wanted to do. And when we played Stockholm the last time, in 2019 I think, my parents came out and watched the show and they – I think they think maybe it’s a bit weird – but I think they enjoyed it. So, it’s a big spectacle.”

LaRocque: “Same here. When I was younger, my parents drove me to different rehearsal spaces, with the Marshall cab in the back and the amp and the guitar. I was like 13 or 14 years old playing with different bands or in different rehearsal spaces. They’ve always been very supportive, you know. Which was of course a great help.”

BraveWords: Do you recall a gig that you regret that you turned down?

LaRocque: “No. To be honest, not really, no.”

Egberg: “I’m not in the habit of turning gigs down.”

BraveWords: We know the icons, you’re one of them. Metallica, Maiden, Priest and King Diamond – where is the torch going to get passed? Give it 10 or 15 or 20 years, is it going to be the KISS hologram show with all these bands? Where do you think it’s gonna go?

LaRocque: “A few years ago, Sabbath called it quits, and it’s going to evolve. It’s hard to know now what bands are going to be like the icons in 5 or 10 years, but there are bands coming from underneath, filling up I think. It’s a tricky question, and I hope it’s not going to go to where it’s the hologram shows are taking over. I mean that’s a fun thing, but I have a hard time believing that that can replace the real live show.”

BraveWords: This is directed to you, Andy. Your studio Sonic Train, you obviously see a lot of new bands. Is there anything you see that you think would replace Metallica in a few years? Are you seeing a lot of nice talent come through your studio?

LaRocque: “I do. I really do. There are a lot of bands, actually. Nothing I can recall right now, but I work with maybe 10 different bands every year, you know? Some of them are really good, talented, musicians, so all I can say is that I really hope they can work their way through and, get a break. There are a lot of them. Really good bands out there. It’s just a matter of getting the right deal, the right contact, to get through. There are a lot of bands out there, that’s for sure. So what I can do in the studio, is that I try to give them the best possible tools – good sound, and try to help them every way I can to help them get through, you know? A lot of great talent out there you know. For sure.”

BraveWords: How do they get over the intimidation factor meeting you?

LaRocque: “That’s usually not a problem. Sometimes they think, ‘Oh how is that going to be, meeting Andy in the studio?’ and all that, but after just a few minutes, they will realize that, you know, it’s a very cool, laid-back kind of environment to work in. And they’ll realize that, I’m not like that, you know?”

BraveWords: It’s a reflection of your demeanour because I’ve met you a couple of times, and you’re a wonderful soul.

LaRoque: “I just try to take care of them the best possible way, to make them feel comfortable. That’s usually how it works out.”

BraveWords: Aside from your passport and your phone what do you always travel with?

Egberg: “Wow. My credit cards, ha ha.”

BraveWords: But that could be on your phone these days.

Pontus: “True. I don’t really have any special stuff that I always have to bring with me. Maybe a power adaptor!”

BraveWords: The right one for the right country! OK, you’re in a bar and there’s an empty stool beside you. Who would you like to sit in it?

LaRocque: “My wife. When we’re on tour.”

Egberg: “Good one, good one.”

LaRocque: “She’s going to see this.”

Egberg: “Yeah, I can’t argue with that. I will have to go for that, too.”

BraveWords: Andy’s wife (laughing)?

Egberg: (laughing) “My own wife. But she’s always welcome to sit next to me, too.”

LaRocque: “They were just down for the weekend and it’s always good when they come out for a couple of days, to join on the bus and hang around do you know? They know most of the guests we have backstage, they know mostly all of them, so they host them and take care of them. It’s great to have them out once in a while.”


KERRY KING, BRUCE DICKINSON, JUDAS PRIEST, OPETH Among Acts Featured On Rolling Stone’s “The 20 Best Metal Albums Of 2024” List

Posted on by Logan Rocker

KERRY KING, BRUCE DICKINSON, JUDAS PRIEST, OPETH Among Acts Featured On Rolling Stone's

Rolling Stone has released their list of “The 20 Best Metal Albums of 2024”. An introduction follows…

“Aggression can be healing – that’s a fact that fans of metal, hardcore punk, and extreme music know all too well. No matter what you worried about over the past year, there was plenty of great deafening music to serve as your crucible, an artful rage with the power to transform your agony into something greater, something better than it was. That healing anger fuelled Kerry King’s post-Slayer masterpiece From Hell I Rise, Sumac’s avant-garde The Healer, and Knocked Loose’s You Won’t Go Before You’re Supposed To. And it pulsed through great records by High On Fire, Blood Incantation, Unholy Altar, Chat Pile, and Huntsmen. So here’s a “Crown of Horns,” to use a Judas Priest song title, for the 20 best and loudest albums of 2024.”

Topping the list is Kerry King with his solo debut From Hell I Rise. Other placements include Opeth’s The Last Will And Testament (#2), Iron Maiden frontman Bruce Dickinson’s The Mandrake Project (#5), and Judas Priest’s Invincible Shield (#7).

About King’s From Hell I Rise, Rolling Stone’s Kory Grow writes: “The first solo album from former Slayer guitarist Kerry King is basically the “Still D.R.E.” of thrash metal. But where Dr. Dre wanted to remind his fans that he was still puffin’ his leafs, still fucking with beats, and still not lovin’ police after close to a decade of absence, King wants his fans to understand that even though Slayer are essentially hell bound, he’s still Satan’s preeminent ambassador. On From Hell I Rise, King is still drinkin’ his tequila, still fucking with riffs, and still not lovin’ the priests. In other words, it sounds like Slayer — and at times, Slayer at their best.”

Find out who else made the list, and in what position, at RollingStone.com.

(Kerry King photo – Jim Louvau)


GLYN JOHNS To Receive The Recording Academy’s “Trustees Award”; Pioneering Producer/Engineer Worked With LED ZEPPELIN, ROLLING STONES, THE BEATLES, THE WHO

Posted on by Logan Rocker

GLYN JOHNS To Receive The Recording Academy's

Ahead of the 2025 Grammys, the Recording Academy has announced the 2025 Special Merit Awards honorees.

Frankie Beverly, The Clash, Dr. Bobby Jones, Taj Mahal, Prince, Roxanne Shante, and Frankie Valli are the 2025 Recording Academy Lifetime Achievement Award honorees. Trustees Awards will go to Erroll Garner, Glyn Johns, and Tania León, and the Technical Grammy Award will honor Dr. Leo Beranek.

An official Grammy Week 2025 event, the Recording Academy’s Special Merit Awards Ceremony, sponsored by Budweiser, celebrating the 2025 Special Merit Award recipients will return to the Wilshire Ebell Theater in Los Angeles on Saturday, February 1, one day ahead of the 2025 Grammys, officially known as the 67th Grammy Awards.

“It’s an amazing privilege to honor this eclectic group of music icons during the year’s biggest week in music,” Recording Academy CEO Harvey Mason jr. said in a statement. “Each of this year’s Special Merit Award recipients has left an indelible mark on music, from paving the way for others to innovation that forever has changed the trajectory of the musical landscape. We can’t wait to celebrate this group and their achievements in February.”

Glyn Johns is a pioneering producer and sound engineer who has helped shape some of the most influential recordings in modern music history. His career began in 1959 when he quickly set himself apart as a curious and experimental engineer, gaining recognition as possibly the first engineer to operate on a freelance basis. From his early days at IBC Studios in London to his enduring legacy with rock’s most legendary acts, his enormous discography features legends such as the Rolling Stones, The Beatles, Led Zeppelin, The Who, the Eagles, Eric Clapton, and The Clash amongst many others. In 2012, his immeasurable contributions were recognized when he was inducted into the Rock And Roll Hall Of Fame with the “Award for Musical Excellence”. His legacy in rock music is profound, with his techniques and ethics continuing to influence modern producers and engineers.

Grammy Week is the Recording Academy’s weeklong celebration comprising official Grammy Week events celebrating the music community and current Grammy nominees in the lead-up to the annual Grammy Awards. Grammy Week 2025  culminates with the 2025 Grammys, officially known as the 67th Annual Grammy Awards, which take place live on Sunday, February 2, at Crypto.com Arena in Los Angeles. The 2025 Grammys will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 PM, ET/5-8:30 PM, PT. Prior to the telecast, the 2025 Grammy Awards Premiere Ceremony will be held at the Peacock Theater at 12:30 PM, PT/3:30 PM, ET and will be streamed live on live.Grammy.com and the Recording Academy’s YouTube channel.

For more details on The Recording Academy’s 2025 Special Merit Awards, head here.


SCOTT STAPP’s “Black Butterfly” Becomes Second Top Ten Hit From Higher Power Album

Posted on by Logan Rocker

SCOTT STAPP's “Black Butterfly” Becomes Second Top Ten Hit From Higher Power Album

Scott Stapp’s “Black Butterfly” has become the rocker’s second Top Ten single from his chart-topping solo album, Higher Power (Napalm Records), according to Mediabase’s Active Rock chart. It follows title track “Higher Power” which rose to #8 earlier this year.

It’s been a transformative year for Stapp, who released Higher Power, made his theatrical debut with a cameo in Reagan, and performed his stunning acoustic duet with Dorothy, “If These Walls Could Talk”, during his Grand Ole Opry debut. Simultaneously, Creed’s reunion became “something this industry has never seen” (Pollstar) – the band will close the year with two New Year’s Eve shows at Caesars Palace in Las Vegas (12/30 & 12/31) and resume in April 2025 with a sold-out rock cruise, a Stagecoach performance, and 23 newly announced dates extending their sold-out tour through next summer.

Watch the official video for “Black Butterfly”:

Higher Power is available in the following formats:

– Digital Album    
– CD Digisleeve
– Solid Viola Gatefold Vinyl LP        
– Black/Red Splatter Gatefold LP – Die Hard Edition w/ Slipmat & Record Butler (Napalm Mail Order Only, Limited to 300)

Order here.

Higher Power tracklisting:

“Higher Power”
“Deadman’s Trigger”
“When Love Is Not Enough”
“What I Deserve” (feat. Yiannis Papadopoulos)
“If These Walls Could Talk” (feat. Dorothy)
“Black Butterfly”
“Quicksand” (feat. Yiannis Papadopoulos)
“You’re Not Alone”
“Dancing In The Rain” (feat. Yiannis Papadopoulos)
“Weight Of The World”

“If These Walls Could Talk” video:

“Deadman’s Trigger” lyric video:

“Black Butterfly” lyric video:

“What I Deserve” lyric video:

“Higher Power” lyric video:

(Photo – Matt Akana)


“When my son became aware of this Swifty classic we listened to it even more than when it was initially released.” Coheed and Cambria’s Claudio Sanchez shares cover of Taylor Swift’s Welcome To New York

Posted on by Logan Rocker

Coheed and Cambria vocalist/guitarist Claudio Sanchez has shared a video for his cover of Taylor Swift’s Welcome To New York.

Originally released on Swift’s 2014 album 1989, the song is one of eight covers that the prog-emo frontman recorded for his new solo EP, Claudio Covers, out today.

“My decision to include Welcome To New York in this covers collection is two-sided,” the 46-year-old musician explains. “First, in 2014, my son was born in a Brooklyn Hospital (Welcome To NY, Atlas! )… and when he became aware of this Swifty classic we listened to it even more so than when it was initially released, and if you know my wife, that’s a lot.

“The other side of my choice is…I love NY,” Sanchez adds. “When so many fled the city with uncertainty, my family made the decision to plant deeper roots here. There’s no place in the world like it and no place I’d rather spend my downtime. It’s a place that deserves all its tributes and songs. Maybe one day I’ll have one in me… until then, this will have to do.”

Watch the video below:

Claudio Covers: Welcome to New York (Taylor Swift cover) – YouTube Claudio Covers: Welcome to New York (Taylor Swift cover) - YouTube

Watch On

The full track-listing for the Claudio Covers EP is:

1. Just Like Heaven (The Cure)
2. Welcome To New York (Taylor Swift)
3. Your Love (The Outfield)
4. Pompeii (Bastille)
5. Under The Milky Way (The Church)
6. Stumbleine (The Smashing Pumpkins)
7. Sister Christian (Night Ranger)
8. There Is A Light That Never Goes Out (The Smiths)

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And you can see Sanchez tackling The Cure’s Just Like Heaven on the Instagram post below:

“Early on, there were a lot of people who judged us for our looks, how we wanted to dress.” Kittie on their most underrated track – and why its message is still important twenty five years on

Posted on by Logan Rocker

Kittie’s members were still in school when they formed in 1996. Three years later they released their debut album and became rising stars of the nu metal scene that dominated the metal world from the mid 90s to the early 2000s.

When Hammer opted to assemble the greatest nu metal deep cuts for our issue celebrating 25 years of Papa Roach’s Infest, we asked Kittie frontwoman Morgan Lander to pick out her favourite Kittie deep-cut; this is what she chose…

A divider for Metal Hammer

Why did you choose Do You Think I’m A Whore as your favourite Kittie deep cut?

“Hilarious and controversial songtitle aside, I think that that song is the dark horse of the album. Brackish is a huge song for a lot of people, even to this day. There’s Charlotte, and Spit being the opening song sets the tone. But Do You Think I’m A Whore has flown under the radar as one of my personal favourites and one of the heaviest songs on the album.”

What are the lyrics about?

“It’s about holding a mirror up to yourself and also exploring the ideas of perception and who others might think I am. Early on, there were a lot of people who judged us for our looks, how we wanted to dress, how we wanted to portray ourselves as young women, and our validity did come into question. I think unfortunately a lot of women still have to struggle with these things, even to this day.”

Did Kittie help change that landscape to some extent by being trailblazers?

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“There are still hurdles to overcome, but there is a lot more representation in metal and extreme music. I wouldn’t claim it myself, but I have heard some people say that Kittie walked so others could run. We did endure a lot in the music industry as young women.”

Why did you shelve the song for 20 years?

“The band that we are now is very different to the band we were then. But it was a choice to bring it back live, because it does still hold up in a way alongside a lot of our newer material in terms of how heavy it is. I think it has an enduring quality, and it is a great representation of the band and who we were back then.”

Is that a part of embracing your past and particularly your nu metal era?

“Absolutely. We brought the song back for the Sick New World festival [in 2023], and it went down really well. I think the song sort of transcends nu metal, but we have embraced the association with nu metal in having been there for the biggest hype of it and representing women in the genre as well. But that song just resonates with people. It’s so heavy, it’s so impactful. It really translates well live and it’s a lot of fun for us to play.”

Do You Think I’m a Whore? – YouTube Do You Think I'm a Whore? - YouTube

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