In 1984, John Shepherd was a young actor looking for his first big break. It seemed to arrive in the form of a leading role in a film called Repetition.
“I read the character breakdown and I thought it was so cool,” he later recalled in the book Crystal Lake Memories. Eager to land the role, Shepherd went “very method,” by his own admission. He wore sweats and a heavy coat while running up 10 flights of stairs jus prior to his audition. “Then when I went into the reading, I took of my jacket and just started sweating. I didn’t look at them, I didn’t talk to them, I was just really intense. I could tell I struck something.”
Shepherd got the role, and then a somewhat unwelcome surprise: Repetition wasn’t really the name of the project. Instead, he would be starring in the fifth Friday the 13th movie, 1985’s A New Beginning. “I remember then finding out it was a Friday the 13th and being really disappointed,” he recalled. “I just thought, ‘Oh, gosh! I always swore I’d never do a horror film.”
He wasn’t the only one taken by surprise. “Nothing was said about the film being a Friday the 13th,” recalled Tiffany Helm, who played the punk rock-loving Violet in the movie. “I thought the reason being that if the potential cast members knew they were going to be involved in such a money making venue, they would ask for a better contract. It was not until we were cast that the real name of the project was even revealed. But I was happy to be working.”
Despite his deep religious beliefs, Shepherd decided to take the role. “I think I rationalized it,” he explains in Crystal Lake Memories. “The reason I found I could do the film was that evil was punished. Mercilessly and graphically. I wouldn’t have a problem with that or nudity in a script that ultimately had a redemptive worldview.”
Shepherd portrayed Tommy Jarvis, an older, traumatized and institutionalized version of the character played by Corey Feldman in the previous year’s Friday the 13th: The Final Chapter. At the end of A New Beginning (spoiler alert, I guess, but the movie is 40 years old…), Tommy battles and kills what turns out to have been a mere mortal impersonating the still-dead Jason Voorhees throughout the whole movie.
The final scene, in which Tommy dons Jason’s hockey mask and machete himself, strongly hinted at the producers’ plans for Tommy to take over as the series’ main villain.
The Box Office Drop for ‘A New Beginning’ Paved the Way for Jason’s Return
But after a strong, box-office topping opening weekend that grossed $8 million, Friday the 13th:A New Beginning faded from theaters rather quickly. Bad word of mouth, perhaps fueled by the fact that the “real” Jason Voorhees only appears in dream sequences, led to a final gross of $22 million, two-thirds of what the The Final Chapter earned the year before.
The studio got the message loud and clear, and the title of the next movie in the franchise – 1986’s Friday the 13th: Jason Lives – made it clear they were determined to give fans what they wanted. The character of Tommy Jarvis still appeared in that movie, but Shepherd declined the role, and instead decided to become a pastor. “I was counseling a church youth group after Part V came out,” he explained. “I felt, ‘How can I create a character in this franchise, then tell kids you shouldn’t go see R-rated films?'”
20 Meanest ’80s Movie Bullies
In no era in American movies was there a more fruitful and entertaining trade in that great cinematic tradition, the ’80s big screen bully.
Released in 1976 on Blue Öyster Cult’s Agents of Fortune album, “(Don’t Fear) The Reaper” is a quintessential rock track that has transcended generations. Written by the band’s lead guitarist Donald “Buck Dharma” Roeser, the song was recorded at The Record Plant in New York and produced by David Lucas, Murray Krugman, and Sandy Pearlman. The haunting melody, coupled with its driving rhythm and philosophical lyrics about love and mortality, has made it a staple of classic rock radio.
The song’s intricate guitar riff and ominous tone evoke a sense of timelessness, while the use of cowbell in the production has become legendary, partially due to the comedic 2000 Saturday Night Live sketch featuring Christopher Walken. “(Don’t Fear) The Reaper” charted in the Top 20 on the Billboard Hot 100 and has appeared in countless movies and TV shows, cementing its iconic status.
However, its ubiquity in media and frequent airplay have led to the perception of overexposure. While the song’s mystique remains intact, hearing it repeatedly has made it a familiar—perhaps too familiar—part of many playlists.
Gloria Gaynor’s 1978 disco anthem “I Will Survive” is one of the most enduring empowerment songs of all time. Written by Freddie Perren and Dino Fekaris, it was recorded at Mom & Pop’s Company Store in Los Angeles and produced by Perren. Originally released as the B-side to “Substitute,” the song quickly overshadowed its A-side, becoming an international sensation.
The lyrics, which detail resilience and self-empowerment after a heartbreak, struck a chord with listeners, especially within the LGBTQ+ community, where it became an anthem. Gaynor’s powerful vocals, set against a driving disco beat, earned the track the first-ever Grammy Award for Best Disco Recording in 1980.
“I Will Survive” has been featured in countless films, commercials, and karaoke sessions, making it one of the most recognizable tracks of the 1970s. Its universal appeal has also led to its saturation in pop culture, solidifying its status as a classic, albeit one that many feel has been played endlessly.
Deep Purple’s “Smoke on the Water,” released in 1972 on their Machine Head album, is one of the most famous rock songs ever written. The track is based on a real-life event—the infamous fire at the Montreux Casino during a Frank Zappa concert—and features a riff composed by Ritchie Blackmore that is arguably one of the most iconic in rock history. The song was recorded at the Grand Hotel in Montreux, Switzerland, using the Rolling Stones Mobile Studio, and produced by the band themselves.
The lyrics narrate the band’s experience during the fire and subsequent recording sessions, giving the track a unique autobiographical quality. “Smoke on the Water” reached the Top 5 on the Billboard Hot 100 and has been a staple of rock radio for decades.
However, the song’s immense popularity has also made it one of the most overplayed tracks in the history of rock. Its riff has become a rite of passage for budding guitarists, contributing to its omnipresence. While its historical and musical significance remain unmatched, its constant repetition has left some listeners seeking a break from its familiar opening notes.
Queen’s “We Will Rock You,” released in 1977 on the News of the World album, is one of the most instantly recognizable songs in music history. Written by guitarist Brian May and recorded at Basing Street and Wessex Sound Studios in London, the track’s iconic stomp-stomp-clap rhythm was designed to engage live audiences.
As a companion piece to “We Are the Champions,” “We Will Rock You” became a global anthem, played at sporting events and celebrations worldwide. Its minimalist arrangement of percussion, handclaps, and vocal harmonies allowed it to transcend traditional rock boundaries, making it a universal rallying cry.
The song’s widespread use in advertising, films, and events has contributed to its overexposure. While its power to inspire remains undiminished, its prevalence has made it one of the most played songs in modern history.
# 3 – Another Brick in the Wall (Part II) – Pink Floyd
Pink Floyd’s “Another Brick in the Wall (Part II)” from their 1979 concept album The Wall is a scathing critique of rigid education systems. Written by bassist Roger Waters and produced by Bob Ezrin, the track was recorded at Britannia Row Studios in London. Featuring a children’s choir and a disco-inspired beat, it marked a departure from the band’s usual sound, propelling it to global success.
The song became Pink Floyd’s only single to top the Billboard Hot 100, cementing its place in rock history. Its refrain, “We don’t need no education,” resonated with rebellious youth and became a cultural touchstone.
Despite its critical acclaim, “Another Brick in the Wall (Part II)” has been overplayed to the point of saturation. Its inclusion in countless media and protest contexts has kept it in the public consciousness, though some feel its impact has been diminished by its ubiquity.
Led Zeppelin’s “Stairway to Heaven,” released in 1971 on their untitled fourth album (commonly known as Led Zeppelin IV), is often hailed as one of the greatest rock songs of all time. Written by Jimmy Page and Robert Plant and recorded at Island Studios and Headley Grange, the track builds from a gentle acoustic intro to an electrifying guitar solo, showcasing the band’s musical range.
The song’s enigmatic lyrics, steeped in mysticism and allegory, have sparked decades of debate and interpretation. Despite never being released as a single, “Stairway to Heaven” became a radio staple and a cornerstone of Led Zeppelin’s live performances.
Its iconic status has also led to overexposure. Frequently played on classic rock stations and at countless events, the song’s near-mythical reputation has made it both revered and overplayed, leaving some listeners longing for a fresh perspective. Although I think it’s important to note here that this song is starting to disappear from mainstream culture a little bit and that it’s overplayed status was much more relevant in the 70s and 80s into the 90s than it is now. Nonetheless, that overexposure during those decades is why we put it on this list.
“Bohemian Rhapsody,” the magnum opus of Queen, was released in 1975 on their A Night at the Opera album. Written by Freddie Mercury and produced by the band alongside Roy Thomas Baker, the song is a genre-defying masterpiece that blends rock, opera, and balladry. Its innovative structure and production set a new standard for popular music.
Despite its six-minute length, the song topped charts worldwide and became a cultural phenomenon. Its resurgence in the 1990s, following its inclusion in the film Wayne’s World, cemented its status as one of the most iconic songs ever recorded.
However, “Bohemian Rhapsody” has also become one of the most overplayed songs in music history, appearing in countless movies, commercials, and playlists. While its brilliance is unquestioned, its omnipresence has made it a song that some listeners appreciate more in moderation.
Professor Of Rock has released the video below, along with the following introduction…
“Today’s band Boston revitalized rock in the disco era when some thought rock was dead and buried. Their first two albums lit up the charts and knocked disco down. But then it took eight years for their third album to come out because of a lawsuit with their label. Boston beat the big bad label in the lawsuits, but as we all know, eight years in the music industry is a lifetime. And by the time they put out their record, the musical landscape had completely changed. And to make matters worse, someone leaked a rough demo of their new song ‘Amanda’ to radio months before it was supposed to come out. But then Boston did the unthinkable. Their leaked single ‘Amanda’ went straight to number one as did their album. And they ruled the mid-80s just like they did the 70s. It is a great story filled with a few surprises, next on Processor Of Rock.”
The Halo Effect have unveiled the video for the third single from their new album, March Of The Unheard, set for release on January 10 via Nuclear Blast.
The new single is an anthemic masterpiece, driven by soaring melodic guitars and The Halo Effect’s unmistakable signature sound. Capturing the very essence of Gothenburg’s melodic death metal legacy, the track delivers a powerful blend of haunting melodies and crushing intensity, cementing the band’s place as modern torchbearers of the genre.
The accompanying video takes fans on an immersive journey through the streets of their hometown, Gothenburg. With sweeping visuals and a raw, heartfelt connection to their roots, the video is both a tribute to the city that shaped them and a striking visual complement to the single’s energy and emotion.
Guitar wizard and main songwriter Niclas Engelin comments: “‘Cruel Perception’ is packed with guitar harmonies and melodies that sprung from my noodling on the acoustic guitar in the living room one late night with a coffee in hand, which turned out to be a true Melodic Death Metal anthem. It’s funny how some songs turn out in the end from late night acoustic guitar noodling to full on Melodic Death Metal, but that’s the beauty with Halo, you never know how it’s going to sound in the end with everybody’s magic in the studio. We hope you will enjoy this song as much as we do and we just can’t wait to play this song live for you all!”
Stream the single here, and watch the video below:
March Of The Unheard will be available in the following formats:
“Conspire To Deceive” “Detonate” “Our Channel To The Darkness” “Cruel Perception” “What We Become” “This Curse Of Silence” “March Of The Unheard” “Forever Astray” “Between Directions” “A Death That Becomes Us” “The Burning Point” “Coda”
Bonus tracks:
“Not Yet Broken” * “Path Of Fierce Resistance” ** “The Defiant One” ** “Become Surrender” **
“March Of The Unheard” video:
“Detonate” video:
Shortly after the album’s release, the band will embark on their first ever headline tour in Europe. Industrial outfit and label mates, Pain, will be special guest on this tour and to round up this great package, melo-death shooting stars from Finland, Bloodred Hourglass, will join as a support.
Tour dates:
January 16 – Copenhagen, Denmark – Amager Bio 17 – Hamburg, Germany – Markthalle 18 – Cologne, Germany – Essigfabrik 19 – Haarlem, Netherlands – Patronaat 21 – Bristol, UK – The Fleece 22 – Glasgow, UK – Slay 23 – Wolverhampton, UK – KK´s Steel Mill 24 – Manchester, UK – Manchester Club Academy 25 – London, UK – Electric Ballroom 26 – Antwerp, Belgium – Trix 28 – Paris, France – Bataclan 29 – Frankfurt, Germany – Batschkapp 31 – Stuttgart, Germany – LKA Longhorn
February 1 – Munich, Germany – Backstage 2 – Solothurn, Switzerland – Kulturfabrik Kofmehl 4 – Berlin, Germany – Kulturbrauerei Kesselhaus 5 – Leipzig, Germany – Hellraiser 6 – Vienna, Austria – Arena Wien 7 – Budapest, Hungary – Barba Negra Blue Stage 8 – Brno, Czech Republic – Sono Centrum 9 – Warsaw, Poland – Progresja
February (The Halo Effect only) 11 – Helsinki, Finland – Tavastia 12 – Tampere, Finland – Tavara Asema 14 – Stockholm, Sweden – Fallan 15 – Gothenburg, Sweden – Gothenburg Studios
Thin Lizzy is back with a fresh take on some of their most iconic tracks, marking their first new release in over four decades. This unique acoustic album reimagines beloved songs, offering a stripped-back sound that exposes the core of their songwriting. Original vocals from Phil Lynott are paired with brand-new guitar parts from founding member Eric Bell, creating an entirely new listening experience for fans. Acoustic Sessions’is released January 24 via Decca.
Producer and mixer Richard Whittaker, working alongside Eric Bell, went to huge lengths to use the original tapes, vocals and instrumentation with the only new addition being Eric’s fresh acoustic guitar parts which were recorded with him in Belfast at the Oh Yeah! Centre Studios, a unique celebration of Irish artists and their craft.
Each track on the album is a freshly created version of songs featured on either the 50th-anniversary super deluxe editions of Vagabonds Of The Western World, considered Thin Lizzy’s breakthrough, alongside their self-titled debut and Shades Of A Blue Orphanage.
Following the recent unveiling of the new acoustic version of “Whiskey In The Jar”, their first UK Top 10 hit, Thin Lizzy are releasing a brand-new version of “Slow Blues”, originally featured on the band’s 1973 album Vagabonds Of The Western World. Drummer Brian Downey, the only member to have played in every iteration of the band alongside Lynott, co-wrote the original version of “Slow Blues”. His powerful, orchestral drumming created a distinctive bridge in a song that fused gritty blues with subtle jazz influences.
The newly recorded “Slow Blues E.B” (Eric Bell Acoustic Version) showcases a seamless blend of past and present, featuring fresh electric and acoustic guitar parts recently laid down by founding member Eric Bell at the Oh Yeah! Centre studio in Belfast. These new recordings are layered with Phil Lynott’s original vocal takes and Brian Downey’s authentic drum tracks, creating a rich and timeless sound. This innovative approach reimagines Thin Lizzy’s classic material by combining period-correct elements with modern production, delivering a unique listening experience that fans have never heard before. It’s a groundbreaking way to breathe new life into the band’s legacy while staying true to their roots.
Watch the new lyric video for “Slow Blues E.B” (Eric Bell Acoustic Version) below.
This album marks the first time since Bell’s exit that he has recorded under the Thin Lizzy name. Fans can now experience what might have been their “MTV Unplugged” moment—a chance to hear the band’s timeless music in its most intimate form.
The album will be available in both CD and limited-edition marble vinyl formats, along with an ultra-limited vinyl edition featuring an exclusive bonus track. Don’t miss out on this once-in-a-generation release from one of rock’s most beloved bands.
Order here. For dedicated fans, a D2C edition includes an exclusive bonus track, “Slow Blues G.M,” a tribute to Gary Moore.
Tracklisting:
“Mama Nature Said” (Acoustic Version) “A Song For While I’m Away” (Acoustic Version) “Eire” (Acoustic Version) “Slow Blues” (Acoustic Version) “Dublin” (Acoustic Version) “Whiskey In The Jar” (Acoustic Version) “Here I Go Again” (Acoustic Version) “Shades Of A Blue Orphanage” (Acoustic Version) “Remembering Pt. 2” (Acoustic Version) “Slow Blues G.M” (Gary Moore) (Acoustic Version)
“Slow Blues E.B” (Eric Bell Acoustic Version) lyric video:
“Whiskey In The Jar” (Acoustic Version) lyric video:
Today, Tarja releases Rocking Heels: Live At Hellfest via earMUSIC. In celebration, the official “No Bitter End” (Live At Hellfest) video is available for streaming below.
On June 19, 2016, Tarja delivered a captivating performance at Hellfest, one of Europe’s largest and most prestigious metal festivals held in Clisson, France. Her powerful blend of operatic vocals and heavy metal instrumentation enthralled the audience, making her performance one of the festival’s highlights. The setlist featured a carefully curated mix of her solo work and iconic Nightwish songs.
Opening with “No Bitter End” from her 2016 album, The Shadow Self, Tarja set the tone for an evening of intensity and emotion. Her dynamic stage presence and dramatic musical arrangements created an unforgettable experience, solidifying her status as one of metal’s greatest female singers.
Experience the raw energy and powerful emotion of Tarja Turunen’s unforgettable performance at Hellfest 2016. Rocking Heels: Live At Hellfest is available as a Ltd. 1LP Gatefold Vinyl Edition, CD Digipak in LP-replica design and on Digital. Order here.
Tracklisting:
“No Bitter End” “Never Enough” “Ciaran’s Well” “Calling From The Wild” “Supremacy” “Victim Of Ritual” “Tutankhamen / Ever” “Dream + The Riddler + Slaying The Dreamer (Nightwish Medley)” “Die Alive” “Until My Last Breath”
Legendary rockers Styx and Kevin Cronin, the iconic voice and writer behind REO Speedwagon’s greatest hits, have one of the strongest brotherly bonds spanning 25 years, especially since they’ve crossed paths on the North American concert trail along with the occasional joint festival concert. Fittingly, next summer they’ll join forces for the sixth time for their “Brotherhood Of Rock” tour, along with special guest Don Felder (a former lead guitarist for the Eagles), that will kick off May 28, 2025 in Greenville, SC at the Bon Secours Wellness Arena.
It wouldn’t be summer without a live celebration of some of the greatest Rock anthems of all time, including “Renegade,” “Keep On Loving You,” “Come Sail Away,” “Can’t Fight This Feeling,” and “Hotel California.”
The official trailer for the “Brotherhood Of Rock” tour can be seen below.
Styx and Kevin Cronin (as part of REO Speedwagon) first toured together in 2000 and in 2001 after the 9/11 attacks, they came together to form the Rock to the Rescue 501(c)3 nonprofit organization, which still collects donations for local charities at every stop on Styx’s on-going tour.
General tickets for the trek, produced by Live Nation, will go on sale starting Friday, December 13 at 10 AM, local time on LiveNation.com. Styx and Kevin Cronin will be offering VIP packages via their own exclusive pre-sales beginning Tuesday, December 10 at 10 AM, local time, as well as at LiveNation.com.
Citi is the official card of the “Brotherhood Of Rock” tour. Citi cardmembers will have access to presale tickets in the US beginning December 9 at 10 AM, local time through the Citi Entertainment program. For complete presale details, visit citientertainment.com.
Canadian fans who are American Express® Cardmembers can get Front Of The Line presale access to purchase tickets to the Toronto show before the general public beginning December 9 at 10 AM, local time at ticketmaster.ca/americanexpress/94
“The winter of 1975 I had returned home to Montgomery, Alabama after accepting the fact that there was very little, if any interest from club owners for seven-piece rock bands who played their original songs, (some of which were 10 minutes long) and we’d finally accepted the reality that people wanted disco music hits to dance to,” says Styx singer/guitarist Tommy Shaw. “A musician friend from home called me about a steady gig he and two other local musician friends had in the lounge of the local bowling alley. There was no dance floor, only tables and chairs, and they were playing music from bands like the Eagles, Dan Fogelberg, etc. and singing three-part harmony to locals who were loving it and not wanting to dance. And a steady weekly paycheck! I joined them and spent the rest of that year playing whatever we liked, bought a modest house, bought a used car, and was relieved to be off the road after two years of night club managers who wanted us to play disco. Thinking I’d found a secure life in my hometown, I got a call from a guy named Jim Vosecek, who’d introduced himself to me and the band at a club in Chicago. He explained that he was tour manager of the rock band Styx, that they had just released a new album called Equinox, and they were scheduled to embark on their first national tour when a member suddenly quit and left the band. He said to get on the plane they’d booked and come audition. Arriving at O’Hare airport, I met Kevin Cronin who was returning to rejoin his band, REO Speedwagon. It was the beginning of a lifelong friendship that finds us back on the road together, this time under much different circumstances! The BROTHERHOOD of ROCK is stronger than ever!”
“I remember seeing Tommy’s seven-piece funk/rock band at the Rush Up club in Chicago, during my mid-‘70s REO hiatus, and then bumping into him at O’Hare Airport a few weeks later,” remembers Kevin Cronin. “In no time I was back in REO Speedwagon and Tommy had become the newest member of Styx. REO and Styx dominated the Billboard charts in 1981 with Hi Infidelity and Paradise Theatre, but for reasons unknown we had never toured together. So in the year 2000, Tommy and I decided to give it a shot. The ‘Arch Allies’ tour was a smashing success, and a life-long friendship was formed. Now, here we are 25 years later, having always had each other’s back, and psyched for our bands to join forces once again for the ‘Brotherhood of Rock’ tour. A lot has changed since that chance encounter at the airport in 1975, but our brotherhood has only become stronger through the years, as the songs of Styx and REO Speedwagon have found a place in the hearts and souls of people all across America.”
“I’m so excited to be hitting the road this summer with my friends Styx and Kevin Cronin,” declares Don Felder. “It’s such a great line up full of hit songs and lots of ROCK AND ROLL!!! We have so much fun together both on stage and off stage that it’s hard to find a more wonderful combination of great music and great friends. This is one show you won’t want to miss. See you soon.”
Check out the “Brotherhood Of Rock” tour at any of stops listed below.
Tour dates:
May 28 – Greenville, SC – Bon Secours Wellness Arena 31 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
June 2 – Jacksonville, FL – Daily’s Place 4 – Austin, TX – Germania Insurance Amphitheater 6 – The Woodlands, TX – The Cynthia Woods Mitchell Pavilion presented by Huntsman 7 – Ridgedale, MO – Thunder Ridge Nature Arena 9 – Denver, CO – Fiddler’s Green Amphitheatre * 11 – Salt Lake City, UT – Utah First Credit Union Amphitheatre 13 – Concord, CA – Toyota Pavilion at Concord 14 – Bend, OR – Hayden Homes Amphitheater 15 – Ridgefield, WA – RV Inn Style Resorts Amphitheater 28 – Albuquerque, NM – Isleta Amphitheater 30 – Colorado Springs, CO – Ford Amphitheatre *
July 2 – Kansas City, MO – Starlight Theatre 5 – Birmingham, AL – Coca-Cola Amphitheater 6 – Alpharetta, GA – Ameris Bank Amphitheatre 8 – Charlotte, NC – PNC Music Pavilion 9 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek 11 – Virginia Beach, VA – Veterans United Home Loans Amphitheater 12 – Bristow, VA – Jiffy Lube Live 14 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview 15 – Bridgeport, CT – Hartford HealthCare Amphitheater 18 – Gilford, NH – BankNH Pavilion 19 – Mansfield, MA – Xfinity Center 20 – Holmdel, NJ – PNC Bank Arts Center
August 1 – Dallas, TX – Dos Equis Pavilion 2 – Brandon, MS – Brandon Amphitheater 4 – Franklin, TN – FirstBank Amphitheater 6 – Richmond, VA – Allianz Amphitheater at Riverfront 8 – Camden, NJ – Freedom Mortgage Pavilion 10 – Burgettstown, PA – The Pavilion at Star Lake 12 – Saratoga Springs, NY – Broadview Stage at SPAC 13 – Toronto, ON – Budweiser Stage 15 – Noblesville, IN – Ruoff Music Center 16 – Clarkston, MI – Pine Knob Music Theatre 19 – Cincinnati, OH – Riverbend Music Center 20 – Cuyahoga Falls, OH – Blossom Music Center 22 – St. Louis, MO – Hollywood Casino Amphitheatre 23 – Tinley Park, IL – Credit Union 1 Amphitheatre 24 – Milwaukee, WI – American Family Insurance Amphitheater
* Promoted by AEG Presents
About Styx:
The seven men comprising Styx–James “JY” Young (lead vocals, guitars), Tommy Shaw (lead vocals, guitars), Chuck Panozzo (bass, vocals), Todd Sucherman (drums, percussion), Lawrence Gowan (lead vocals, keyboards), Will Evankovich (mandolin, guitars), Terry Gowan (bass, guitar, vocals)—have committed to rocking the Paradise together with audiences far and wide, and each one of them is committed to making the next show better than the last. Styx draws from over five decades of barn burning chart hits, joyous singalongs, and hard-driving deep cuts. Like a symphony that builds to a satisfying crescendo, a Styx set covers a wide range of stylistic cornerstones. From the progressively sweeping splendor that is “The Grand Illusion” to the hunker-down fortitude of all that is the “Blue Collar Man,” from the majestic spiritual love for a special “Lady” to the seething indictment of preening, primping pageantry for pageantry’s sake of “Miss America,” from an individual yearning for true connection as a “Man in the Wilderness” to a soul-deep quest to achieve what’s at the heart of one’s personal vision in “Crystal Ball,” from the regal reach-for-the-stars bravado of “Come Sail Away” to the grainy all-in gallop of that rugged “Renegade” who had it made, the band draws on an unlimited cache of ways to immerse one’s mind and body in their signature sound.
As Styx continues to travel all over North America on their ongoing headlining and co-headlining tours, the desire to make new music doesn’t stop and won’t anytime soon. Their 17th album, Crash Of The Crown was released June 18, 2021. It’s the follow-up to The Mission (their first in 14 years at the time, which critics also had called “a masterpiece”) which was released June 16, 2017. It originally debuted on various Billboard charts, including: #6 Top Rock Albums, #11 Physical Albums, #11 Vinyl Albums, #13 Current Albums, and #14 Billboard Top Albums.
About Kevin Cronin:
For his first solo summer outing, iconic vocalist and hit songwriter Kevin Cronin’s band features the same multi-talented lineup that toured America in 2024 as REO Speedwagon. Cronin continues to be joined onstage by lead guitarist Dave Amato and drummer Bryan Hitt, who have played in REO Speedwagon since 1989. Additionally, Derek Hilland, who previously toured with Rick Springfield and Whitesnake, has been REO’s keyboard player since January 2023. Matt Bissonette, who spent 12 years with Elton John through 2023, signed on as REO Speedwagon’s touring bassist in November of that year.
Cronin began fronting REO Speedwagon in 1972, delivering a newly melodic sound, and setting the stage for the explosive Hi Infidelity (1980). Fueled by massive hit singles “Keep On Loving You” and “Take It On the Run,” the RIAA Diamond Award-certified album (10 million in U.S. sales) remains a high-water mark for rock bands, with 15 weeks at #1. With REO, Cronin has record sales of over 40 million, including a string of nine consecutive platinum-plus albums. He has written number one hits such as “Keep on Loving You” and “Can’t Fight This Feeling,” plus “Roll With the Changes,” “Time for Me to Fly,” “Don’t Let Him Go,” and “In My Dreams.” Cronin also considers it his responsibility to share and shepherd the songs of his former bandmate, the late great Gary Richrath. Performing at Live Aid, back-to-back sold out shows at the Houston Astrodome and New Orleans Super-Dome in 1981, and five appearances at his favorite venue in the world, Red Rocks Amphitheatre, are among his many live performance highlights.
More recently, Kevin Cronin performed a duet with Dolly Parton on his number one hit “Keep on Loving You” for her Rockstar album. Cronin is an active family man, health and fitness enthusiast, and author. He and Lisa, his wife of thirty-five years, and former music publisher at Geffen Music are “partners in everything.” Lisa is a loving mother, trusted advisor, and is presently working with him as he puts the final touches on his memoir, Roll With the Changes: My Life Within and Without REO Speedwagon. Kevin is excited to continue this musical adventure with his powerful band of brothers, Dave, Bryan, Derek, and Matt, for the 2025 “Brotherhood Of Rock” tour.
About Don Felder:
No matter how you look at it, 2024 is shaping up to be the Year of the Fingers — Don “Fingers” Felder, that is. Felder, a true American rock and roll guitar hero, is very much looking forward to building upon his rich legacy as one of the most innovative riff-generating songwriters of the modern rock era while continuing his growth as a featured touring and recording solo artist.
Spending more and more time on the road as the frontman of his own tight-knit solo band made Felder realize he needed to put in the time to hone his own distinctive voice into a finely tuned instrument. “That’s just how I work,” Don explains. “A lead vocal has to fit the song — it has to fit the timbre and texture of the song. Otherwise, you’re a one-note samba.” Felder counts extended runs with Foreigner, Styx, Peter Frampton’s Guitar Circus, and REO Speedwagon as touring highlights.
What’s next for Fingers Felder? Extensive touring is most definitely already locked into place to get behind the majestic sounds and broad shoulders of American rock ‘n’ roll. In the meantime, let us continue to admire the essence of Don Felder, a man who continues to push boundaries and expand horizons. It’s the only way that he can travel down that road.
Famed US talk show host Conan O’Brien has fronted an extreme metal band.
The former Tonight Show and Conan presenter joined Austrian ‘slush metal’ band Cringe Blizzard on vocals during their sold-out concert in Feldkirch yesterday (December 5). The performance was done for the next season of his travel documentary series Conan O’Brien Must Go and will likely air next year.
O’Brien has posted a photo of himself singing with Cringe Blizzard on Instagram, writing, “Just got a hernia singing with a metal band in Feldkirch, Austria.” The band have also shared the news on their social media channels, thanking O’Brien, his team, the venue OKFK and support act Gallowhead. See both posts below.
O’Brien had Cringe Blizzard’s singer, Kaddl, on his podcast Conan O’Brien Needs A Friend in September. During the episode, the host suggested he become “a guest vocalist for Cringe Blizzard”, to which Kaddl responded very enthusiastically.
O’Brien has long been a champion of heavy metal music. During his stint on The Tonight Show, his musical guests included Slipknot, Linkin Park and Lamb Of God. He also welcomed Disturbed onto Conan: their performance of Simon & Garfunkel cover The Sound Of Silence on his stage became the most-viewed video on O’Brien’s Youtube channel.
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“Late-night talk shows aren’t exactly a hotbed of metal culture but, in Conan, heavy metal found a true friend and a staunch proponent,” wrote journalist Joe Daly. “Though better known for his comedic genius than his music taste, Conan has continually leveraged the power of his platform to showcase a wide array of metal bands – both well-established and up-and-coming acts.”
UK prog rockers Ghost Of The Machine have announced that they will release their secind album, Empires Must Fall, through progrock.com’s Essentials label on March 7..
And the album, the follow-up top the band’s acclaimed 2022 debut Scissorgames, explores “denser and darker arrangements that”—singer Charlie Bramaldpromises—will “scratch that ‘prog’ itch while striking a careful balance between shorter, more accessible songs and those epic-length pieces that we’re known for.”
The album represents a continuation of the popular Scissors suite that opens and closes the band’s debut album.
“Our first record concluded with the tyrannical Puppet King being vanquished by his final victim… she slew him with a pair of scissors,” Bramald continues. “So, we wondered what the consequences of that violent but liberating final act would be. We started with a simple question which has only complex answers: what is true justice? Is the Puppet King’s slayer—the newly crowned Empress of the Light—succeeding at being a benevolent ruler? Can she right all the wrongs that she herself had suffered? And what will it take to finally break the cycle of violence and coercion?”
Empires Must Fall has again been produced by Bob Cooper and mastered by Grant Berry with striking cover art courtesy of Claudia Caranfa, which you can see below, along with the new tracklisting.
The album will be preceded by a single, The One, which will be released on January 1. Pre-orders for the album will also open on January 1.
(Image credit: Essentials)
Ghost Of The Machine: Empires Must Fall 1. Keepers Of The Light (8:35) 2. The Days That Never Were (5:59) 3. Panopticon (11:44) 4. Fall Through Time (12:00) 5. The One (4:43) 6. After The War (14:32)
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(Image credit: Lowen: Press/Devin Townsend: Tanya Ghosh/Leprous: Grzegorz Golebiowski)
Is there anything more compelling than being a diehard progressive metal fan? After all, the clue is in the name: this is a genre that, for decades, has refused to sit still, and every year its artists present new sounds that dazzle even the most cynical observers.
2024 has continued that trend in majestic form, with some of heavy music’s boldest bands making big moves that have pricked ears worldwide. Here are the most intrepid of the intrepid. From Opeth to Oceans Of Slumber, Slift to Sólstafir, these are Metal Hammer’s top 10 progressive metal albums of the year.
10. Leprous – Melodies Of Atonement (Inside Out)
Over the past 10 years, Leprous had been evolving from the guitar-heavy prog metal of their early days to a more textured, symphonic, song-based sound. If some ardent fans felt alienated by the development, Melodies Of Atonement brought them right back. The Norwegians’ eighth album dragged their past aggression into their current songwriting ethos, standouts like Atonement and SIlently Walking Alone boasting riffs that hit just as hard as their choruses.
Leprous didn’t regress, though. Self-Satisfied Lullaby opened with an impressive stack of vocal harmonies, while Faceless conveyed one of the album’s most memorable melodies with nothing more than singing and pianos. The band may have looked back, but it was evident that they were still walking forward into new, exciting territory. Matt Mills
LEPROUS – Like A Sunken Ship (OFFICIAL VIDEO) – YouTube
2021 album Etemen Ænka put Dvne on the tip of prog connoisseurs’ tongues. Equal parts Mastodon, High On Fire and Hawkwind, it was a cosmic achievement in free-flowing post-metal, tethered together by a Frank Herbert-inspired concept.
Three years later, Voidkind did what any good follow-up should: feeling familiar but fresh at the same time. The French/Scottish collective’s expansive vision remained, as proven by Summa Blasphemia and Eleonora, the dovetailing duology which opened it. However, where Etemen… patiently built to its crescendos, new tracks such as Abode Of The Perfect Soul didn’t fuck about. It felt like, at any moment, Voidkind could hit you with a riff so mighty it launched you to the next galaxy over. Matt Mills
On paper, Slift’s third album should not work. The Toulouse space rockers expanded their vision to multiple dimensions, pulling from metal, prog, hardcore and even jazz music. The end result was a mind-warping, 80-minute trip with not even a chorus in sight.
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Yet, for all of Ilion’s genre-smashing wildness (Nimh was a metal monolith while Confluence featured a sparse sax solo), the band behind the delirium held it together. Singer/guitarist Jean Fossat always sang in a seemingly alien language through layers of distortion. Meanwhile, his bassist brother Rémi and drummer Canek Flores flaunted inhuman talent, scurrying at lightspeed through every single song. It’s as if a far-off civilisation beamed this trio to Earth to demonstrate what rock can really do. Matt Mills
On Charcoal Grace, Caligula’s Horse got to have their cake and eat it too. The Australian prog quartet had spent the preceding decade on a pendulum, swinging between expansive works and immediate, metallic songs. It wasn’t until album number six that they finally did both at once.
Their spirits dragged down by the pandemic, the band presented their darkest music to date, but did so through a series of bold suites. The four-part title track typified this black ambition, weaving between metal and prog for 25 minutes, while frontman Jim Grey sang about an abused child refusing to forgive their parent. Mammoth bookends The World Breathes With Me and Mute reaffirmed the album as a bleak yet essential masterpiece. Matt Mills
CALIGULA’S HORSE – The Stormchaser (OFFICIAL VIDEO) – YouTube
Sólstafir have only ever sounded like Sólstafir. Whether it’s with the punkish black metal of debut album Í Blóði Og Anda or the windswept rock they’ve mastered since, the Icelanders have always been restless and distinct. On Hin Helga Kvöl, they effectively summarised 22 years of forward-thinking.
Where the title track and Vor Ás hurried back to the band’s extreme roots, Blakkrakki pointed to their classic rock influence using a sharp, AC/DC-esque hook. Their more panoramic side came into view during Freygátan’s sparse verses, where vocalist Aðalbjörn Tryggvason plucked heartstrings without speaking a word of English. Then, for a boundary-busting finale, Kuml used newfound Nordic horns and spoken-word to declare this four-piece still aren’t done evolving. Matt Mills
After embracing his softer, more melodic edges on 2022’s Lightwork, Devin Townsend was back to his most batshit maximalist tendencies on PowerNerd. One of the most unique and instantly recognisable forces in metal – if not music full stop – what ensued was 11 tracks that were somehow both pulverising and gorgeous.
From the invigorating thunder of its titular opening track to the oh-so-chunky force of Knuckledragger, almost gospel tinges of Gratitude, the album is a sonic journey in the truest sense of the word, yet somehow also some of the most straight-ahead, “this is what I do” type songs Devy has put his name to. Rich Hobson
4. Oceans Of Slumber – Where Gods Fear To Speak (Season Of Mist)
Oceans Of Slumber might’ve ditched their death metal elements on 2022’s Starlight And Ash, but a decade-long absence from extremity clearly wasn’t on the cards. Instead, by way of balance their most explosive elements have been dialled up on Where Gods Fear To Speak, exploring a classic, 90s DM sensibility amidst their usual doomy, proggy fusion.
The result is, frankly, spectacular. Oceans Of Slumber’s deployment of heft and melody has always afforded them a dynamic and exciting sound, songs soaring on Cammie Beverly’s vocals or otherwise plunging into ferocious riffs and that’s especially apparent on Gods…, songs like Run From The Light playing with the interplays between sounds while Poem Of Ecstasy hits some truly vicious passages. Add some sublime string-work on Don’t Come Back From Hell Empty Handed and I Will Break The Pride Of Your Will and it’s a recipe for absolute success. Rich Hobson
Oceans of Slumber – “Poem of Ecstasy” (Official Music Video) 2024 – YouTube
Yesterwynde feels like the album Nightwish have been threatening to make for over a decade. Floor Jansen has more than excelled in her role as frontwoman, becoming as iconic a force as the band she now sings for, but in Yesterwynde the band have produced some of their most complex and impressively theatrical material since their career-making early 2000s output.
The nine-and-a-half minute single An Ocean Of Strange Islands lays out their ambitions plainly; a cinematic quality burst of symphonic grandeur with near-Broadway sensibilities and some thundering riffs, it tees up some of the band’s most anthemic material to date. While they sadly won’t be touring the record, the fact they’ve produced such an immediate record based on themes of time, memory and history is testament to their power to spin gold. Rich Hobson
Nightwish – Perfume Of The Timeless (OFFICIAL MUSIC VIDEO) – YouTube
2. Lowen – Do Not Go To War With The Demons Of Mazandaran (Church Road)
As written in the ancient semi-mythological text the Shahnameh (also known as the Persian Book of Kings), many thousands of years ago, a Mesopotamian King sought dominion over a paradisal land inhabited by beautiful women, sorcerers and demons. His plan, driven by greed, was vanquished by the storm-summoning white demon, Div-e Sepid. This epic story of magic and power forms the backdrop to Do Not Go To War With The Demons Of Mazandaran, the debut album of rising prog metallers Lowen, whose release stands as one of the most exciting, wonderfully-complex and head-turning projects of 2024.
Brimming with mountains of progressive-doom riffs, calamitous percussion and poetic magic-singed lyrics, Do Not Go To War…is a rallying warcry of times forgotten, led by frontwoman Nina Saeidi whose entrancing, powerhouse vocal lays testament to the powerful themes that enrich the album so deeply.
As well as myth, the record is a reclamation of identity and an exploration of Nina’s dual-heritage as an exile of Iran living in the UK. While there’s undoubtedly an entrenched sadness to it, there’s also colossal strength, marked by wells of turbulent aggression and churning riffs that at times feel so consuming they could swallow you whole. Not only is this one of the finest releases of 2024, but it’s one of the most exciting beginnings of any prog metal band we’ve seen in quite a long while. Liz Scarlett
Lowen – Waging War Against God (Official Music Video) – YouTube
1. Opeth – The Last Will & Testament (Moderbolaget/Reigning Phoenix)
Over the course of their career, Opeth’s catalogue has become increasingly dichotomised. While their initial death metal-centered albums are often considered as belonging to their growl-laden golden era, their offerings from 2011’s Heritage saw them step further into their proggier sensibilities, opening the doors to an entirely new legion of fans whilst earning complaints from those who just wanted another rendition of 2001’s Blackwater Park. When news broke that Opeth’s fourteenth studio album would once again see them incorporating growls, fans were unsurprisingly excited – though, rightly, frontman Mikael Åkerfeldt expressed his irritation over how reductive their reliance on heaviness really is, asking Youtuber and guitarist Ola Englund “Is that all we are?”.
The Last Will And Testament, then, meets fan’s expectations, while also simultaneously blowing them into space (or in this case, into a kind of Victorian-style dimension that mirrors the shadowy inner workings of an Arthur Conan Doyle novel).
The album contains many odes to their past, while also laying down the blueprint to hopefully an even more theatrical future. It’s a unified showcase of all their best qualities: Åkerfeldt’s vengeful god-like growls, their weighted labyrinthine instrumentation, channelling elements from both old and newer eras. There’s moments of unexpected absurdity in the form of perplexing oddball riffs and even flute solos from Jethro Tull’s Ian Anderson.
In a year where prog metal has continued to innovate and break into the mainstream in even its most extreme forms, Opeth reminded everyone they were the standard-bearers for an entirely new school of progressive metal. Liz Scarlett
Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Prog and Metal Hammer, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, NME, Guitar and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.
