King Crimson founder Robert Fripp and his wife, Toyah Willcox, have released their latest “Sunday Lunch” video. In the clip below, English singer / actor Chesney Hawkes performs his hit single, “The One And Only”.
“The One And Only” topped the UK Singles Chart for five weeks in 1991 and reached the Top 10 in the United States.
Iron Maiden have kicked off the North American leg of their The Future Past tour with shows at the North Island Credit Union Amphitheatre in Chula Vista, CA, and at the Michelob Ultra Arena in Las Vegas, NV. The band have now released official photos from the first night, a 20,000-capacity outdoor arena 15 miles south of San Diego city centre.
Iron Maiden’s setlist remains unchanged from the first night of the tour at the Arena Stožice in Ljubljana, Slovenia, in May 2023, which saw them give live debuts to five songs: Days Of Future Past, The Time Machine, Death Of The Celts and Hell On Earth from Senjutsu, and Alexander The Great from Somewhere in Time.
Last month Iron Maiden announced the first dates of their 50th anniversary Run For Your Lives world tour, which will kick off in late May 2025 in Hungary and include the band’s biggest-ever UK headline show at the London Stadium on June 28. The next show on the Future Past tour is at the Kia Forum in Los Angeles, CA, tomorrow night (October 8). Full dates below.
(Image credit: John McMurtrie)
Iron Maiden: The Future Past Tour 2024
Iron Maiden: North Island Credit Union Amphitheatre setlist
Caught Somewhere In Time Stranger In A Strange Land The Writing On The Wall Days Of Future Past The Time Machine The Prisoner Death Of The Celts Can I Play With Madness Heaven Can Wait Alexander The Great Fear Of The Dark Iron Maiden
Encore Hell On Earth The Trooper Wasted Years
Iron Maiden: The Future Past
Oct 08: Los Angeles Kia Forum, CA Oct 12: Sacramento Aftershock Festival, CA Oct 14: Portland Moda Center, OR Oct 16: Tacoma Dome, WA Oct 18: Salt Lake City Delta Center, UT Oct 19: Denver Ball Arena, CO Oct 22: St Paul Xcel Energy Center, MN Oct 24: Rosemont Allstate Arena, IL Oct 26: Toronto Scotiabank Arena, ON Oct 27: Quebec Videotron Arena, QC Oct 30: Montreal Centre Bell, QC Nov 01: Philadelphia Wells Fargo Center, PA Nov 02: Brooklyn Barclays Center, NY Nov 06: Worcester DCU Center, MA Nov 08: Pittsburgh PPG Paints Arena, PE Nov 09: Newark Prudential Center, NJ Nov 12: Baltimore CFG Bank Arena, MD Nov 13: Charlotte Spectrum Center, NC Nov 16: Fort Worth Dickies Arena, TX Nov 17: San Antonio Frost Bank Center, TX
Iron Maiden Run For Your Lives 2025 tour dates
May 27: Budapest Aréna, Hungary * May 31: Prague Letnany Airport, Czech Republic * Jun 01: Bratislava TIPOS Arena, Slovakia * Jun 05: Trondheim Rocks, Norway ≠ Jun 07: Stavanger SR-Bank Arena, Norway * Jun 09: Copenhagen Royal Arena, Denmark * Jun 12: Stockholm 3Arena, Sweden * Jun 13: Stockholm 3Arena, Sweden * Jun 16: Helsinki Olympic Stadium, Finland * Jun 21: Birmingham Utilita Arena, UK ^ Jun 22: Manchester Co-op Live, UK ^ Jun 25: Dublin Malahide Castle, Ireland *^ Jun 28: London Stadium, UK *^ Jun 30: Glasgow OVO Hydro, UK ^ Jul 03: Belfort Eurockéennes, France ≠ Jul 05: Madrid Estadio Cívitas Metropolitano, Spain ** Jul 06: Lisbon MEO Arena, Portugal ** Jul 09: Zurich Hallenstadion, Switzerland ** Jul 11: Gelsenkirchen Veltins-Arena, Germany ** Jul 13: Padova Stadio Euganeo, Italy ** Jul 15: Bremen Bürgerweide, Germany ** Jul 17: Vienna Ernst Happel Stadium, Austria ** Jul 19: Paris Paris La Défense Arena, France ** Jul 23: Arnhem GelreDome, Netherlands ** Jul 25: Frankfurt Deutsche Bank Park, Germany ** Jul 26: Stuttgart Cannstatter Wasen, Germany ** Jul 29: Berlin Waldbühne, Germany ** Aug 02: Warsaw PGE Narodowy, Poland **
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* = Halestorm support ^= The Raven Age support ** = Avatar support ≠ = Festival date
Online Editor at Louder/Classic Rock magazinesince 2014. 38 years in music industry, online for 25. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
“A whole generation of bands are standing on the brink of extinction. Look around and see how many have gone”: How Gov’t Mule’s Warren Haynes became one of American rock’s great unsung heroes
(Image credit: Press)
Warren Haynes and his band Gov’t Mule are one of US rock’s not-so-secret-weapons, appealing to rock fans, blues fans and the jam band fans alike, unafraid to dabble in psychedelia and even reggae. In 2013, Haynes sat down with Classic Rock to look back over a career of a group who have marched entirely to their own beat.
In 1997, Warren Haynes and Allen Woody were forced to wrestle with a conundrum. For the previous three years the guitarist/singer and bass player had been moonlighting from the Allman Brothers Band with their own group, Gov’t Mule. Now it was time to choose.
For Haynes especially, the opportunity of being a Brother in a band he’d idolised in his youth was heaven-sent. But on the flip side, the Mule represented a gleaming blank canvas, and when their self-titled debut record had been released two years earlier it garnered immediate cult success, allowing the band (completed by drummer Matt Abts) a platform for their Cream, Jimi Hendrix Experience, Mountain and James Gang power-trio-inspired fantasies. With heavy hearts the pair eventually turned their backs on fanboy loyalty and what had appeared to be a comfortable long-term gig to take the proverbial leap of faith.
“It took us around eighteen months to reach a decision. There was a lot of turmoil within the Allmans back then, especially between the original members,” Haynes explains, referring to Gregg Allman, Dickey Betts, ‘Jaimoe’ Johanson and Butch Trucks. “Communication was lacking and rehearsals had dried up, just like the writing or recording of new material, whereas in the world of Gov’t Mule all of those things were going on.”
Today, that choice now seems like a complete no-brainer. Fêted by fellow musicians and fans alike, Gov’t Mule are among rock music’s hardest-touring acts, rolling out sets of more than three hours’ duration night after night, each one different. The band are proud that, drawing on the 300-plus songs in their repertoire and often featuring special guests, no two shows are alike. Collaborations with a Who’s Who of the rock world, from Jack Bruce and John Entwistle to Slash, Chris Squire, Billy Gibbons, Flea, Roger Glover, Robby Krieger, Steve Winwood, Tony Levin, Jerry Cantrell and Bootsy Collins, reflect Haynes’s status. The support he received when Allen Woody passed away in the summer of 2000 played its part in the band’s decision to continue.
“I got cards and emails from Leslie West [of Mountain, whose bassist Felix Pappalardi was shot] and a beautiful message about losing Cliff Burton from James Hetfield [Metallica],” Haynes reveals. “Dave Grohl also contacted me to talk about how he had felt when Kurt Cobain died.”
Gov’t Mule in 2015: (from left) Warren Haynes, Matt Abts, Danny Louis, Jorgen Carlsson (Image credit: Press)
From the ZZ Top-esque Bad Little Doggie to the rhythmic Thorazine Shuffle and Soulshine’s heart-melting psychedelia, Gov’t Mule’s often southern-tinged rock can be radio-friendly as well as muso-intensive. Each year the band – completed by bassist Jorgen Carlsson and keysman Danny Louis – grows a little bigger, although without really showing up on the radar of the casual fan. This is because they come from the ‘more is more’ mind-set: more notes, longer sets, extended jamming and an overwhelming choice of product. Haynes knows his band won’t be for everybody. But, following the apparent retirement of the Allmans – who he rejoined for a second, 14-year spell at the millennium’s turn – in many ways what they do is now unique..
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(Image credit: Future)
“We’re much more of a rock band than most of the jam-bands out there,” he says. “And I would imagine that post-Allman Brothers we’ll probably end up inheriting some of those songs because they need to stay alive.
“My favourite thing about Gov’t Mule is that it’s a laboratory for us to experiment in just about any way we choose. Our audience travels with us each time we go out on a limb, releasing a reggae album or paying homage to our heroes. That’s not necessarily true of too many other bands.”
Haynes is referring to Dub Side Of The Mule, a triple-disc set which pulls together three hours of Mule originals and reggae covers, some of which were performed with Toots & The Maytals leader Toots Hibbert, and Dark Side Of The Mule and Stoned Side Of The Mule, their in-concert re-recordings of songs by Pink Floyd and the Rolling Stones.
“Our audiences really show their loyalty through our live performances. Playing for three hours each night, we tend to get away with murder,” Haynes says, “but the fans love us for it. Whether it’s your first Gov’t Mule show or your hundred-and-thirtieth, with an all-new set-list you won’t have seen it before.”
The Mule are tolerant of concert recorders, despite the existence of Mule Tracks, a self‑run website that enables fans to purchase live album-quality downloads of their concerts. Haynes admits that Mule Tracks provides an important additional revenue stream that goes towards helping them retain their independence.
“People can bring their microphones and record us – we even set up a taper section if the venue allows it. As long as no money changes hands, we’re cool with that,” he explains. “But Mule Tracks has been very successful for us, compensating for the fact that just about every band’s album sales are shrinking. We’re not driven by record sales or media interest, but those changes do affect us. Bands in general are struggling to reinvent themselves, figuring out how to survive.”
Just like the bands that pioneered rock music, Gov’t Mule eschew pizzazz of any sort. On the day we meet, in a Central London hotel, Haynes, wearing a smart dark shirt, could be mistaken for a middle-aged Silicon Valley exec about to chair a business meeting, but on stage he dresses down. If someone said he looked like a roadie, would he be offended?
“No. It’s something I’ve dealt with my entire life. And there have been very few times in my career when I’ve felt the need for sartorial elegance.”
As you might expect of a band named after a term from the Deep South that describes a woman with a large posterior, Gov’t Mule’s live show is equally gimmick-free – there’s no backdrop or intro music, for example.
“That’s something we inherited from the Allman Brothers. Also from the Grateful Dead to a certain extent, this whole unpretentious way of playing music. Bands weren’t expected to jump around or be ‘entertainers’. We’re musicians, and we’re more humble about our appearance on stage than a lot of other types of band. And people kinda like that. No one would want to see us dancing, I can assure you.”
With Gov’t Mule the music is everything. Haynes appreciates that expecting audiences to listen for three hour asks an awful lot, unless you’re a particular kind of fan. “It’s demanding of their attention spans but it’s what the fans want. And in some ways we have painted ourselves into a corner,” he admits. “A few nights ago in Rome there were complaints when we played for just two hours and thirty-five minutes. But that was due to the curfew – it had nothing to do with us being ‘tired’. It’s why we didn’t take a break between sets that night.”
Haynes believes strongly that his band are a part of what Skynyrd recently called ‘the last of a dying breed’. “A whole generation of bands are standing on the brink of extinction. And although I’m younger than a lot of the names that we’re starting to lose, it includes Gov’t Mule,” he acknowledges. “Let’s start with the blues. Now that BB King is gone, Buddy Guy is the last surviving truly iconic guy that from genre. And just think about the names we’ve lost from the world of classic rock. Look around and see how many have gone. It’s quite an awakening.”
Although he admits “we’re comparing the greatest music you’ve ever heard to new music, so you must lower the bar a little or be a snob”, there is at least some hope. He cites two New-York-based groups – The London Souls and Earl Greyhound – as names to check out, and also offers praise for a 17-year-old blues guitarist called Marcus King who, he says, “plays great, sings his ass off and writes really good songs. He’s opened for us. And in the same way as Derek Trucks [of the Allmans and Tedeschi Trucks Band] was really good at a very young age, so is Marcus.”
The root of the problem has been discussed many times before – TV talent shows, lack of industry support, and external distractions such as computer games and the internet. Haynes rues the fact that so many of today’s aspiring musos seek a short fix.
“It reminds me of the days pre-Sgt Pepper, when artists were disposable,” he sighs. “Back then nobody expected careers to last anything more than two or three years. And that’s the way we’re going again now. There should be some room for artistic development. Labels like A&M and Asylum would allow that – so long as you made good music and grew artistically, you were given time. Not any more.”
And Haynes himself won’t commit to the quickest fix of all. “I’m not going on to social media,” he thunders. “What’s the point of making every facet of my life available for the public?”
Gov’t Mule’s Warren Haynes onstage in Louisville, Kentucky in 2015 (Image credit: Stephen J. Cohen/Getty Images)
One artist who has succeeded in providing a rare chink of daylight is Joe Bonamassa. He’s younger and better presented than Haynes, and his growing profile suggests that the blues can be popular again if done thoughtfully and well.
“Joe is proving that you don’t have to follow the traditional model or what everyone else expects of you,” Haynes offers. “Talent can pay off. He is an important artist. I’ve known him since he was sixteen and he played great even back then. In the States it had looked as though it wasn’t going to happen, but he persevered and now he’s taken off.”
Business-wise, Bonamassa and his manager Roy Weisman certainly have their heads screwed on, with each touring campaign planned down to the minutest of details. However, some say that both Bonamassa and the Mule release way too much product. Over the course of 18 months we’ve been handed Dark-, Stoned– and Dub Side Of The Mule and an album with John Scofield (Sco‑Mule), now followed by Haynes’s new solo record, Ashes & Dust (see sidebar).
“Those archival releases are linked in with the band’s twentieth anniversary,” he explains. “When the next important anniversary comes along, that’s something that maybe we won’t do again. The sense of overload is multiplied by each product containing a lot of music. None of our CDs are thirty or forty minutes long. We don’t set out to fill every last second of a CD with music, but somehow we always end up doing that.”
Such forms of excess inspire some phenomenal acts of devotion. Haynes knows of fans who have attended more than 200 of his band’s shows.
“I appreciate that, though I admit I don’t really understand it,” he remarks with a chuckle. “I guess the only reason could be that the shows are always different. And that the people concerned are mentally unstable – in a nice way.”
Haynes is ambivalent when Gov’t Mule are lumped in with the so-called jam-band scene.
“What annoys me is the inference that we’re just a bunch of hippies noodling around, in the same way that the Allman Brothers resented being called [just] a southern rock band – especially if your image of a southern rock band is whiskey, rednecks and racism.”
(Image credit: Stephen J. Cohen/Getty Images)
Until the Allmans signed off with what has been termed their ‘final’ gig, at the Beacon Theatre, New York on October 28, 2014, Haynes had served double duty with the Brothers and the Mule, also taking on the Jerry Garcia role in the post-Grateful Dead spin-off group The Dead. He derives a special sense of fulfilment from the total of around 25 years spent with the Allmans.
“That’s maybe because the last versions of that band [before I joined them] really weren’t the greatest in their history,” he points out. Addressing the subject of their ‘retirement’, Haynes chooses his words carefully, mindful of several facts. Firstly, a lack of categorical clarity regarding the band’s state of existence. Secondly, that their most recent studio record, Hittin’ The Note, was recorded as long ago as 2003. And finally their stubborn refusal to tour Europe for the first time since 1991.
“Yeah, there was dignity, but I’m not happy with the way it ended publicly,” he says. “Was it the final tour, or not? Nobody stood up and said: this is what’s happening, this is why we’re doing it. Somebody would say something in the press, and another would contradict it.
“The last shows that we did were very good, and the final one was amazing. But I do regret that we didn’t get to make a final studio album. And I really felt that the band should have tapped into its potential outside of America. It took way too long for some of the guys to understand that it was important in the long run. With the Allman Brothers, communication was always the biggest obstacle – especially the original members – and that kept the band from doing things that it could have and should have done. It’s very unfortunate.”
So is it really over?
“I think so, though it’s not really my place to say. If they want to keep it going, that’s their prerogative, and I would never rule out a reunion. But at the moment that doesn’t seem likely to happen.”
Neither will Haynes be present for Fare Thee Well, the 50th-anniversary shows with four original members of the Grateful Dead – Mickey Hart, Bill Kreutzmann, Phil Lesh and Bob Weir – teaming up with pianist Bruce Hornsby, keyboard player Jeff Chimenti and Phish guitarist Trey Anastasio.
Warren Haynes – One (U2 Cover) | Unplugged | Classic Rock Magazine – YouTube
“I’d been doing a separate thing from them, and my schedule’s pretty crazy. I couldn’t have done it had they asked me,” he explains. “Fare Thee Well came about via the merging of a lot of different camps. I’m not a part of it but I’m very happy that they’re doing something to celebrate such an important milestone.”
Meanwhile, the Mule trundle on, although Haynes admits that fresh guest contributors are on the wane. In 2010 the band played the Who’s Next album in its entirety, so presumably Pete Townshend must feature on Haynes’s hit-list?
“Oh yeah, and BB King was on there too,” he says sadly. “I’ve never even met Pete, but I would be honoured to do something with him should the opportunity arise. I’ve never played with Jimmy Page or Mark Knopfler, though I recently played with Jeff Beck, which was a very big deal. I’ve played with Peter Green too. But, Peter being Peter, he played harmonica [not guitar]. It was a beautiful experience.”
Haynes admits to often wondering how much bigger a band like Gov’t Mule could become, drawing hope from the smattering of “younger people” beginning to attend their shows, alongside musicians, hippies, jam-band loonies and concert recorders.
“Perhaps we represent something their generation has been robbed of,” he offers. “They’re discovering our style of rock music for the first time. I firmly believe that someone who’s passionate about music who wanders into a Gov’t Mule show is going to leave a fan.”
Originally published in Classic Rock magazine issue 213, July 2015
Dave Ling was a co-founder of Classic Rock magazine. His words have appeared in a variety of music publications, including RAW, Kerrang!, Metal Hammer, Prog, Rock Candy, Fireworks and Sounds. Dave’s life was shaped in 1974 through the purchase of a copy of Sweet’s album ‘Sweet Fanny Adams’, along with early gig experiences from Status Quo, Rush, Iron Maiden, AC/DC, Yes and Queen. As a lifelong season ticket holder of Crystal Palace FC, he is completely incapable of uttering the word ‘Br***ton’.
The sun has been one of the most enduring symbols in rock music, representing everything from hope and renewal to sorrow and loss. Its presence in rock songs spans decades and genres, allowing artists to tap into its literal and metaphorical meanings. Whether it’s a sign of optimism breaking through dark times or a reflection on the inevitable passage of time, the sun has provided a powerful backdrop for musicians to explore a variety of emotional landscapes.
This list of 10 Best Rock Songs About the Sun highlights tracks that use the sun in unique and creative ways. From the hopeful melodies of The Beatles’ “Here Comes the Sun” to the ominous tones of Soundgarden’s “Black Hole Sun,” these songs show just how versatile this imagery can be. Pink Floyd’s “Fat Old Sun” evokes nostalgia, while The Animals’ “House of the Rising Sun” tells a dark story of ruin. The Police’s “Invisible Sun” tackles political tension, while Peter Frampton’s live anthem “I Wanna Go to the Sun” offers an escape to freedom. These diverse uses of the sun as a theme demonstrate its lasting relevance in rock music and its ability to speak to both personal and universal experiences.
# 10 – Black Hole Sun – Soundgarden
“Black Hole Sun,” written by Soundgarden’s lead vocalist Chris Cornell, was released in 1994 as the third single from the band’s fourth studio album Superunknown. Produced by Michael Beinhorn and recorded at Bad Animals Studio in Seattle, the song became an iconic track in the grunge movement of the ’90s. Cornell’s dark, surreal lyrics and the haunting melodies combine to make this one of the band’s most memorable songs. While the band was known for its heavy, intense sound, Black Hole Sun stands out for its melancholic tone and more atmospheric instrumentation, showcasing Soundgarden’s versatility.
Musically, “Black Hole Sun” is driven by a hypnotic guitar line and Cornell’s haunting vocals. The song features Matt Cameron on drums, Kim Thayil on guitar, and Ben Shepherd on bass. Thayil’s use of psychedelic elements in his guitar work added to the eerie quality of the song, while the arrangement mixed elements of grunge with more classic rock influences. It topped the US Billboard Album Rock Tracks chart for seven weeks and finished as the number-one track on the Billboard Modern Rock Tracks chart for 1994. Internationally, it was a major hit, reaching the top ten in multiple countries, including Australia, Canada, and France, and even peaked at number one in Iceland.
Lyrically, “Black Hole Sun” explores themes of despair, isolation, and a longing for release. The lines, “Black hole sun, won’t you come / And wash away the rain,” evoke a feeling of yearning for something to cleanse or escape from the emotional turmoil Cornell expressed. The imagery of the sun, juxtaposed with the ominous “black hole,” suggests a corrupted, bleak version of a once-bright force. The song’s haunting tone is furthered by its cryptic lyrics, which create a sense of unease and existential questioning, fitting perfectly with the grunge movement’s introspective ethos. As the first track on this list of songs with “sun” in the title, “Black Hole Sun” sets a tone of both reflection and darker emotions.
“I’ll Follow the Sun” is a tender ballad by The Beatles, written and sung by Paul McCartney. Released in 1964 on Beatles for Sale in the United Kingdom and Beatles ’65 in the United States, the song marked a shift from the upbeat rock ‘n’ roll sound the band had become known for, showcasing a softer, more introspective side. Written by McCartney when he was just 16 years old, the song reflects a youthful longing for change and an acceptance of life’s impermanence. The track’s minimalist arrangement, with McCartney’s gentle vocals at the forefront, offers a quiet but poignant contrast to the energetic hits the band produced during this period.
The recording of I’ll Follow the Sun took place at Abbey Road Studios in October 1964, with George Martin serving as producer. Ringo Starr’s drumming is notably restrained, as he taps lightly on a percussion box, allowing McCartney’s acoustic guitar and vocals to take center stage. The rest of the band provides subtle backing harmonies, creating a warm and reflective atmosphere. This minimalist approach was a deliberate choice, as the band sought to differentiate their singles and avoid sounding formulaic.
Lyrically, “I’ll Follow the Sun” expresses the inevitability of change and the need to move forward despite emotional loss. McCartney sings, “One day you’ll look to see I’ve gone / For tomorrow may rain, so I’ll follow the sun,” conveying the bittersweet acceptance of leaving a relationship behind. The song’s understated simplicity, both musically and lyrically, highlights its emotional weight. As the first track on this new list of songs with “sun” in the title, I’ll Follow the Sun exemplifies a reflective, almost melancholic tone, offering a contrast to other songs on the list, which may explore different facets of sunlight as a metaphor for hope or renewal.
“House of the Rising Sun” is one of The Animals’ most iconic songs, featured on their American debut album The Animals, released in 1964. The song, often associated with traditional folk roots, was transformed into a rock anthem by the British band. The track was recorded at Kingsway Studios in London in May 1964, produced by Mickie Most. With Alan Price on the haunting organ, Hilton Valentine’s powerful guitar riff, and Eric Burdon’s raw and soulful vocals, the band created a blues-rock version that resonated worldwide. This recording helped catapult The Animals to international fame, and the single topped the charts in both the UK and the US, making it one of the standout tracks of the British Invasion era.
The song itself is a traditional folk ballad with origins tracing back to the 18th century, although its exact beginnings are debated. When The Animals brought it into the rock world, they gave the tune a darker, more intense tone. The song tells the story of a man who fell into a life of ruin due to the vices of gambling and drinking, symbolized by the titular “House of the Rising Sun,” often interpreted as a reference to a brothel or gambling den in New Orleans. Burdon’s emotionally charged delivery gives the tale of despair and regret even greater weight, while the arrangement, featuring Price’s chilling organ performance, evokes a feeling of dread and inevitability.
Lyrically, “House of the Rising Sun” stands as one of the most poignant expressions of downfall in rock music. Its narrative voice pleads with others to avoid the same fate, with lines like “Oh mother, tell your children / Not to do what I have done.” The song fits the theme of this list perfectly, as it embodies the idea of being trapped or “used” by circumstances, much like other songs included here, such as Soundgarden’s “Black Hole Sun.” However, whereas “Black Hole Sun” veers into surreal imagery, The Animals’ song remains rooted in the gritty realism of regret and loss.
“Invisible Sun” by The Police, from their 1981 album Ghost in the Machine, is a song that explores the darker side of human existence, yet ultimately focuses on resilience and the hope for a brighter future. Written by Sting, the track reflects the band’s shift toward a more politically conscious and experimental sound. The song was recorded at AIR Studios in Montserrat and Le Studio in Quebec, produced by Hugh Padgham alongside The Police. “Invisible Sun” reached number two on the UK Singles Chart, and though not released as a single in the US, it remains a significant part of the band’s discography.
Musically, the song is driven by a repetitive, almost hypnotic synthesizer melody, underscored by a sparse and brooding atmosphere. The song contrasts its relatively dark subject matter with a haunting yet uplifting tone. Sting’s lyrics express the challenges of living through conflict and despair, possibly inspired by the political unrest in Northern Ireland at the time. The line “I don’t want to spend the rest of my life / Looking at the barrel of an Armalite” directly references the violence of the Troubles, illustrating the psychological toll of living in a war-torn environment. Despite the grim backdrop, the “invisible sun” represents a glimmer of hope that keeps people going, even through the darkest times.
Lyrically, “Invisible Sun” connects well with the theme of perseverance, much like The Animals’ “House of the Rising Sun.” While the latter tells the story of personal downfall and a life wasted, “Invisible Sun” emphasizes finding inner strength amid external chaos. Both songs mention “the sun” as a symbol but in vastly different contexts: “House of the Rising Sun” represents ruin and regret, while “Invisible Sun” signifies hope and endurance. These contrasts create a multifaceted look at how rock music can use similar imagery to convey complex emotional experiences.
“I Wanna Go to the Sun” is a standout track from Frampton Comes Alive!, Peter Frampton’s 1976 breakthrough live album, which became one of the most successful live albums in rock history. The song originally appeared on Frampton’s 1974 studio album Somethin’s Happening, but it truly found its energy in the live performances that fueled Frampton Comes Alive!. Recorded at a series of concerts in 1975, including shows at Winterland in San Francisco, the live version of “I Wanna Go to the Sun” showcases Frampton’s signature blend of soulful guitar work, uplifting melodies, and heartfelt lyrics, capturing the vibrant essence of his live performances.
Musically, “I Wanna Go to the Sun” features an intricate and emotional guitar solo that is emblematic of Frampton’s style. His Les Paul work shines throughout, and the audience’s connection to the music is palpable, adding to the track’s intensity. The song’s expansive live version taps into a classic ‘70s rock sound, with Frampton’s fluid transitions between acoustic and electric textures, bringing new life to the already powerful studio recording. The lineup on Frampton Comes Alive! includes Frampton on guitar and vocals, Stanley Sheldon on bass, Bob Mayo on keyboards and guitar, and John Siomos on drums. The album’s production, handled by Frampton and Chris Kimsey, captured the spontaneous energy of his live shows.
Lyrically, “I Wanna Go to the Sun” offers a meditation on escapism and the yearning for freedom, with Frampton expressing a desire to break free from the restrictions of everyday life. The imagery of going to the sun reflects a deep longing for transcendence and peace. In comparison to other songs on this list, such as Soundgarden’s “Black Hole Sun,” where the sun symbolizes darkness and chaos, Frampton’s sun is a place of liberation and light. This contrast highlights the diverse ways rock artists use the symbol of the sun to express complex emotions.
As the opening track on this list, “I Wanna Go to the Sun” sets a tone of freedom and adventure, and its soaring live version demonstrates why Peter Frampton became a major figure in the ‘70s rock scene. The song’s optimistic outlook contrasts well with the darker, more introspective songs on this list, offering a balance of perspectives on the sun’s symbolic power in rock music.
“Waiting for the Sun” is a song by the Doors from their 1970 album Morrison Hotel. Although the song shares its title with the band’s 1968 album, it was not included on that earlier release and instead found its home on Morrison Hotel. Written by frontman Jim Morrison, the song reflects the band’s fascination with themes of hope, enlightenment, and the search for a better reality, characteristic of much of their music.
Musically, “Waiting for the Sun” features the Doors’ signature blend of bluesy rock and psychedelia, anchored by Ray Manzarek’s hypnotic keyboard work and Robby Krieger’s steady guitar riffs. The song’s arrangement builds tension as Morrison’s evocative vocal delivery crescendos into the chorus, creating a sense of anticipation and yearning. Recorded in 1969 at Elektra Sound Recorders in Los Angeles and produced by longtime collaborator Paul A. Rothchild, the song showcases the band at a transitional point in their career as they explored more complex arrangements while staying true to their bluesy roots.
Lyrically, the song speaks to themes of waiting and longing, with Morrison poetically expressing a desire for a brighter future. Lines like “This is the strangest life I’ve ever known” suggest a sense of disillusionment with the present, while the titular “sun” represents a distant hope for change and resolution. In comparison to songs like Peter Frampton’s “I Wanna Go to the Sun,” where the sun is a symbol of escape and freedom, Morrison’s take on the sun represents an abstract, almost unreachable ideal. This deeper philosophical approach mirrors the darker undercurrents often present in the Doors’ work, contrasting with more straightforward songs on this list that explore personal liberation.
“Waiting for the Sun” adds a unique, introspective layer to this list of songs about the sun, focusing on the tension between yearning for something greater and the frustration of its delay. As the Doors often did, they craft a sonic landscape that bridges the gap between the psychedelic and the tangible, leaving listeners with a sense of unresolved longing, making it one of the most thought-provoking tracks here.
“Fat Old Sun” is a song by Pink Floyd from their 1970 album Atom Heart Mother. Written and sung by guitarist David Gilmour, the song stands out as one of the more pastoral and serene pieces in Pink Floyd’s catalog. It was recorded during the sessions at Abbey Road Studios in London and produced by the band themselves alongside longtime collaborator Norman Smith. This song exemplifies the band’s shift from the psychedelic experimentation of their earlier albums to a more structured, folk-influenced sound that would continue to evolve in their later work.
Musically, “Fat Old Sun” is built around Gilmour’s gentle acoustic guitar work and soothing vocals, with the song gradually expanding into a lush, atmospheric soundscape that includes organ, drums, and an expressive guitar solo. The song’s layered textures highlight Gilmour’s skill as a composer, creating a dreamlike ambiance that contrasts with the more experimental and avant-garde tracks on Atom Heart Mother. The peaceful, almost nostalgic vibe of the song makes it a standout on the album, a moment of quiet reflection amidst the more expansive and experimental pieces.
Lyrically, “Fat Old Sun” is a celebration of the simple beauty of life, particularly the peacefulness of a summer day. The imagery evokes pastoral scenes of the sun setting over the countryside, with Gilmour’s vocals imbuing the lyrics with a sense of warmth and comfort. In comparison to other songs on this list, like Soundgarden’s “Black Hole Sun,” which offers a more dark and surreal interpretation of the sun, “Fat Old Sun” is grounded in simplicity and contentment. The sun in Gilmour’s composition symbolizes a source of calm and joy, standing in stark contrast to the existential themes that often permeate Pink Floyd’s work.
“Fat Old Sun” brings a soothing, reflective tone to this list, contributing a song that celebrates the peaceful and rejuvenating power of the sun. Its laid-back, almost meditative quality offers a different take on the sun compared to the heavier, more intense interpretations found in other songs on the list, making it an essential piece in the exploration of sun-themed rock tracks.
“Into the Sun” by Grand Funk Railroad is one of the standout tracks from their debut album On Time, released in 1969. The song epitomizes the band’s gritty and raw sound, characterized by powerful guitar riffs, thunderous bass, and hard-hitting drums. Produced by Terry Knight and recorded at Cleveland Recording Company, the album introduced the band’s energetic style, which would go on to define their early success. “Into the Sun” captures the essence of Grand Funk Railroad’s early sound—heavy, blues-infused rock with a relentless drive that reflects the band’s roots in Michigan’s industrial landscape.
Musically, “Into the Sun” exemplifies the heavy, groove-laden rock that Grand Funk Railroad was known for. The track begins with a slow, deliberate build-up, led by Mark Farner’s guitar, before bursting into full throttle, powered by the rhythm section of Mel Schacher’s bass and Don Brewer’s drums. Farner’s gritty vocals add to the song’s energy, with lyrics that speak of a journey towards enlightenment and change. The repetitive, almost hypnotic nature of the song mirrors the band’s live performances, where extended jams and instrumental breakdowns were key to their appeal. It fits seamlessly into On Time, an album that blends rock, blues, and psychedelic elements, all staples of the late 1960s rock scene.
Lyrically, “Into the Sun” portrays a metaphorical quest for clarity and growth, with the sun symbolizing light and understanding. As Farner sings, “Things are changing for the better, now I’m not afraid,” the lyrics express a sense of personal development and optimism. This contrasts with other sun-themed songs on this list, such as Pink Floyd’s “Fat Old Sun,” which leans towards a peaceful, pastoral imagery of the sun. In “Into the Sun,” the journey towards the sun represents ambition and a powerful forward momentum, fitting the hard rock context of Grand Funk Railroad’s music. The sun is not just a passive element in the background but a destination to be reached, representing success and self-assurance.
In comparison to other songs on the list, “Into the Sun” stands out for its raw, unpolished sound, which reflects the hard-working, blue-collar ethos of the band. Where “Black Hole Sun” by Soundgarden presents a surreal and dark image of the sun, “Into the Sun” exudes a sense of triumph and achievement, making it a fitting opening for On Time and a perfect addition to this list.
# 2 – The Sun Ain’t Gonna Shine (Anymore) – Frankie Valli & The Four Seasons
“The Sun Ain’t Gonna Shine (Anymore)” was originally recorded by Frankie Valli as a single in 1965, before it gained more widespread recognition with The Walker Brothers’ rendition the following year. Written by Bob Crewe and Bob Gaudio, key collaborators with Frankie Valli & The Four Seasons, the song was produced with the same emotional depth that Valli’s vocals typically brought to the group’s hits. Though Valli’s version did not achieve significant commercial success, it remains an evocative and haunting track in his catalog.
Musically, “The Sun Ain’t Gonna Shine (Anymore)” leans on its rich orchestration and melancholic atmosphere, elements that reflect the sorrowful themes embedded in the lyrics. The song’s lush arrangement, with sweeping strings and a powerful, slow-building vocal delivery from Valli, presents a deep sense of loss and isolation. Valli’s voice, known for its incredible range and emotional intensity, is the centerpiece here, blending perfectly with the song’s heavy-hearted mood. Despite its initial underperformance, the song stands out for its production quality, which echoes the grandiose style that Frankie Valli & The Four Seasons became famous for.
Lyrically, the song speaks to feelings of abandonment and despair, with lines like “Loneliness is the coat you wear” and “The sun ain’t gonna shine anymore” serving as vivid metaphors for the emotional emptiness the protagonist feels. The sun, in this context, is a symbol of hope and happiness that has been lost, adding to the somber nature of the song. In comparison to other tracks on this list, such as “Black Hole Sun” by Soundgarden or “Into the Sun” by Grand Funk Railroad, Valli’s “The Sun Ain’t Gonna Shine (Anymore)” is more about loss and the inability to find light or hope, rather than a pursuit of change or self-discovery. While Grand Funk Railroad’s track is energetic and triumphant, this song resides in the shadows, making it a poignant and fitting addition to the list of rock songs about the sun.
In terms of production, the song was recorded in 1965 and features The Four Seasons’ signature lush, full-bodied sound under the careful direction of producer Bob Crewe. While it wasn’t a chart-topping hit for Valli, it’s a notable part of his expansive career and later found more success with other artists, proving the enduring power of its emotional resonance.
“Here Comes the Sun” is one of The Beatles’ most beloved tracks, written by George Harrison for the band’s 1969 album Abbey Road. Harrison penned the song at the home of his friend Eric Clapton, finding inspiration in the simple joy of seeing the sun after a long English winter. It has since become one of Harrison’s signature contributions to The Beatles’ catalog, celebrated for its uplifting lyrics and soothing acoustic melody.
Recorded at EMI Studios (Abbey Road Studios) in London, Abbey Road marked the band’s final studio recordings as a group. The song was produced by George Martin, with Harrison leading the instrumentation on guitar and vocals. Paul McCartney played bass, while Ringo Starr contributed drums. Notably, John Lennon did not play on the track as he was recovering from a car accident. The track’s warm, acoustic-led arrangement, driven by Harrison’s use of a capo on the 7th fret, paired with subtle synthesizer touches, encapsulates a feeling of hope and renewal.
Lyrically, “Here Comes the Sun” offers a simple yet powerful message of optimism. In lines like “Little darling, it’s been a long, cold, lonely winter” and “Here comes the sun, and I say it’s all right,” Harrison celebrates the end of hardship and the arrival of brighter days. This theme of rejuvenation stands in contrast to other songs on this list, such as Soundgarden’s darker “Black Hole Sun,” which deals with internal and external turmoil. While “Black Hole Sun” is more about facing the grim aspects of life, “Here Comes the Sun” serves as a gentle reminder of hope and positivity even in difficult times. It also shares a sense of optimism with Grand Funk Railroad’s “Into the Sun,” but with a more understated and reflective tone.
Critically, “Here Comes the Sun” is hailed for its delicate composition and lyrical simplicity. It remains a timeless anthem for hope and a key example of George Harrison’s growth as a songwriter during his time with The Beatles. The song was never released as a single but remains one of the band’s most streamed and covered tracks, often considered one of the defining moments of Abbey Road.
Legendary guitarist Bruce Kulick, known for his iconic work with KISS, Grand Funk Railroad and Union, sat down with VRP Rocks to reveal his Top 5 favorite albums that he has ever played on. With over four decades in the music industry, Bruce’s incredible career spans countless records, tours and collaborations and in this exclusive interview, he shares the stories and memories behind these landmark albums that mean so much to him.
VRP Rocks: “Whether you’re a KISS fan or just passionate about rock music, this video dives deep into the creative process, career highlights, and unique insights from one of rock’s most versatile guitarists. Discover why these albums are so special to Bruce and how they’ve shaped his remarkable journey in the world of music. Stay tuned for some surprising choices that showcase the diversity of his talent!”
Kulick: “The Asylum record was monumental. I’m one of the faces on the cover of a KISS album, even though I look like a pop-art ghost (laughs). This is such an iconic cover; it’s really interesting. What a great record. I hasd four co-writes (credits), my guitar playing was something to be proud of, although some of it is really hard that I can’t really do now. Some great songs like ‘Tears Are Falling’, ‘Uh All Night’, ‘King Of The Mountain’. It’s still important to many, many KISS fans.”
Kulick recently offered the following:
“On September 30, 1984 I began my career with KISS performing in Brighton, England. I share my feelings about the six-week European Tour that began my 12 years in KISS.”
The setlist for Bruce Kulick’s first ever show with KISS on September 30, 1984 at Brighton Centre in Brighton, England was as follows:
“I’ve Had Enough (Into The Fire)” – Live Premiere “Detroit Rock City” “Burn Bitch Burn” – Live Premiere “Cold Gin” “Strutter” Guitar Solo by Paul Stanley “Under The Gun” – Live Premiere “Fits Like A Glove” “Get All You Can Take” – Live Premiere Drum Solo by Eric Carr “Young And Wasted” “Heaven’s On Fire” – Live Premiere “War Machine” “I Still Love You” Bass Solo by Gene Simmons “I Love It Loud” “Love Gun” “Creatures Of The Night” “Rock And Roll All Nite” “Lick It Up”
Iron Maiden kicked off the North American leg of The Future Past Tour last night (October 4th) at North Island Credit Union Amphitheatre in San Diego, CA, treating the packed amphitheatre to an explosive 2-hour, high-energy set. From the incendiary show opener, “Caught Somewhere In Time,” the band captivated the audience with a set that seamlessly moved through the The Future Past with songs such as “The Time Machine” and “Hell On Earth” from Iron Maiden’s most recent acclaimed studio album Senjutsu. Check out more photos by John McMurtrie here.
Iron Maiden’s San Diego setlist included:
“Caught Somewhere In Time” “Stranger In A Strange Land” “The Writing On The Wall” “Days Of Future Past” “The Time Machine” “The Prisoner” “Death Of The Celts” “Can I Play With Madness” “Heaven Can Wait” “Alexander The Great” “Fear Of The Dark” “Iron Maiden”
Encore: “Hell On Earth” “The Trooper” “Wasted Years“
Iron Maiden will have played to almost three-quarters of a million fans at more than 50 jam-packed shows across Europe, Australia and Japan and continues to sell out arenas across North America this fall taking that number to well over 1 million rock fans! Featuring one of the most spectacular stage productions of the band’s career, it has received rave reviews in every city and country that Iron Maiden visited.
North American tour dates:
October
5 – Michelob ULTRA Arena – Las Vegas, NV 8 – Kia Forum – Los Angeles, CA 9 – Footprint Center – Phoenix, AZ (NEW SHOW) 12 – Aftershock Festival – Sacramento, CA 14 – MODA Center – Portland, OR 16 – Tacoma Dome – Tacoma, WA 18 – Delta Center – Salt Lake City, UT 19 – Ball Arena – Denver, CO 22 – Xcel Energy Center – St Paul, MN 24 – Allstate Arena – Rosemont, IL 26 – Scotiabank Arena – Toronto, ON 27 – Videotron Centre – Quebec City, QC 30 – Centre Bell – Montreal, QC
November 1 – Wells Fargo Center – Philadelphia, PA 2 – Barclays Center – Brooklyn, NY 6 – DCU Center – Worcester, MA 8 – PPG Paints Arena – Pittsburgh, PA 9 – Prudential Center – Newwark, NJ 12 – CFG Bank Arena – Baltimore, MD 13 – Spectrum Center – Charlotte, NC 16 – Dickies Arena – Fort Worth, TX 17 – Frost Bank Center (formerly AT&T Center) – San Antonio, TX
Go to ironmaiden.com for the latest tour information.
A metal festival in Florida, USA, has lost its headliner and multiple other acts after announcing Kyle Rittenhouse as a special guest.
Shell Shock II is scheduled to take place in Orlando on October 19. But headliner Evergreen Terrace have pulled out after organisers announced 21-year-old Rittenhouse’s involvement as a VIP guest.
Rittenhouse drove from his home state of Illinois to Kenosha, Wisconsin, in 2020 amid unrest and joined with a group of people who claimed to be protecting businesses from the troubles.
The unrest was the result of protests following the shooting of Jacob Blake by a police officer.
Rittenhouse shot three people, two of whom died. He was eventually acquitted of all charges, including homicide, after pleading self defence.
A Slipknot tribute act will now take the Shell Shock II headline slot.
Evergreen Terrace say in a statement: “Evergreen Terrace has always supported and continues to support philanthropic events for veterans, PTSD awareness, child poverty, and many more, but we will not align with an event promoting a perceived murderer such as Kyle Rittenhouse capitalizing off of their pseudo celebrity.
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“Unfortunately we did not do our due diligence with this particular event. Even after they offered to pull Kyle from the event, we discovered several associated entities that we simply do not agree with. As advocates for free speech we are respectfully canceling the Shell Shock festival.
“We will be personally contributing to a veterans charity and urge you to do the same.”
Another of the bands to pull out, Southpaw, say in a statement of their own: “We knew going into this, that the festival was veteran based, which we support. But knew nothing of a particular individual being a main focus of support for the show until after accepting it.
“Due to events that have taken place and drama surrounding this particular individual, we made the decision to respectfully step down. This simply is not what we signed up for. Period. Southpaw does not and not get involved in politics. Therefore we not align ourselves with it.”
In response, Shell Shock organisers say: “We have been silent. But we are prepping. The liberal mob attempted to destroy Shell Shock. But we will not allow it. This is now about more than a concert. This is a war of ideology.”
Tyler Hoover, host of The Antihero Podcast and Shell Shock founder, made a more detailed statement in an Instagram, post, saying: “I’m here to tell you, you’re not punk, you’re not hardcore. You people, the people that are trolling and the people that are talking shit, you guys are the mentally ill portion of society.
“You guys are the ones that are manipulated. The lynch mob here to take down Shell Shock will not win. It doesn’t matter, ’cause guess what, you can’t kill spirit. You can’t kill punk. And you can’t fucking kill Shell Shock’.”
Let Me Bleed & American Hollow have also stepped down from the lineup after learning of Rittenhouse’s involvement.
“I’ve seen a lot of things. Supernatural things. I’ve seen the place between heaven and hell”: The outrageous life of King Diamond, the occult metal icon Metallica love and Gene Simmons wanted to sue
(Image credit: Ebet Roberts/Redferns))
As frontman with occult metal pioneers Mercyful Fate and, later, as a solo artist, King Diamond is one of the most influential musicians of the last four decades. In 2016, the Danish singer looked back on supernatural encounters, near-death experiences, Metallica’s approval and run-ins with Gene Simmons.
February 1984. It’s a freezing night in Copenhagen, Denmark. Under heavy snow, the streets are silent. In a rooftop apartment, something weird is going down.
King Diamond, the singer with Danish heavy metal band Mercyful Fate, is entertaining four guests: Timi Hansen, the band’s bassist, and his girlfriend, and Metallica’s Lars Ulrich and James Hetfield, who are in Copenhagen to record their group’s second album, Ride The Lightning. It’s been a long night, and all of them are drunk. For hours they’ve been sitting in the living room, talking and soaking up the heavy vibes from old records by Deep Purple, Black Sabbath and Blue Öyster Cult. In one corner of the room is an altar: a table draped in a black cloth, lit by tall candles and decorated with a figurine of the pagan idol Baphomet and occult books The Satanic Bible and The Necronomicon, the centerpiece a human skull.
King Diamond is an avowed Satanist. His obsession with the dark arts is expressed in Mercyful Fate’s songs and in his theatrical image: his face painted white and black, like Kiss, but with an inverted cross between his eyes. This occult shtick is of no interest to Hetfield and Ulrich, they just like the guy and love his band. But what is about to happens on this night at King’s place scares the shit out of Hansen and his girlfriend.
“I remember it clearly,” King Diamond says now. “At one point we left Timi and the girl alone in the living room, to have some fun. Lars and James and I went to my bedroom to play a game of table football. And then we heard a gigantic bang. I rushed back into the living room and both Timi and the girl were sitting there with faces white as sheets. Everything from my altar was spread across the floor. Timi said he’d felt himself being lifted up and thrown back down.
“I said: ‘It’s them. Don’t worry.’ I put the things back, and it was fine. But then the girl went off to the bathroom. After a while we could hear her crying in there. And then she screamed out: ‘Something’s growling at me! I can’t get out – the door’s locked!’ I took the handle and opened the door. She was sitting there in tears, dumbstruck.”
As King remembers it, Lars and James were too drunk to really absorb what had happened. But he was certain. “It was a visitation,” he says. “You could hear how they left – out through the bathroom window.” And he claims it was one of many such occurrences. “There were other experiences I had in that place. I remember once I felt a touch on my cheek… That place was haunted. So many people experienced stuff in there, not just me.
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“In my life I’ve seen a lot of things,” he says. “Supernatural things. I’ve seen the place between heaven and hell.”
King Diamond with Mercyful Fate in 1983 (Image credit: Fin Costello/Redferns)
In his long career, both with Mercyful Fate and as leader of the band in his own name, King Diamond has remained a divisive figure. To some he’s a cult hero, a master of theatrical heavy metal, innovative and influential. To others he’s no more than a clown, a Halloween bogeyman with a singing voice like Rob Halford being boiled alive. What is certain is that he is a survivor. Not only a survivor of more than 30 years in the music business, but also a survivor of multiple heart attacks that almost killed him in 2010.
This feature was originally published in Classic Rock magazine issue 225 (June 2016) (Image credit: Future)
At the time when Mercyful Fate rose to prominence in the mid-80s there were many heavy metal acts with an over-the-top image. There was Venom, the original, devil-worshipping black metal band; Manowar, muscle-bound warriors from New York declaring ‘Death to false metal’; Thor, a former bodybuilding champion from Canada, whose stage act included breaking concrete blocks on his chest.
King Diamond appeared as much a caricature as any of them. With his masked face and satanic songs rendered in that mock-operatic shriek, he was frequently ridiculed in the music press. And yet there was something that set him and Mercyful Fate apart from bands such as Venom and Slayer, who posed as Satanists purely for shock value. King Diamond was entirely serious about this stuff. He was a scholar in the dark arts, and a member of the Church Of Satan, the organisation led by Anton Szandor LaVey, author of The Satanic Bible. And in Mercyful Fate’s music there was a depth and power that went far beyond the primitive bludgeoning of Venom and early Slayer. The band’s style of complex, heavy riffing was an inspiration to James Hetfield, who has stated that “Mercyful Fate was a huge influence on Metallica”.
Over the years there have been hard times for King Diamond. In 1984, in an interview with Kerrang!, he was branded a hokey Satanist, a fraud. Later came rumours that he was going to be sued by Kiss for infringement of their image rights. For long periods his brand of music was out of sync with the changing times, but through it all he has retained a loyal cult following and has continued to tour and make albums both with his own band and in a number of reunions with Mercyful Fate.
When he speaks to Classic Rock at his home in Texas he is in buoyant mood. “Right now things are good for me,” he says. The years he has spent living in America have softened his Danish accent. In talking about his life and career, our conversation extends to more than two hours. And he begins at the point of transformation – the moment when a bright working-class boy called Kim Bendix Petersen was set on the path to becoming spooky satanic rock screamer King Diamond.
It was in 1970 that the path opened up, when 13 year-old Kim heard a sound that would change his life – the sound that Jimmy Page conjured from his guitar in the solo on Led Zeppelin’s Dazed And Confused. “I was mesmerised by the way that music danced around,” King says now. “It was mind-blowing.”
He had what he describes as “a very normal childhood”. He was born on June 14, 1956 in Hvidovre, a suburb of Copenhagen. His father worked as a foreman at a storage facility, his mother was secretary to the city’s mayor. He had one brother, Viggo, a year older. There was strict discipline in the way the boys were raised, but “nothing religious whatsoever”.
What drew him to the dark side was not rebellion, but a curiosity informed by Black Sabbath albums and what he read about Jimmy Page’s interest in the infamous occultist Aleister Crowley. This led eventually to the work of Anton LaVey. “When I read The Satanic Bible,” he recalls, “it presented to me a life philosophy. It doesn’t tell you that you must believe in a god, it’s about the power of the unknown – which is the best word for these things that I believe in.”
What also had a profound effect on him were two rock concerts he attended in Copenhagen in 1975. The first was Genesis, on their final tour with singer Peter Gabriel. “It was a very visual show,” he recalls, “with Gabriel in his different costumes and make-up. I was bombarded with emotions.” The other concert was Alice Cooper on the spectacular Welcome To My Nightmare tour. “I was right at the front, and I felt that if I could have reached up and touched Alice’s boot then – pfft! – he would disappear into thin air. It seemed so unreal.” Entranced by the larger-than-life personas of Gabriel and Alice, teenaged Kim Petersen said to himself: I want to do that.
His entry point was not as a singer, but as a guitarist in his first band, Brainstorm, who played generic heavy rock. On stage he wore make-up in basic, experimental designs. He also adopted the name King Diamond – of which, he says, there was “no significant meaning”. It was in his next band, Black Rose, that he was the singer. He discovered that he could scream like Rob Halford and Ian Gillan. “I had no idea what ‘falsetto’ was,” he says. “I’m not trained musically. All I knew was that this sound coming out of me was fantastic.”
In Black Rose, King’s make-up also became more defined. He had not yet developed as a songwriter and lyricist. Nor was he making money from the band. To earn a living he worked as a laboratory assistant at a medicine testing facility. He quit the day job after leaving Black Rose to join a band called Brats that had a major-label deal with CBS. Brats were a punk band, whose guitarist Hank Shermann dubbed himself Hank The Wank. Shermann was growing bored of punk, however, and wanted to play heavy metal. As did King. “I joined Brats on the condition that we wouldn’t play any more punk songs,” King says.
This new version of Brats didn’t last long. CBS hated their new heavy metal direction, and demanded a more commercial style of music. As a result, Shermann and King quit, along with the group’s second guitarist, Michael Denner, to form Mercyful Fate in 1981. Completing the line-up were bassist Timi Hansen and drummer Kim Ruzz. Their goal was simple: “We wanted to be the heaviest band in the world,” King says.
Influenced by Black Sabbath, Judas Priest, Yes, Jethro Tull and Uriah Heep, they created classically styled European metal with a progressive rock flavour. Their music had a dark aura. The stage was set for King Diamond to go deep into the mysteries of the occult.
“I read a ton of books about Satanism,” he says. “But that’s not the way you find the real knowledge. The first time I had an experience that I simply could not explain, I knew something was there, with us, to help and protect us. And those experiences were what I wrote about in Mercyful Fate.”
Mercyful Fate recorded their first demo tape in early 1982. At King’s apartment, he and his brother Viggo and Kim Ruzz opened a case of beer and listened to it for the first time. “Suddenly,” King says, “my brother’s glass – full of beer – rose about a foot in the air, then went down on to the coffee table. For two minutes nobody said anything. Then I said to other guys: ‘I know you both saw that.’ They nodded. It didn’t feel scary in any way, but it was very strange. It felt like someone was saying: ‘Hey, we’ll be with you.’”
A four-track EP, Mercyful Fate, released in late ’82, proved to be controversial. Despite King’s intellectual approach to Satanism, that EP was crudely sensationalist. In one song, jokingly titled Nuns Have No Fun, his lyrics were gleefully violent and profane. ‘Upon a cross a nun will be hanged/She will be raped by an evil man… C.U.N.T… That’s what you are…’ On its cover of was a sexualised image of a semi-naked nun being crucified.
“We didn’t set out to be shock rock,” King claims. “But for sure, that song, and that cover, were done to create a controversy.”
To that extent the plan worked. A Danish priest called for a ban on the record. What followed was a debate between King and the priest on a rock radio station. “The priest hated us,” King says. “He said we were filth, disgusting, that we corrupting the Danish youth.” But King had done his research. “I said: ‘Yeah, that cover depicts a nun being burnt at a cross. But that happened for real back during the Inquisition – and it was you guys who burnt non-believers. This is a drawing you’re freaking out over, but you did this to real people!”
King Diamond and friend in 1983 (Image credit: Fin Costello/Redferns)
There was no ban on Mercyful Fate. On the contrary, the EP made the band a leading name on the underground metal scene. A deal with new independent record company Roadrunner followed and Mercyful Fate’s debut album, Melissa, was released in 1983. Kerrang! writer Malcolm Dome proclaimed the album “a masterpiece”. Songs such as Evil and Curse Of The Pharaohs evoked vintage Black Sabbath. King’s esoteric lyrics and bizarre vocals created an eerie atmosphere. And at the heart of the album was Satan’s Fall, a monolithic, 10-minute track incorporating 16 different riffs.
The band’s second album, 1984’s Don’t Break The Oath, was so dark and heavy that Mercyful Fate held ground amid the onslaught of thrash metal. King’s stage act was also becoming more elaborate, with a mic-stand fashioned from human bones. “A thigh bone and a shin bone,” he says. “I got them from a doctor who taught biology.”
It was while promoting Don’t Break The Oath that King was called out as a fake in Kerrang!. But as he says: “That didn’t really harm us.” What led to the demise of Mercyful Fate was pressure from within. By 1985, Hank Shermann had grown tired of playing satanic rock, just as he had tired of punk. “We were writing for the third album and there was extreme disagreement,” King says. “Hank was listening to funk music – Mother’s Finest and stuff like that. He wanted to incorporate that into Mercyful Fate. But that is not what I feel inside.” King realised that a split was inevitable when Shermann turned up for a band rehearsal wearing a pink jogging suit. Shermann and the other three musicians formed a new band, Fate, playing commercial hard rock. King went to the opposite extreme.
King did not mourn Mercyful Fate. “I went beyond it,” he says. “As an artist, I went deeper.” For his King Diamond band he recruited a gifted guitar player, Andy LaRocque, and powerhouse drummer Mikkey Dee (who would later spend 20 years in Motörhead). The music was more ambitious than Mercyful Fate’s – as illustrated by Abigail, a concept album based on a horror story set in the 19th century.
This and subsequent albums were as grandiose and experimental as they were heavy. “We did have a very unique sound,” King says. “And it was very visual. We used so many instruments to create different moods: cello, violin, harpsichord, and the good old Hammond organ in the style of Deep Purple and Uriah Heep. That’s what created the atmosphere, the gothic feel, on those albums.”
Most important of all, King says, was what those albums represented in terms of his personal philosophy. “King Diamond [the band] is way more satanic than Mercyful Fate was ever close to,” he says. “In Mercyful Fate I was talking about myths and legends. King Diamond has the entire satanic philosophy – to the max. And mixed into that, my experiences of the occult.”
A defining moment for King came in 1988 when he was granted an audience with the man whose writing had done so much to shape that philosophy. During an US tour he visited The Satanic Bible author Anton LaVey in San Francisco.
“I got to spend an hour and a half with LaVey in the ritual chamber at the Church Of Satan,” he recalls. “I asked to be the first to talk when I met him. I didn’t want to be some little puppet nodding at what he said. I spoke first, so I could tell him what I feel. I talked for forty-five minutes, and when I finished he took his Baphomet symbol off his jacket and pressed it into my hand. That said everything to me.”
King declines to reveal exact details of his conversation with LaVey, and describes it only in broad terms. “I talked with him about life philosophy,” he says. “I know how serious he was about how he saw Satanism, what it meant to him, the master plan. Those were things he told me about. And it will never go further.” He later received a hand-written letter from LaVey. “It was amazing the things he wrote,” he says. “Really nice things. To this day I always carry that letter with me.”
It was also in 1988 that King was reportedly threatened with a lawsuit by Kiss. At that time Kiss had been out of make-up for six years. But, Kiss being Kiss, had their image trademarked. On his 1988 album Them, King had his face painted in a design that bore a strong resemblance to that used by Gene Simmons.
“They might have wanted to sue me,” he says. “But lots of people used make-up before Kiss, and they were not the ones that inspired me. It was Alice Cooper and Peter Gabriel. But I don’t hate Kiss; I still listen to them.” In the end the lawsuit never materialised. King believes he knows why. “I didn’t have much to be sued for,” he says, laughing.
For King – always by definition a cult act – there was never a fortune to be made. Black Sabbath, for all their devilry, had a zinging three-minute pop hit in Paranoid. Alice Cooper played the bogeyman, but had School’s Out. Even Metallica, King’s friends and former peers, would go mainstream with the Black Album. King, with his scary face and banshee wail, was never going to cross over.
What he has had instead is a successful career in the margins. Over the course of 30 years he’s had big-selling albums – Them sold 200,000 copies in the US. He also received what he calls “a nice bonus” in the late 90s from Metallica’s two-million-selling covers album Garage Inc., which included a medley of five classic Mercyful Fate songs. In that album’s sleeve notes, Lars Ulrich described the evil genius of Mercyful Fate: “They were doing this wild Purple-meets-Judas Priest thing with a more progressive element. Really insane stuff.”
Mercyful Fate also had a major influence, along with Venom, on the Norwegian black metal scene of the early 90s. Not only for their heavy music and satanic vibes, but also for King’s image, copied in the ‘corpse paint’ worn by bands such as Mayhem and Emperor, which defined the whole aesthetic of black metal. King acknowledges the influence that he and his band had on black metal, but he recalls his shock at the genre-related events in Norway in 1993: the burning of churches, and the brutal murder of Mayhem leader Oystein Aarseth by rival musician Varg Vikernes of Burzum. “These were sick, crazy, twisted things,” he says.
That leads him to address the great conundrum in his life. To distance himself, and Mercyful Fate, from the horrors of Norwegian black metal, he states: “I don’t think anyone could have misinterpreted what we were doing.” And yet in the very next moment he admits that he has been misunderstood for his entire adult life. “I’ve tried to explain this so many times,” he says. “People ask me: ‘Are you a Satanist?’ To answer, I have to ask them a question first: ‘What does that mean to you?’ If you think it’s someone who sacrifices animals, or worse, no. Are you insane? I would never harm an animal. If you think that’s it, you’re crazy.
“What I will say is that there are powers that I have experienced. What they are exactly, I don’t think anyone can say. That is why they are unknown. Nobody can prove that they believe in the only true god. It’s a matter of personal belief.”
King Diamond onstage in San Francisco in 2019 (Image credit: Miikka Skaffari/FilmMagic)
King Diamond turns 60 this year, and feels lucky to be alive. In November 2010, following a series of heart attacks, he had triple-bypass heart surgery. He had been a heavy smoker since he was a teenager. “A pack a day. Now, I haven’t had a drag for more than five years.” Most days he power-walks for five miles. “I take nothing for granted,” he says. “I got a second chance and I’m grateful for it.”
He lives in Frisco, a suburb of Dallas, with his wife of 13 years, Livia Zita, a former singer, born in Hungary, and their two cats. “No kids,” he says. “Not yet. But I’ve not given up. It’s hard when you have the life I have, being away on tour so much. But I would love to see kids grow up.”
At this stage he is still contemplating a final Mercyful Fate reunion. “I will never say that it’s finished,” he says. “Hank and I still talk. He wants to do the Mercyful Fate masterpiece, as he calls it. I would love to do that too.” For the immediate future, King’s focus is on a new King Diamond album. He plans to start writing with Andy LaRocque later this year. It will be, in the classic King Diamond tradition, a concept album. And it will be recorded in his new home studio. “With no time restrictions,” he says. “I can do forty-part vocal choirs if I so desire. I can make everything perfect.”
His aim, in his words, is to make “the ultimate King Diamond album”. And in creating it he will have, he says, a little help from his friends. His home in sunny Texas is so far away from the apartment he left behind in Copenhagen all those years ago. But now, as then, King Diamond senses around him the power of the unknown. “In this house there are four hotspots,” he claims. “It’s not often that things happen, but they happen.”
They are, he says, still with him: Them
Originally published in Metal Hammer issue 225, June 2016
Freelance writer for Classic Rock since 2005, Paul Elliott has worked for leading music titles since 1985, including Sounds, Kerrang!, MOJO and Q. He is the author of several books including the first biography of Guns N’ Roses and the autobiography of bodyguard-to-the-stars Danny Francis. He has written liner notes for classic album reissues by artists such as Def Leppard, Thin Lizzy and Kiss, and currently works as content editor for Total Guitar. He lives in Bath – of which David Coverdale recently said: “How very Roman of you!”
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The timing of the release of Godspeeed You! Black Emperor’s eighth studio album, arriving on the same weekend as the first anniversary of the shocking Hamas-led surprise attacks upon Israel during which 1,139 people were killed, and 251 hostages taken, is no coincidence.
The title of the Montreal post-rock collective’s follow-up to 2021’s G_d’s Pee at State’s End! is an explicit, time-stamped reference to the death toll resulting from Israel’s retaliatory military offensive in Gaza: today, according to the latest Gaza health ministry estimates, the body count stands at 41,802Palestinians, with a further 96,844 injured, and thousands more unaccounted for, presumed buried under the rubble of bombed homes, schools, hospitals and offices. The group’s decision to preface that brutal February 13 statistic with the words ‘No Title‘ is, perhaps, linked to a shared recognition that making art in a time of unimaginable horror may be accompanied by feelings of guilt, impotence and frustration, an awareness that layering guitars and tweaking snare drum levels in a recording studio as bodies burn elsewhere could seem utterly inconsequential, pointless or downright disrespectful. But really, what thought, emotion or creative expression of any kind is appropriate or proportionate while observing the world’s most powerful western nations not merely tolerating a genocidal onslaught dedicated to wiping the entire population of Gaza from the face of the earth, but actively supporting, indeed profiting from it?
The only words heard across the album’s 54 minutes and 11 seconds are a haunting meditation in Spanish spoken by Michele Fiedler Fuentes in the mid-section of the album’s stunning centre-piece, the epic, orchestral 13-minutes-plus Raindrops Cast in Lead, the closing lines of which translate as: “The women who died young, furious, or old, and never saw the sunrise / Innocents and children and the tiny bodies that laughed, and will sleep forever / And never saw the beauty of the sunrise”. But the track which follows, Broken Spires at Dead Kapital, the most stripped-back and succinct piece on the record, is perhaps its emotional peak, slowly-bowed, mournful electric bass and violin lines evoking the deathly, eerie quiet of a desolate, devastated wasteland, the thudding, reverberating funereal drum beats introduced in the closing 30 seconds reminiscent of a death march.
Anyone familiar with Godspeeed You! Black Emperor’s history will know that the Montreal group never spoon-feed their listeners, or offer interpretations of their art. But a key line in the brief, poetic statement which accompanied the news of this album’s release read, “Every day a new war crime, every day a flower bloom”. Its closing tracks, Pale Spectator Takes Photographs and Grey Rubble – Green Shoots, are clearly intended to offer hope in these darkest of hours for the Palestinian people. The slogan “They tried to bury us, they didn’t know we were seeds” has been adopted by civil rights activists and resistance movements worldwide across the past century, and …Green Shoots is the album’s most defiant and uplifting piece, evoking promises of a new dawn after the terrors of night.
With a few honourable exceptions (Kneecap, Lankum, Dua Lipa, Massive Attack among them) the music world has been shamefully quiet on the subject of Gaza, so many artists who claim to be politically and socially conscious inexplicably losing their voices when confronted with one of the most horrific conflicts of modern times. No Title As of 13 February 2024, 28,340 Dead may be an instrumental record, but it stands as the most powerful artistic statement yet on a tragedy history will not forget.
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
Sammy Hagar got a head start on his birthday festivities over the weekend with a pair of Las Vegas shows, delivering two career-spanning sets of hits, deep cuts, covers and special guest cameos.
The Red Rocker, who turns 77 on Oct. 13, set up shop at the Pearl Concert Theater at Palms Casino Resort on Friday and Saturday as a prelude to his annual birthday bash at the Cabo Wabo Cantina in Cabo San Lucas, Mexico, which is scheduled for next weekend.
You can see both Vegas set lists and videos from the shows below.
Sammy Hagar Rocks Vegas With Deep Cuts, Covers and Cameos
Hagar’s Vegas shows featured plenty of solo, Van Halen, Montrose and Chickenfoot hits, including “There’s Only One Way to Rock,” “I Can’t Drive 55” and “Poundcake,” among others. But the Red Rocker also unearthed some deeper cuts, such as Marching to Mars‘ “Little White Lie” and the fitting “Rock ‘n’ Roll Weekend” off his self-titled 1977 album.
The rocker also had a little help from his friends. Rick Springfield joined Hagar on Friday to perform “I’ve Done Everything for You,” first written and released by Hagar in 1978 and later covered by Springfield, who earned a Top 10 hit with the song in 1981. Radio host Eddie Trunk also joined Hagar on Friday for a cover of Beastie Boys‘ “Fight for Your Right.” Hagar added more covers to his night-two set, tackling AC/DC‘s “Whole Lotta Rosie” and Depeche Mode‘s “Personal Jesus.”
Hagar recently wrapped his Van Halen-focused Best of All Worlds tour, which featured Joe Satriani on guitar, Michael Anthony on bass, Jason Bonham on drums and Rai Thistlethwayte on keyboards. Anthony played both birthday shows in Vegas, alongside Hagar’s stalwart Circle guitarist Vic Johnson and drummer Kenny Aronoff, who recently “saved the day” when he sat in for Bonham on a few Best of All Worlds shows.
Watch Sammy Hagar and Rick Springfield Play ‘I’ve Done Everything for You’ in Las Vegas
Watch Sammy Hagar and Eddie Trunk Play ‘Fight for Your Right’ in Las Vegas
Watch Sammy Hagar Play ‘I Can’t Drive 55’ in Las Vegas
Watch Sammy Hagar Play ‘Bad Motor Scooter’ in Las Vegas
Watch Sammy Hagar Play ‘Why Can’t This Be Love’ in Las Vegas
Sammy Hagar, 10/4/24, Pearl Concert Theater, Las Vegas Set List 1. “There’s Only One Way to Rock” 2. “I’ll Fall in Love Again” 3. “Big Foot” (Chickenfoot) 4. “Top of the World” (Van Halen) 5. “Three Lock Box” 6. “I’ve Done Everything for You” (with Rick Springfield) 7. “Poundcake” (Van Halen) 8. “Finish What Ya Started” (Van Halen) 9. “Little White Lie” 10. “Rock Candy” (Montrose)” 11. “Dreams” (Van Halen; acoustic) 12. “Red” 13. “Rock ‘n’ Roll Weekend” 14. “Somebody Get Me a Doctor” (Van Halen; Michael Anthony on vocals) 15. “Heavy Metal” 16. “I Can’t Drive 55” 17. “Fight for Your Right” (Beastie Boys; with Eddie Trunk)
Sammy Hagar, 10/5/24, Pearl Concert Theater, Las Vegas Set List 1. “Bad Motor Scooter” (Montrose) 2. “Make It Last” (Montrose) 3. “Runaround” (Van Halen) 4. “Sexy Little Thing” (Chickenfoot) 5. “Red” 6. “Right Now” (Van Halen) 7. “Best of Both Worlds” (Van Halen) 8. “Ain’t Talkin’ ‘Bout Love” (Van Halen) 9. “Eagles Fly” 10. “Personal Jesus” (Depeche Mode) 11. “Your Love Is Driving Me Crazy” 12. “Whole Lotta Rosie” (AC/DC) 13. “I Can’t Drive 55” 14. “Mas Tequila” 15. “Cabo Wabo” (Van Halen) 16. “Why Can’t This Be Love” (Van Halen)
Sammy Hagar Solo and Band Albums Ranked Worst to Best
Whether on his own or with Van Halen, Montrose, Chickenfoot or HSAS, he rarely takes his foot off the pedal.
![Ghost In The Machine [LP]](https://www.classicrockhistory.com/wp-content/uploads/2023/12/31nZIvaeHzL._SL500_.webp)
![Frampton Comes Alive! [Vinyl]](https://www.classicrockhistory.com/wp-content/uploads/2024/01/51Y6nuYJzML._SL500_.webp)
![Abbey Road Anniversary [Deluxe 2 CD]](https://www.classicrockhistory.com/wp-content/uploads/2023/12/61Co-XI3WGL._SL500_.webp)
