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Born from the swamps and cities of Florida, Blackfoot emerged as one of Southern rock’s most distinctive and powerful voices, carving out a unique niche that combined traditional Southern rock with hard rock and heavy metal influences. Blackfoot is an American Southern rock band from Jacksonville, Florida, formed in 1970, though they primarily play with a Southern rock style, they are also known as a hard rock act. The band’s classic lineup consisted of guitarist and vocalist Rickey Medlocke, guitarist Charlie Hargrett, bassist Greg T. Walker and drummer Jakson Spires, a formation that would define their sound and legacy for generations. They had a number of successful albums during the 1970s and early 1980s, including Strikes (1979), Tomcattin’ (1980) and Marauder (1981), establishing them as major players in the Southern rock movement alongside contemporaries like Lynyrd Skynyrd and The Allman Brothers Band.

What set Blackfoot apart from their Southern rock peers was their unique combination of Native American heritage and heavier musical approach. During the early spring of the same year, the band, after learning of another band on the West Coast named Hammer, decided to change their name to Blackfoot to represent the American Indian heritage of its members: Jakson Spires (from Oklahoma) had a Cheyenne/French father and a Cherokee mother; Rickey Medlocke’s father was Lakota Sioux and Blackfoot Indian, and his mother’s side is Creek/Cherokee, Scottish and Irish; Greg “Two Wolf” Walker is part Eastern (Muskogee) Creek, a tribe recognized by the state of Florida, but not federally. This Native American identity became central to their music and image, influencing their songwriting, stage presence, and cultural significance within the broader rock community. The song “Train, Train”, written by Rickey’s grandfather, “Shorty” Medlocke, became their first success and best known song, while “Highway Song” proved to be another success for them later that year.

Throughout their career, Blackfoot has undergone numerous lineup changes and periods of dormancy, yet their influence on Southern rock and hard rock remains undeniable. By 1996, Blackfoot was: Medlocke, drummer Stet Howland, John Housley (from Ragady Ann) for lead and rhythm guitar and Bryce Barnes (from Edwin Dare) for bass guitar. That same year, Medlocke rejoined Lynyrd Skynyrd, this time as a guitarist, but he continued to tour with Blackfoot honoring all dates booked through 1997, then disbanded the group to concentrate on Lynyrd Skynyrd. The band has experienced multiple resurrections, with various combinations of original and new members attempting to carry on the Blackfoot legacy. In 2004 a second resurrection of Blackfoot occurred with original members Jakson Spires, Greg T. Walker and Charlie Hargrett, though this incarnation was tragically cut short by Spires’ death in 2005. Today, while the classic lineup can never be fully reunited, the Blackfoot name continues under different configurations, ensuring that their contribution to American rock music remains alive for new generations to discover.

Rickey Medlocke

Rick Medlocke was born February 17, 1950, and stands as the most significant figure in Blackfoot’s history, serving as the band’s primary creative force, frontman, and the only member to participate in virtually every incarnation of the group. Rickey Medlocke was born Rickey Lynn Green on February 17, 1950, in Jacksonville, Florida, and was raised by his maternal grandparents, with his grandfather, Paul “Shorty” Medlocke, being a bluegrass musician who taught his grandson to play a miniature banjo. Medlocke started performing onstage at age three, and his musical abilities increased over the years, eventually becoming one of the most respected musicians in Southern rock. His early exposure to music through his grandfather’s bluegrass background would later influence Blackfoot’s incorporation of traditional American musical elements into their hard rock sound.

Medlocke’s career has been defined by his dual allegiance to two of Southern rock’s most important bands. During his first stint with Lynyrd Skynyrd from 1971 to 1972, he played drums and sang lead on a few songs that would initially be released on 1978’s “First and… Last,” including tracks he wrote such as “White Dove” and “The Seasons.” Medlocke recorded briefly with the 1970s-era Lynyrd Skynyrd band as a session musician, occasionally playing drums or singing lead on a few songs for them in 1971: “One More Time”, “Preacher’s Daughter”, “Lend a Helpin’ Hand”, “Wino”, “White Dove”, “Comin’ Home”, “The Seasons”, “Ain’t Too Proud to Pray”, and “You Run Around.” However, his desire for the energy of a guitarist at the front of the stage resulted in his 1972 decision to reform Blackfoot, where he would spend the majority of his career developing the band’s signature sound.

As Blackfoot’s leader, Medlocke guided the band through their most successful period during the late 1970s and early 1980s. The band began touring and producing hit songs that included “Train, Train”, which was written by his grandfather, and “Highway Song”, lyrics and title were written by Rickey and Blackfoot drummer Jackson Spires. He served as the band’s primary songwriter, vocalist, and guitarist, crafting a sound that combined Southern rock traditions with heavier, more aggressive elements that distinguished Blackfoot from their contemporaries. His leadership was instrumental in the band’s commercial breakthrough with albums like “Strikes” (1979), which became their first gold record and featured their biggest hit, “Train, Train,” written by his grandfather Shorty Medlocke.

After Blackfoot’s initial run ended in the mid-1980s, Medlocke continued using the band name for solo projects and different lineups throughout the late 1980s and 1990s. Medlocke would rejoin Blackfoot in 1972 and later returned to Lynyrd Skynyrd in 1996 as a guitarist with whom he continues to tour and record today. In 1996, he rejoined Lynyrd Skynyrd as a guitarist and has remained with the band ever since, while occasionally producing new incarnations of Blackfoot. Medlocke was inducted into the Native American Music Hall of Fame in 2008, recognizing his contributions to preserving and promoting Native American culture through music. In 2012, he assembled a completely new Blackfoot lineup, serving as producer rather than performer, demonstrating his continued commitment to maintaining the band’s legacy even while prioritizing his role in Lynyrd Skynyrd.

Greg T. Walker

Greg T. Walker, known by his Native American name “Two Wolf,” represents one of the most consistent and dedicated members of Blackfoot’s classic lineup, serving as the band’s bassist and backing vocalist through multiple incarnations spanning over four decades. Soon, he was also taking piano lessons, then began to play guitar, and later played saxophone in his school band. Walker attended kindergarten with Ricky Medlocke and Jakson Spires, and this friendship would develop into a musical collaboration that would later become Blackfoot. Born and raised in Jacksonville, Florida, Walker’s early musical education was diverse, and his connection to Medlocke and Spires dates back to their childhood, creating a foundational friendship that would prove essential to Blackfoot’s development and longevity.

Walker’s role in Blackfoot began in 1969 when he joined Medlocke and Charlie Hargrett in forming Fresh Garbage, which would evolve into Blackfoot. Greg “Two Wolf” Walker is part Eastern (Muskogee) Creek, a tribe recognized by the state of Florida, and his Native American heritage became an integral part of the band’s identity and cultural significance. When he was thirteen, he saw The Beatles at the Gator Bowl in Jacksonville, and this inspired him to pursue a musical career, providing the inspiration that would drive his lifelong commitment to music. His bass playing style became a cornerstone of Blackfoot’s sound, providing the rhythmic foundation that allowed the band’s dual guitar attack to flourish while maintaining the groove that made their music both heavy and danceable.

Throughout Blackfoot’s classic period, Walker played on all of their most important albums, including “Strikes” (1979), “Tomcattin’” (1980), and “Marauder” (1981). By the age of ten, he had formed his first band, the Rockin’ Aces, with Medlocke, Spires, and some other friends from their Junior High school, demonstrating his early commitment to making music with his childhood friends. His bass work on songs like “Train, Train” and “Highway Song” helped define the band’s signature sound, combining Southern rock sensibilities with a harder edge that set them apart from their contemporaries. Walker’s contributions extended beyond just bass playing, as he also provided backing vocals and contributed to the band’s songwriting process, helping to craft the musical arrangements that made Blackfoot’s songs so memorable.

After the classic lineup dissolved in the mid-1980s, Walker remained connected to the Southern rock community and eventually played a crucial role in Blackfoot’s 2004 reunion. He was instrumental in bringing together the surviving original members for what would become their final collaboration with Jakson Spires before the drummer’s death in 2005. Walker remembers that they “…just reached a point… [and] couldn’t go any further at that time” regarding the original breakup, but his persistent hope for a reunion eventually came to fruition. After Blackfoot’s various incarnations ended, Walker continued his musical career with other projects, including the bands Fired Guns and later Two Wolf, named after his Native American identity. As a session musician, Walker recorded an album in 1973 with Cross Country, played on Lew Jetton’s 2000 album State Line Blues, and in 2014 recorded an EP with Lloyd and gigged with them in Paris, demonstrating his continued dedication to music even after Blackfoot’s heyday had passed.

Charlie Hargrett

Charlie Hargrett was born in Yonkers, New York on February 11th, 1949, and became the only non-Native American member of Blackfoot’s classic lineup, bringing a different cultural perspective and musical background that helped shape the band’s distinctive sound. His interest in playing stringed instruments started at a very young age, learning ukulele at age 6 and then receiving his first guitar at age 8, demonstrating an early aptitude for music that would eventually lead him to become one of Southern rock’s most respected guitarists. Charlie Hargrett was the only white man of the original, classic line-up, yet his integration into the band was seamless, with his guitar work becoming an essential component of Blackfoot’s dual-guitar attack alongside Rickey Medlocke.

Hargrett’s journey to Blackfoot began in Jacksonville, where he met Medlocke and Walker in 1969 while they were forming Fresh Garbage. During the spring of 1969, Rickey Medlocke and Greg T. Walker met New York City natives Ron Sciabarasi and Charlie Hargrett in Jacksonville and organized the band “Fresh Garbage,” featuring Medlocke on drums and vocals, Walker on bass, Hargrett on guitar and Sciabarasi on keyboards. His guitar playing style complemented Medlocke’s perfectly, creating the powerful twin-guitar sound that would become Blackfoot’s signature. The collaboration proved immediately successful, with Hargrett’s lead guitar work providing the melodic counterpoint to Medlocke’s rhythm playing and vocals.

As Blackfoot’s lead guitarist throughout their most successful period, Hargrett played on all of the band’s classic albums from their formation through 1984. His guitar work was featured on hits like “Train, Train,” “Highway Song,” and “Fly Away,” helping to establish Blackfoot as one of Southern rock’s most formidable live acts and recording artists. Hargrett’s playing style incorporated elements of hard rock and blues that complemented the band’s Southern rock foundation, contributing to their heavier sound that distinguished them from contemporaries like The Allman Brothers Band or Molly Hatchet. His solos and riffs became integral parts of Blackfoot’s most memorable songs, with his technical proficiency and melodic sensibility earning him recognition among guitar enthusiasts.

However, Hargrett’s time with Blackfoot came to an end in 1984 during a period of creative and commercial pressure. After being told by Nalli that he looks “too old” and is messing up the band’s image, Charlie Hargrett steps down as guitarist, marking the end of the classic Blackfoot lineup. “Vertical Smiles” was released later in 1984, the band’s 8th album, and the first one without Hargrett. After leaving Blackfoot, he stepped away from the music industry for several years, working in guitar repair and music retail before eventually returning to performing with various Southern rock projects. In 2004, Hargrett reunited with the original Blackfoot members Walker and Spires, with Medlocke declining the invitation due to his commitments with Lynyrd Skynyrd. This reunion lasted until 2011, when Hargrett again left the band, marking the end of his final chapter with Blackfoot. Since leaving Blackfoot, Charlie has been enjoying semi-retirement at his Florida home, continuing to play as a special guest guitarist at shows including The Rock Legends Cruise and Southern Woodstock Festival.

Jakson Spires

Jakson Spires was born on April 12, 1951, and died on March 16, 2005, serving as Blackfoot’s drummer and one of the band’s most important creative contributors throughout their classic period. Jakson Spires (from Oklahoma) had a Cheyenne/French father and a Cherokee mother, making him one of the Native American members whose heritage was central to the band’s identity and cultural significance. Known by his nickname “Thunderfoot,” Spires brought both powerful drumming and songwriting abilities to Blackfoot, co-writing some of their most important songs including “Highway Song” with Rickey Medlocke. His drumming style was both powerful and precise, providing the driving rhythmic foundation that allowed Blackfoot’s dual guitar attack to flourish while maintaining the groove that made their music both heavy and accessible.

Spires’ connection to Blackfoot began through his childhood friendship with Greg Walker and Rickey Medlocke in Jacksonville, Florida. Gibbs, Zambito and Spires had previously played together in Tangerine, while Spires and Walker had been in a high school group called the Rocking Aces, establishing musical relationships that would prove crucial when Blackfoot was formed. Both drummer Jakson “Thunderfoot” Spires and Greg T. Walker were Native Americans, so the name seemed appropriate, though as Greg noted, “Jakson was Cheyenne, Cherokee, and French. He always said he got his creativity from the first two, and blamed his faults on the French.” His multicultural heritage and sense of humor about it became part of his personality that endeared him to bandmates and fans alike.

Throughout Blackfoot’s most successful period, Spires played on all of their classic albums and contributed significantly to their songwriting. His drumming can be heard on hits like “Train, Train,” “Highway Song,” and “Fly Away,” where his powerful yet controlled style helped define the band’s sound. The song “Highway Song” proved to be another success for them later that year, and Spires’ co-writing credit on this track demonstrates his importance as a creative contributor beyond just his drumming abilities. His ability to blend Southern rock sensibilities with harder, more aggressive drumming helped distinguish Blackfoot from their contemporaries and contributed to their reputation as one of the genre’s most powerful live acts.

After the original Blackfoot lineup dissolved in the mid-1980s, Spires remained active in the Southern rock community, playing with various projects including the Southern Rock Allstars. His passion for continuing to make music eventually led to the 2004 Blackfoot reunion with Walker and Hargrett, though Medlocke declined to participate due to his commitments with Lynyrd Skynyrd. Tragically, this reunion was cut short when Spires died suddenly on March 16, 2005, at age 53, of an aneurysm, but the band decided to persevere. The surviving members were devastated by his loss, with Walker stating, “It still hurts to this day, and will probably hurt for the rest of my life. We spent a lifetime together. He was truly a brother.” In compliance with the will of Spires, Austrian drummer Christoph Ullmann was hired as the new drummer, ensuring that the band could continue in a way that honored his memory and wishes.

Ken Hensley

Ken Hensley joined Blackfoot during their transitional period in the early 1980s, bringing his considerable experience as a keyboardist and songwriter from his previous work with British rock band Uriah Heep. The UK keyboard wiz had a knack for writing hits but also maintained a level of respect among hard rockers, and he was invited to join the band during a period when Blackfoot was seeking to modernize their sound and appeal to a broader commercial audience. His addition to the band represented a significant shift in Blackfoot’s musical approach, as they moved away from their traditional Southern rock sound toward a more commercially oriented direction that reflected the changing musical landscape of the mid-1980s.

Hensley’s tenure with Blackfoot coincided with the recording of their 1983 album “Siogo,” which marked a dramatic departure from their earlier material. The resulting album, SIOGO, presented a brand new sound, with gone were the 70s Southern Rock throwbacks, and instead, listeners were met with stuff that sounded as if it might be more comfortable on a Bon Jovi record. His keyboard work and songwriting contributions helped create a more polished, radio-friendly sound that the band hoped would restore their commercial viability during a period when Southern rock had fallen out of fashion. Despite the controversial nature of this musical shift among longtime fans, Hensley’s professional approach and considerable skills brought a new dimension to Blackfoot’s music.

However, Hensley’s time with Blackfoot was relatively brief and ended abruptly. Ken Hensley left Blackfoot suddenly in mid-tour, about 6 months after Charlie’s departure, and was replaced on one day’s notice by longtime friend, “Axe” frontman/guitarist Bobby Barth. His sudden departure came during a period of significant upheaval within the band, as they struggled to find their musical identity and maintain commercial success in a changing musical landscape. The circumstances of his leaving contributed to the instability that would eventually lead to the dissolution of the classic Blackfoot lineup by the end of 1985.

Despite the brief nature of his involvement with Blackfoot, Hensley’s contributions represented an important chapter in the band’s evolution. His experience working with successful rock acts and his understanding of the music industry provided valuable insights during a challenging period for the band. After leaving Blackfoot, Hensley continued his successful career in music, while Blackfoot would struggle to find stability and direction for several more years. His time with the band, though short, demonstrated the challenges faced by Southern rock bands trying to adapt to the changing musical landscape of the 1980s while maintaining their artistic integrity.

Bobby Barth

Bobby Barth emerged as an important figure in Blackfoot’s later incarnations, first joining the band in 1984 as an emergency replacement and later returning to front the band during their 2004 reunion. By the end of December 1985, Greg T. and Jakson were also out of the band, and Ken Hensley left Blackfoot suddenly in mid-tour, about 6 months after Charlie’s departure, and was replaced on one day’s notice by longtime friend, “Axe” frontman/guitarist Bobby Barth. His initial joining came during one of the most turbulent periods in Blackfoot’s history, when the band was experiencing significant lineup changes and struggling to maintain their commercial viability. As the frontman and guitarist for the band Axe, Barth brought considerable experience and talent to Blackfoot during a time when they desperately needed stability and strong musical leadership.

Barth’s first stint with Blackfoot was relatively brief, lasting through the final dissolution of the classic-era band in 1985. However, his professional approach and musical abilities left a positive impression on the remaining members, particularly the rhythm section of Walker and Spires. After Blackfoot ended, Barth returned to his own musical projects and continued to work in the rock music industry, maintaining connections with the Southern rock community that would prove important for his future involvement with the band.

The 2004 Blackfoot reunion brought Barth back to the band in a much more prominent role as the primary vocalist and frontman. In 2004 a second resurrection of Blackfoot occurred with original members Jakson Spires, Greg T. Walker and Charlie Hargrett, with Medlocke not available, however, and the frontman role was given to Bobby Barth. This arrangement allowed the surviving original members to continue performing Blackfoot’s music while bringing in a capable vocalist who understood the band’s musical approach and could deliver their songs with appropriate power and feeling. Barth’s experience as a frontman proved invaluable in helping the reformed band establish themselves as a viable touring act.

Tragically, the reunited Blackfoot with Barth as frontman was dealt a severe blow when Jakson Spires died suddenly in March 2005. The band decided to persevere for the time being, and Barth continued to lead the group through various lineup changes over the following years. In 2007, the band was touring and consisted of bassist Greg Walker, guitarist Charlie Hargrett, guitarist and lead vocalist Bobby Barth, and drummer Michael Sollars. However, health issues eventually forced Barth to step back from touring, and by 2010, former Lynyrd Skynyrd guitarist Mike Estes and current vocalist/guitarist for Skinny Molly was then employed for lead vocals/guitar after Barth was forced to undergo emergency back surgery. Despite these challenges, Barth’s contributions to Blackfoot’s later period helped maintain the band’s legacy and introduced their music to new audiences who might not have otherwise experienced the power of their live performances.

Later Members and Current Lineup

Following the dissolution of the classic Blackfoot lineup in the mid-1980s and the subsequent death of Jakson Spires in 2005, the band has continued under various configurations with different combinations of original and new members. Walker, Hargrett, Estes and Pietro subsequently regrouped under the band name Fired Guns, while in 2015, Walker, Hargrett, Barth and Ullman began performing together again under the band name Warrior’s Pride. These alternative band names reflect the complex nature of maintaining the Blackfoot legacy while honoring the contributions of all members who have been part of the band’s history. The various incarnations demonstrate both the enduring appeal of the music and the challenges of continuing a band’s legacy after the departure or death of key founding members.

In 2012, Rickey Medlocke made the decision to reform Blackfoot with a completely new lineup, taking on the role of producer rather than performer. The year 2012 introduced a completely new line-up personally chosen and to be produced by founding member and front man Rickey Medlocke, featuring lead guitarist and singer Tim Rossi, guitarist and vocalist Rick Krasowski, bassist Brian Carpenter and drummer Matt Anastasi. On August 5, 2016, Blackfoot released their first album in 20 years, Southern Native, marking the return of the band name to active recording and touring. This new incarnation was designed to capture the spirit and energy of the classic Blackfoot sound while introducing the music to a new generation of rock fans.

The current Blackfoot lineup operates independently of the surviving original members, though Medlocke occasionally appears with the band for special performances. Although there are no founding members of the band in its current lineup, Medlocke joins the band onstage for certain concerts, providing a connection to the band’s history and legacy. Since the new lineup’s first appearance in 2012, there have been constant shuffles in personnel, and since 2023, Medlocke has been making it a point to appear at more of the band’s concerts, alongside former 90s member Mark Woerpel. The new lineup made their live debut at Gottrocks in Greenville, South Carolina on June 11, 2021 with an 82 minute set including two songs (In The Night, Payin’ For It) that were never previously performed in concert.

While the current Blackfoot may lack the historical significance and emotional connection of the classic lineup, it serves an important function in keeping the band’s music alive and accessible to contemporary audiences. Medlocke continues to perform with Lynyrd Skynyrd and is producing the new line-up of Blackfoot, ensuring that both aspects of his musical legacy remain active. The challenge for any current incarnation of Blackfoot lies in honoring the band’s rich history while establishing their own musical identity and connecting with audiences who may not have experienced the original band’s power and cultural significance. Despite these challenges, the continuation of the Blackfoot name ensures that their contributions to Southern rock and American music culture remain visible and available for new generations to discover and appreciate.

Check out more Blackfoot articles on ClassicRockHistory.com Just click on any of the links below……

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Wolf Alice, Massive Attack, Primal Scream, Brian Eno, Dua Lipa and Annie Lennox are among the musicians who have signed an open letter to British Prime Minister Keir Starmer urging him to “take immediate action to end the UK’s complicity in the horrors in Gaza.”

The letter is co-signed by over 300 public figures, among them actors Benedict Cumberbatch, Riz Ahmed and Maxine Peake, film directors Danny Boyle and Asif Kapadia, Black Mirror creator Charlie Brooker, former England football captain-turned-sports pundit Gary Lineker, TV presenters Dermot O’Leary and Laura Whitmore, and physicist Brian Cox. The letter, organised by refugee charity Choose Love, has also been signed by doctors, academics, advocacy groups and Holocaust survivor Stephen Kapos

The text of the letter begins:

“Dear Prime Minister Keir Starmer,We urge you to take immediate action to end the UK’s complicity in the horrors in Gaza.

Right now, children in Gaza are starving while food and medicine sit just minutes away, blocked at the border. Words won’t feed Palestinian children – we need action.”

The letter calls for action in three specific areas, asking for:

An immediate suspension of all UK arms sales to Israel, immediate humanitarian access for experienced aid agencies, and the UK government to commit to assist in brokering a ceasefire.

The text states:

“Each arms shipment makes our country directly complicit in their deaths.

“Over 15,000 children have already been killed – including at least 4,000 under the age of four. Bedrooms where children once slept, kitchens where families shared meals, schools where they learned – all reduced to rubble while Britain stands by.

“You can’t call it ‘intolerable’ and keep sending arms.

“Every moment this continues, is another moment children die on our watch. This complicity is not inevitable – it is a choice. What do you choose, Prime Minister?

“History is written in moments of moral clarity. This is one. The world is watching and history will not forget.”

The letter concludes by asking, “Prime Minister, what will you choose? Complicity in war crimes, or the courage to act?”

The latest news, features and interviews direct to your inbox, from the global home of alternative music.

Yesterday, May 29, 380 writers signed a separate open letter calling for an “immediate ceasefire” in Gaza, describing Israel’s military campaign in the region as “genocidal”.

The 1948 Genocide Convention, written in the wake of the mass murder of six million European Jews in the Nazi Holocaust, defines genocide as “acts committed with intent to destroy, in whole or in part, a national, ethnical, racial or religious group”.

Israel has been accused of carrying out genocidal acts during the ongoing war in Gaza by numerous organisations, including the UN Human Rights Council.

Israel’s military campaign, sparked by the October 2023 terrorist attack by Hamas on Israeli soil that saw around 1,200 people killed and 251 people taken hostage, has resulted in the death of over 50,000 Palestinians, according to the Hamas-run health ministry. 58 hostages from the October 7, 2023 attack remain held in captivity by Hamas in the Gaza Strip.Israel has denied any genocidal intent, which requires certain thresholds to be met in order to be legally recognised; a case brought forward by South Africa to The International Court of Justice accusing Israel of committing genocide against Palestinians is ongoing.

The conflict in the region has been on-going for decades, with official UN figures for the 15 years before the 2023 escalation recording 7,277 Palestinian deaths and 162,121 Palestinian injuries in occupied Palestinian territory and Israel since 2008, and 368 Israeli deaths and 6,670 Israeli injuries during the same time span.

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.

EDITOR’S NOTE: Across 14 years and four albums, Svalbard have become a beloved force in the British metal underground. But after this interview the band announced plans to go out on a high in 2026, splitting up with a final tour and song still to come.

Serena Cherry is a woman of many passions. Besides being the singer for emotionally devastating post-hardcore stars Svalbard and videogame-inspired black metal project Noctule, she loves to indulge in her other favourite things: gaming and rollercoasters.

We caught up with Serena between epic sessions of Elden Ring, and trips around the world to check out new rides, to see how she would fare answering your questions. Get ready to discover how she learned guitar, whether she’d play for polar bears, and what Pokémon her bands would be. Hey, you asked…

Svalbard albums usually have themes, how do you decide what the next one is going to be? Adriank91488, Instagram

“Whatever I write about in my diary. It’s that simple! I write in it every day, and there’s usually some theme or something that will come out of that, threading throughout. I write lyrics in a very selfish manner – whatever resonates most with me. It’s usually not until I’ve finished writing that I realise certain themes will present themselves. I don’t have to look for a theme as a lyricist, they appear over time.”

What got you into playing guitar?
Hosepirooz, Instagram

“I started playing drums and I wasn’t any good. Guitar was easier! I had a drum teacher who wasn’t teaching me double-kick, not teaching me the Slipknot songs I wanted to learn, so I was frustrated. I’ve never actually had a guitar lesson; I’d sneak into my sister’s room and pick up her acoustic guitar to try and learn how to shred with a 2p coin. I think because I never had a guitar lesson, it became my vessel for self-expression because I wasn’t trying to think about scales or musical theory. I was doing whatever was in my head.”

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Will you ever play a gig in Svalbard? Aaron_Go_Bruh, Instagram

“We’d love to! I think it’d be fantastic, but I think we’d only be playing to an audience of polar bears. But if the opportunity ever arose, we’d love to… I’m not holding my breath, though.”

If Svalbard and Noctule were Pokémon, which would they be and why?
Jamielikesvinyl, Instagram

“Svalbard would be a Mimikyu. That Pokémon really encapsulates [latest Svalbard album] The Weight Of The Mask, now I think about it – this idea that no one sees what they really look like, because they’re hiding in the shadow of a toy of someone else. It feels really obvious to pick a ghost type for Noctule, and with Noctule being tied to other videogames I’d never really thought about them in a Pokémon sense. I’m gonna go really specific and say an Alolan Ninetales, because it’s got that icy beauty to it. The artwork on the Pokémon card looks like an Immortal cover! It’s beautiful, and Noctule is where I try to create the most beauty with leads and melodies.”

What’s your favourite 80s horror film? Namelesswraith, Instagram

“Halloween III: Season Of The Witch. The one that doesn’t have Michael Myers in. It’s very Orwellian, very dystopian to have this town with these workers who are robots. I like this idea of these masks being sold to you and it being inconspicuous, rather than a masked slasher going around with a knife. That is very cut and dry, so Season Of The Witch played with my imagination more than any of the Michael Myers ones.”

What’s your favourite/least favourite videogame boss?
Thespiritofjazz, Instagram

“My least favourite is Rom, the Vacuous Spider in Bloodborne. It’s such a war of attrition! Rom really betrays Bloodborne – the rest of the fights are so epic and incredible, Rom just feels slow and relentless. You can’t get into a rhythm with it in the same way you can with others.

My favourite, off the top of my head, is Rellana, Twin Moon Knight in the Elden Ring DLC [downloadable content] Shadow Of The Erdtree. I really enjoyed that fight – there’s nothing particularly special about it, but I found the rhythm of the fight almost musical. I got into a real flow-state playing it and she’s just the right level of frustrating, where I died several times but I could still see the progress I was making.”

Hammer: What makes a really good boss battle?

“The design of the creature, the area you’re in… A good example: hippos are my favourite animal, so I got excited when there was a hippo in the Elden Ring DLC, but then I got there and he’s so big, in such a small arena, that you get pushed up against walls the whole time and it’s not fun.

You have to think about how the arena plays into the rhythm and cadence of the boss itself – so if you are somewhere where you’re prone to falling off cliffs, you might want a boss with really far reach. I really love Red Wolf of Radagon in Elden Ring because of the atmosphere there, with this violin soundtrack playing as you fight in a library where books are crashing to the ground. That sense of destruction, I think, is key to a boss fight! I hate it when I can beat a boss first time.”

SVALBARD – Faking It (OFFICIAL MUSIC VIDEO) – YouTube

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What’s your dream collab (with bands and/or games)?
Anotherboringcatinst, Instagram

“I’d love to compose music for games, but I’m not good enough. In terms of an artist… I’d love to jam with Michael Romeo from Symphony X, because he’s my favourite guitarist. I want to see that ingenious ability on guitar in real life and just bounce off that, have him play around me in circles. It’s interesting though, because would Michael Romeo even work on a Svalbard or Noctule song? Not really, because everything I listen to is very different from the music I create. But, I’m writing a power metal record at the moment…”

What’s the best venue you’ve played and why? Velobetty, Instagram

“Everything that makes a venue special to me is what wouldn’t make it special to anyone else! I’ll talk to people and they’re like, ‘Oh, it was this decrepit old church!’ Or, ‘It was a punk squat!’ I’m just like… ‘It was a clean building in the Netherlands.’

Actually, that’d be my choice – Doornroosje in Nijmegen. It’s just a great-sounding room, excellent facilities and chocolate milk in the fridge, friendly staff… I just like it to feel as comfortable as possible! The whole punk, grimy thing is not for me.”

What are your biggest non-metal influences? Alexjthacker, Instagram

“Videogame soundtracks! I’m really heavily inspired by the World Of Warcraft composers, and the soundtracks are among my most listened-to music, along with Skyrim and Elden Ring. I saw the latter performed live last year by a philharmonic orchestra, which was fantastic.

RPG soundtracks have an effectiveness with melodies that hit you in the heart. I still remember the first one that grabbed me – it was Final Fantasy VII, but I also loved Chemical Plant Zone in Sonic 2 on the Mega Drive. I want somebody to do a metal cover.”

What’s your favourite videogame? Ethanchinnerypoetry, Instagram

“The Elder Scrolls V: Skyrim, of course! Although Elden Ring is a very close second, I think I’ve almost put as many hours in now on my fifth playthrough.”

What advice would you give to young artists reading this?
2evqw, Instagram

“Be careful about who you work with. Take your time when you are speaking to people in the industry and receiving offers to make sure everything is what it seems, and you’re not getting false promises that’ll end up biting you on the bum.

Make the music you want to make, not what you think is going to be trendy. Play as many DIY shows as you can, but also see shows by other bands. It is a community and a social thing, so the more you’re out there and supporting bands, the more opportunities will open for you.”

Will you make more Skyrim-inspired black metal [with Noctule]?
Normywyrld, Instagram

“I was literally in the studio working on the second Noctule album last night, with Sammy Urwin from Employed To Serve producing! It’s not about Skyrim, though. This Noctule album will be a little different. I wanted to honour games that have been a part of my life.”

If you had to compare your music to a rollercoaster, which would you pick?
Rachburf, Instagram

“I’d compare Svalbard’s music to Nemesis Reborn at Alton Towers. It still has a roar in the same way Svalbard does, it’s aggressive and fast, it’s got very dark themes and isn’t afraid to be a little bit scary with its story. Plus, Nemesis is a lady creature – a big, roaring, angry lady, just like me.”

Svalbard play Download Festival on June 13. The band have announced a Final UK tour for November 2025.

Staff writer for Metal Hammer, Rich has never met a feature he didn’t fancy, which is just as well when it comes to covering everything rock, punk and metal for both print and online, be it legendary events like Rock In Rio or Clash Of The Titans or seeking out exciting new bands like Nine Treasures, Jinjer and Sleep Token. 

Bruce Springsteen has released another song in the weeks before the release of Tracks II: The Lost Albums, a seven-LP set that collects previously unreleased records made between 1983 and 2018.

“Adelita” comes from Inyo, an album of 10 songs recorded in the ’90s and inspired by his motorcycle trips across the Southwest.

You can hear “Adelita” — about Mexico’s female fighters for independence — below.

“Inyo was a record I wrote in California during long drives along the California aqueduct, up through Inyo County on my way to Yosemite or Death Valley,” Springsteen explained in a press release announcing the latest advanced track from The Lost Albums.

READ MORE: Bruce Springsteen Live Albums Ranked

“I was enjoying that kind of writing so much. [On The Ghost of Tom Joad tour] I would go home to the hotel room at night and continue to write in that style because I thought I was going to follow up The Ghost of Tom Joad with a similar record, but I didn’t. That’s where Inyo came from. It’s one of my favorites.”

While Inyo is mostly a solo album, like The Ghost of Tom Joad, there are several collaborations with mariachi musicians, including “Adelita.” A press release notes that “several songs on the record examine the Mexican diaspora, how border crossing between Mexico and the U.S. has affected generations and the cultural losses endured as a result.”

What’s on Bruce Springsteen’s ‘Tracks II: The Lost Albums’?

Tracks II: The Lost Albums is out on June 27 and includes seven shelved LPs spanning 35 years: LA Garage Sessions ’83, Streets of Philadelphia Sessions, Faithless, Somewhere North of Nashville, Inyo, Twilight Hours and Perfect World.

“Adelita” follows the release of “Rain in the River,” “Blind Spot,” “Faithless” and “Repo Man.” You can see the track listing for all seven LPs on Tracks II: The Lost Albums below.

Bruce Springsteen, ‘Tracks II: The Lost Albums’ Track Listing
LA Garage Sessions ’83
1. Follow That Dream
2. Don’t Back Down On Our Love
3. Little Girl Like You
4. Johnny Bye Bye
5. Sugarland
6. Seven Tears
7. Fugitive’s Dream
8. Black Mountain Ballad
9. Jim Deer
10. County Fair
11. My Hometown
12. One Love
13. Don’t Back Down
14. Richfield Whistle
15. The Klansman
16. Unsatisfied Heart
17. Shut Out The Light
18. Fugitive’s Dream (Ballad)

Streets of Philadelphia Sessions
1. Blind Spot
2. Maybe I Don’t Know You
3. Something In The Well
4. Waiting On The End Of The World
5. The Little Things
6. We Fell Down
7. One Beautiful Morning
8. Between Heaven and Earth
9. Secret Garden
10. The Farewell Party

Faithless
1. The Desert (Instrumental)
2. Where You Goin’, Where You From
3. Faithless
4. All God’s Children
5. A Prayer By The River (Instrumental)
6. God Sent You
7. Goin’ To California
8. The Western Sea (Instrumental)
9. My Master’s Hand
10. Let Me Ride
11. My Master’s Hand (Theme)

Somewhere North of Nashville
1. Repo Man
2. Tiger Rose
3. Poor Side of Town
4. Delivery Man
5. Under A Big Sky
6. Detail Man
7. Silver Mountain
8. Janey Don’t You Lose Heart
9. You’re Gonna Miss Me When I’m Gone
10. Stand On It
11. Blue Highway
12. Somewhere North of Nashville

Inyo
1. Inyo
2. Indian Town
3. Adelita
4. The Aztec Dance
5. The Lost Charro
6. Our Lady of Monroe
7. El Jardinero (Upon the Death of Ramona)
8. One False Move
9. Ciudad Juarez
10. When I Build My Beautiful House

Twilight Hours
1. Sunday Love
2. Late in the Evening
3. Two of Us
4. Lonely Town
5. September Kisses
6. Twilight Hours
7. I’ll Stand By You
8. High Sierra
9. Sunliner
10. Another You
11. Dinner at Eight
12. Follow The Sun

Perfect World
1. I’m Not Sleeping
2. Idiot’s Delight
3. Another Thin Line
4. The Great Depression
5. Blind Man
6. Rain In The River
7. If I Could Only Be Your Lover
8. Cutting Knife
9. You Lifted Me Up
10. Perfect World

Styx, REO Speedwagon‘s Kevin Cronin and former Eagles guitarist Don Felder kicked off the Brotherhood of Rock tour Wednesday night in Greenville, SC with a night full of classic rock hits.

You can see fan-shot video and the complete set lists for all three artists below.

Styx began their show with a full, sequential performance of their 1977 album The Grand Illusion, home of favorites such as “Come Sail Away” and “Fooling Yourself (Angry Young Man).”

They also played their new single “Build and Destroy” live for the first time. Earlier in the day they announced that their new avian-themed concept album Circling From Above would be available for sale at their concerts this summer. It is due to hit streaming services on July 18.

Cronin is embarking on his first major tour since being forced by a public, messy battle with bassist Bruce Hall to leave the REO Speedwagon name behind. The newly rechristened band’s lineup features the exact same musicians he toured with under his former group’s name last summer.

The Kevin Cronin Band also began their set by playing a classic album –  REO’s 1980’s Hi Infidelity – in full. They concluded their show with a blitz of radio classics such as “Can’t Fight This Feeling” and a newly appropriate “Roll With the Changes.”

Felder opened the night with an evening largely comprised of songs from his time with the Eagles, although he also treated fans to his new single “I Like the Things You Do” and his 1981 hit “Heavy Metal (Takin’ a Ride).”

The Brotherhood of Rock tour continues Friday night at the Hard Rock Hotel and Casino in Hollywood, Florida and is currently scheduled to conclude on Aug. 24 in Milwaukee. You can get complete show and ticket information at StyxWorld.com.

Watch Styx Perform ‘The Grand Illusion’ and ‘Fooling Yourself (Angry Young Man)’

Styx May 28, 2025 Greenville, SC Set List

The Grand Illusion
1. “The Grand Illusion”
2. “Fooling Yourself (The Angry Young Man)”
3. “Superstars”
4. “Come Sail Away”
5. “Miss America”
6. “Man in the Wilderness”
7. “Castle Walls”
8. “The Grand Finale”

9. “Rockin’ the Paradise”
10. “Too Much Time on My Hands”
11. “Lady”
12. “Build and Destroy”
13. “The Best of Times”
14. “Blue Collar Man (Long Nights)”
15. “Mr. Roboto”
16. “Renegade”

via SetList.fm

Kevin Cronin Band May 28, 2025 Greenville, SC Set List

Hi Infidelity
1. “Don’t Let Him Go”
2. “Keep On Loving You”
3. “Follow My Heart”
4. “In Your Letter”
5. “Take It on the Run”
6. “Tough Guys”
7. “Out of Season”
8. “Shakin’ It Loose”
9. “Someone Tonight”
10. “I Wish You Were There”

11.  “Keep Pushin'”
12. “Time for Me to Fly”
13. “Ridin’ the Storm Out”
14. “Can’t Fight This Feeling”
15. “Roll With the Changes”

via SetList.fm

Watch the Kevin Cronin Band Perform ‘Don’t Let Him Go’

Don Felder May 28, 2025 Greenville, SC Set List

1. “Already Gone”
2. “One of These Nights”
3. “Victim of Love”
4. “Seven Bridges Road”
5. “I Like the Things You Do”
6. “Heavy Metal (Takin’ a Ride)”
7. “Take It Easy”
8. “Heartache Tonight”
9. “Life in the Fast Lane”
10. “Hotel California”

via SetList.fm

Watch Don Felder Perform ‘Hotel California’

John Fogerty has rerecorded many of his greatest Creedence Clearwater Revival songs, and the resulting album will arrive on Aug. 22.

Legacy: The Creedence Clearwater Revival Years includes 20 tracks in which Fogerty and his family band stay as close as possible to the songs’ original sound. The full track list and his new version of “Have You Ever Seen the Rain” can be found below.

Like several artists before him – most famously Taylor Swift – Fogerty has re-recorded his songs in a bid to bypass those who own the rights to the original tapes. His move comes after he won a long legal battle over the songs’ publishing rights two years ago.

READ MORE: John Fogerty Didn’t Understand CCR Drama: ‘Why Are You Mad?’

“Fogerty celebrates the songs that shaped rock history – on his own terms,” a statement read. “For the first time, he fully owns the rights to his music. This marks both celebration and reclamation.

“With newly recorded versions of his hits, Legacy: The Creedence Clearwater Revival Years captures his raw energy with renewed fire. Backed by his family band and buoyed by a wave of fresh recognition, he remains both fierce and joyful. Legacy is not just a celebration of one of the greatest catalogs in rock ’n’ roll – it’s the sound of an American original claiming his place, once more, at center stage.”

Fogerty told Rolling Stone: “[T]he first five or six people I’ve talked to who’ve listened to it all say it sounds ‘fresher.’ Maybe what they’re saying is it’s clearer, or the fidelity is better or something? That may be something I hadn’t even counted on, but there’s more dimension to it, more depth.”

He admitted that, when the idea of remakes was first suggested, he “didn’t want to have anything to do with that,” but his feelings changed when he tried it out. As a result the album is very different from CCR songs he’d previously tracked with his family. “Instead of going off on a tangent of, ‘Oh, let’s do a folk music version,’ or something, the idea was to sound closely like the original,” he said.

The album is available for pre-order now.

Hear John Fogerty’s New Version of ‘Have You Ever Seen the Rain’

John Fogerty – ‘Legacy: The Creedence Clearwater Revival Years’ Track List

1. “Up Around The Bend”
2. ‘Who’ll Stop The Rain”
3. “Proud Mary”
4. “Have You Ever Seen The Rain”
5. “Lookin’ Out My Back Door”
6. “Born On The Bayou”
7. “Run Through The Jungle”
8. “Someday Never Comes”
9. “Porterville”
10. “Hey Tonight”
11. “Lodi”
12. “Wrote A Song For Everyone”
13. “Bootleg”
14. “Don’t Look Now”
15. “Long As I Can See The Light”
16. “Down On The Corner”
17. “Bad Moon Rising”
18. “Travelin’ Band”
19. “Green River”
20. “Fortunate Son”

The Oldest Rockers on Tour This Summer

They helped push rock into fun and interesting places – and they’re still out there doing it in the summer of 2024.

Gallery Credit: Nick DeRiso

More From Ultimate Classic Rock

Scoring a number one album on both the UK and US charts, as Sleep Token did earlier this month with Even In Arcadia, will naturally boost an artist’s profile, and bring it to the attention of ‘normies’, people who previously would have had zero knowledge of the act’s existence. Even so, we doubt that Sleep Token frontman Vessel was expecting to find his band discussed this week by TV presenter and author Richard Osman (Pointless, Richard Osman’s House of Games) and Guardian newspaper columnist Marina Hyde on their popular podcast The Rest Is Entertainment.

He might have been even more bemused to find his band described by Richard Osman, the brother of Suede bassist Matt Osman, “as the least metal thing I’ve ever heard”.

The subject arose following a discussion about the rescheduling of daytime television shows on British TV channel ITV, with Osman and Hyde then turning their attention to an analysis of Sleep Token, throwing in a mention of Ghost along the way.

“To be number one in America, number one album in America is huge,” Osman stated by way of an introduction to the band. “It’s a huge deal. And that’s exactly what Sleep Token have just done with their fourth album, which is called – and this will give you an idea of the type of band Sleep Token are – Even in Arcadia.”

“Now, Sleep Token are one of those bands, nobody knows who they are, because they are always masked, at all times,” he continued. “The lead singer is called Vessel – probably not his real name – and the other members of the band are called, in Roman numerals II, III, and IV.”

The idea of a public figure using a pseudonym to mask their true identity shouldn’t have come as a huge surprise to Marina Hyde, to be fair, given that she too uses a pseudonym. Born Marina Elizabeth Catherine Dudley-Williams, the daughter of Sir Alistair Edgcumbe James Dudley-Williams, 2nd Baronet, the journalist adopted the surname ‘Hyde’ while working for The Sun newspaper. But we digress…

“It’s hard rock,” Hyde tells the podcast’s viewers/listeners, to which Osman replies, “It’s not hard rock, this is what shocked me.”

“It’s the least metal thing I’ve ever heard,” he continues. “Basically, you could put this in your hand luggage and it would go through the scanners.”

“Genuinely, if you’ve not listened to them, go on to Spotify or, you know, buy an album and have a listen, because it’s sort of everything all at once. There’s some nu metal there, there’s EDM in there, here’s alt. pop, there’s pop-rap, there’s a bit of shoegaze… it’s a very, very peculiar sound.”

For the benefit of the podcast subscribers, Hyde adds, “Their live shows are called ‘Rituals’, the singles are ‘Offerings’. For older listeners there’s a very, very strong sense of Spinal Tap Stonehenge to this.”

If you want to hear more of the discussion, the tone of which should be familiar to any professional musicians who’ve had to endure family members asking annually if they’re “still doing your little band thing”, the full conversation is below, with the Sleep Token chat beginning around the 22 minute mark.

The Truth Behind ITV’s Daytime Cull – YouTube

Watch On

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In the 400th issue of Metal Hammer, we uncovered Sleep Token’s secret origin story, via those who were there. From their first producer, to publicists and promoters, we revealed what Vessel was really like, and how his vision developed.

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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.

As Babymetal hit London’s O2 Arena and prepare to release new album Metal Forth, we speak to the trio about why they’ve gone collab crazy!

Metal Forth features a whopping seven guest stars from the modern metal scene: Poppy, Spiritbox, Electric Callboy, Slaughter To Prevail, Bloodywood, Polyphia and Tom Morello.

Babymetal singer Su-metal says they formed friendships with the artists through touring, resulting in an album that’s “incredibly rich and diverse”. The trio’s ambition now is to inspire others.

“During the making of the new album Metal Forth, and throughout these past few years of touring, we’ve really felt that Babymetal is being recognised within the metal world, and that there are people we’ve influenced who are now becoming the next generation of metal artists,” says Su-metal. “Our next goal is to help lead that next generation.”

We also speak to the guest collaborators themselves, about what it’s like to work with Japan’s biggest and brightest metal band.

“After so many years of writing music mostly on our own, it was refreshing to have totally different influences come into play,” explains Electric Callboy’s Kevin Ratajcazk of hit song Ratatata. “It made us more aware of how easy it is to get stuck in your ways, and it helped us to think more outside the box.”

Also in the issue, Metallica guitar legend Kirk Hammett reveals why he doesn’t believe in retirement, why he’s working on a new solo album – and why he cooked breakfast for Hollywood hotshot Jason Momoa.

Sign up below to get the latest from Metal Hammer, plus exclusive special offers, direct to your inbox!

Volbeat’s Michael Poulsen gets The Hammer Interview treatment, opening up about his friendship with King Diamond, his deep-dive into Satanism, and his weird obsession with… goats?! Plus, ahead of Linkin Park’s show at Wembley Stadium, we investigate their triumph, tragedy and unlikely resurrection.

Elsewhere, Opeth uncover the story behind their anthem Ghost Of Perdition, and System Of A Down bassist/Seven Hours After Violet man Shavo Odadjian talks deathcore, Cuban cigars and nonsense lyrics.

We also remember the chaos of Nine Inch Nails’ infamous Self Destruct touring cycle, find out why The Conjuring star Vera Farmiga has formed metal band The Yagas, and watch symphonic metal band Plague Of Angels take on a bunch of irate Christians by playing York Minster.

All this, along with Sleep Token, Ghost, Bury Tomorrow, Confess, Kuunatic, Malevolence, Vexed, Kalandra, Incineration festival, Inferno festival and much, much more.

Only in the new issue of Metal Hammer, on sale now. Order it online and have it delivered straight to your door.

Eleanor was promoted to the role of Editor at Metal Hammer magazine after over seven years with the company, having previously served as Deputy Editor and Features Editor. Prior to joining Metal Hammer, El spent three years as Production Editor at Kerrang! and four years as Production Editor and Deputy Editor at Bizarre. She has also written for the likes of Classic Rock, Prog, Rock Sound and Visit London amongst others, and was a regular presenter on the Metal Hammer Podcast. 

Kiss were always careful to put their best foot forward with the opening tracks of their 20 studio albums. Lead-off tracks such as “Strutter,” “Detroit Rock City” and “I Stole Your Love” are among the group’s most popular work, and quickly became staples of their live shows.

Sometimes it took a lot of work. “The hardest part for me in writing for an album is writing the first song, coming to grips with it thematically and finding out the direction for the album,” Paul Stanley explained in the band’s 2003 book Behind the Mask. “Not surprisingly, the first song written is the song that winds up as the first song on the album. It becomes the signature piece.”

Stanley proved particularly adept at writing those signature introductions, notching 18 over the band’s career compared to just two for his founding partner, Gene Simmons. Here’s our ranking of Kiss’ album opening tracks:

20. “Crazy Crazy Nights”
From: Crazy Nights (1987)

Crazy Nights was a particularly disappointing album, with Kiss abandoning the hard-earned goodwill of their four previous ’80s albums to chase Bon Jovi-style keyboard pop metal. The opening track is less guilty of this bandwagon-hopping than other songs on the album, but it’s still a bit toothless and stilted.

19. “Is That You?”
From: Unmasked (1980)

We’ve got a bit of a mirror-image situation to start our list. Unmasked is a highly underrated Kiss album, featuring a much more organic blend of pop hooks and rock instrumentation than Crazy Nights. But the opening “Is That You?” doesn’t gel together as well as other songs on the album. It does kick off with a rather savage “Cat’s drooling on the bar stool” shot at secretly estranged drummer Peter Criss, who did not perform on the album.

18. “Hate”
From: Carnival of Souls (1997)

After successfully reconnecting with his inner demon persona on 1992’s Revenge, Gene Simmons tried to pull Kiss into grunge territory – over Stanley’s objections – on 1997’s Carnival of Souls. Despite a distracting and dated muddy production, the plan actually works… sometimes. The opening “Hate” is one of the better songs on the album, but still sounds like a re-write of the superior “Unholy,” which we’ll talk about in a bit.

17. “The Oath”
From: Music From ‘The Elder’ (1981)

Kiss did not intend for “The Oath” to be the opening track of their widely mocked medieval concept album Music From ‘The Elder.’ That honor was supposed to go to the ornate classical music instrumental “Fanfare.” If that had happened, we would have put it 37th on this list.

Instead the label insisted on putting one of the most familiar-sounding tracks at the start of the album. “The Oath” is plenty weird but oddly appealing, with Stanley telling the story of a young warrior finding his inner courage – often in a falsetto voice – over a galloping progressive rock track.

16. “Psycho Circus”
From: Psycho Circus (1998)

Although Simmons and Stanley decided to record Kiss’ alleged original lineup reunion album without much help from Ace Frehley and Peter Criss, they did a pretty good job updating their Destroyer-era sound with the epic title track from Psycho Circus.

15. “Hell or Hallelujah”
From: Monster (2012)

Kiss’ last two studio albums found them leaving all the gimmicks, trend-chasing and outside songwriters behind in favor of straight-ahead four-piece rock and roll. “Hell or Hallelujah” from 2012’s Monster makes a very compelling case that should have been the plan all along.

14. “I’ve Had Enough (Into the Fire)”
From: Animalize (1984)

After two fantastic albums with producer Michael James Jackson pulled Kiss back from the brink of irrelevancy, Paul Stanley took over behind the board for 1984’s Animalize. With Gene Simmons focusing on his movie and label boss careers, Stanley and drummer Eric Carr steered the band into borderline speed metal territory on tracks such as “Under the Gun” and the sizzling opener “I’ve Had Enough (Into the Fire).”

13. “King of the Mountain”
From: Asylum (1985)

Animalize‘s hit single “Heaven’s on Fire” completed Kiss’ ’80s comeback, and the arrival of Bruce Kulick closed the revolving door that had been the band’s lead guitar position. Seemingly secure in their standing, Kiss brought a nice dose of their ’70s sound back for Asylum. The opening “King of the Mountain” gives both Carr and Kulick plenty of time to shine, as Stanley sings about conquering even more challenges.

12. “Exciter”
From: Lick It Up (1983)

After then-guest guitarist Vinnie Vincent made strong contributions to Kiss’ 1982 creative comeback Creatures of the Night, he was made a full-time member of the group and given an even larger role on 1983’s Lick It Up. The album featured a brighter and more accessible sound than its predecessor, and helped the band begin a commercial comeback with its catchy-as-hell title track. “Exciter” sets the opening tone very well, and features a secret guest solo from Rick Derringer.

11. “Rise to It”
From: Hot in the Shade (1989)

Apparently realizing they’d made a wrong turn with Crazy Nights, Kiss attempted to get back to basics with 1989’s Hot in the Shade. Overall the album is a bit overlong and under-cooked, but they hit the ground running with the effortlessly infectious “Rise to It.” The song’s video featured Simmons and Stanley briefly donning their famous facepaint, one of the first signs of the band reconnecting with their legacy.

10. “Creatures of the Night”
From: Creatures of the Night (1982)

Kiss was a wounded and cornered animal in 1982, having lost two original band members and being forced to watch their commercial fortunes plummet so quickly that they were unable to tour in America behind their previous two studio albums. But they came out with claws and teeth bared on 1982’s Creatures of the Night. With a pummeling drum-heavy sound courtesy of Carr and producer Michael James Jackson, the title track serves as a highly compelling mission statement.

9. “I Was Made for Lovin’ You”
From: Dynasty (1979)

“I Was Made for Lovin’ You” is undoubtedly the most divisive song in Kiss’ history. This is the first of several times where the band would risk a perfectly great formula by chasing the latest best-selling musical trend – in this case, disco. Dynasty wasn’t a great album overall, and was marred by increasing personal conflicts within the band. It is, in short, where the wheels came off for Kiss. But over 40 years later, can we admit the song itself is perfectly composed and catchy as hell?

8. “Room Service”
From: Dressed to Kill (1975)

Kiss admittedly ran a bit short of ideas on Dressed to Kill, the third studio album they released in just 13 months. But there’s an undeniable charm and energy to the album’s opening track, a throwback rocker about life on the road and all the temptations that come with it.

7. “Unholy”
From: Revenge (1992)

When Kiss took their makeup off on 1983’s Lick It Up, Gene Simmons got a bit lost. You can see it in their early videos, as he doesn’t quite know what to do with his hands or face if he’s not spitting blood or breathing fire. The decade’s glammy fashion wasn’t a perfect fit either, as the former God of Thunder himself joked that he looked “like a football player in a tutu.” But he rediscovered his muse big-time on 1992’s Bob Ezrin-produced Revenge, particularly on the sinister and thunderous opening track “Unholy.”

6. “Modern Day Delilah”
From: Sonic Boom (2009)

A decade after the near-miss of Psycho Circus, Kiss returned with the self-produced, self-written, BS-free album Sonic Boom. “Modern Day Delilah” was a near-perfect “remember us?” re-introduction, with an instantly memorable riff and smoking lead guitar work from new recruit Tommy Thayer.

5. “Strutter”
From: Kiss (1974)

One of the first songs Stanley and Simmons wrote together for the band’s debut album, “Strutter” establishes the template for Kiss’ early sound very effectively, with a dirty Rolling Stones-style main riff and glammed-up vocals.

4. “I Want You”
From: Rock and Roll Over (1976)

Concerned that the production on their previous album Destroyer had gotten a little too ornate and polished, Kiss recorded Rock and Roll Over in an abandoned theater, successfully bringing more of their raw live energy to a studio record. It helped that they had a particularly strong collection of songs, including the opening “I Want You,” which became a staple of the band’s live shows and a showcase for Stanley’s vocals.

3. “I Stole Your Love”
From: Love Gun (1977)

Kiss pretty much perfected their post-Alive! second stage formula on the last of their golden-era albums, 1977’s Love Gun. Stanley delivers his own version of the Stones’ spiteful “Under My Thumb” story over a blistering guitar riff on the opening “I Stole Your Love,” which also served as one of the band’s best concert-opening songs.

2. “Detroit Rock City”
From: Destroyer (1976)

After finally breaking through to the mainstream public with Alive!, Kiss recruited Alice Cooper producer Bob Ezrin to help them take their studio work to a new level. The resulting Destroyer featured some of the band’s most diverse and enduring songs, including “Do You Love Me,” “God of Thunder” and the left-field hit “Beth.” “Detroit Rock City” leads off the album in high style, showing off their newfound songwriting sophistication. It frequently and deservedly served as Kiss’ concert opening song for big chunks of their career.

1. “Got to Choose”
From: Hotter Than Hell (1974)

As excellent as Destroyer is, could it be that Kiss were actually better, or at least more unique, before Ezrin took them to musical boot camp? Undoubtedly they gained new levels of skill that served them well on their future albums, but there’s something magical about the band’s first three records that they never fully recaptured again.

Hotter Than Hell is a perfect example, full of dark, deep grooves, welcome trips into progressive rock and genuinely out-there musical moments such as “Goin’ Blind” and “Strange Ways.” The opening “Got to Choose” is a perfect example, a big lurching brontosaurus of a song balanced out by big and surprisingly sweet group vocals.