National treasures Toyah Willcox and Robert Fripp have returned to action in a rare new episode of their internationally praised series of Sunday Lunch performances.
In the latest clip, the King Crimson man and his post-punk playmate perform a lively cover of evergreen sporting anthem The Best, originally a minor hit for Bonnie Tyler in 1988 before Tina Turner turned it into a worldwide chartbuster the following year after it was released as the lead single from her Foreign Affair album.
“You are the best!” exclaims Robert, at the song’s eventual denouement.
“You are the best!” repeats Toyah, as if to underscore the importance of Fripp’s statement.
Coincidentally, in 2004 Willcox captained a team of sports fanatics from Birmingham on an episode of Simply The Best, an ITV show that attempted to replicate the success of the BBC’s earlier It’s A Knockout.
Hosted by cricketer Phil Tufnell and broadcaster Kirsty Gallacher, the show included games like 60-Second Screamer, in which contestants had to answer a general knowledge quiz while riding a rollercoaster, and Airkick, which required players to throw balls at their teammates after being tossed skyward by a compressed air catapult.
“I’ve been training so hard,” Willcox told Gallagher. “I’ve been running up mountains, but nothing can prepare you to what’s going to happen tonight. And as you can see I’m not the tallest person in the crowd, but I’m quick and I can nip through small gaps and things like that. So it’s gonna be good and Birmingham is gonna win!”
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Willcox’s team duly beat the representatives of Belfast in the first round, but their winning score was not enough to advance them to the final, where the city of Leeds emerged triumphant. A second series was not commissioned.
Toyah & Robert’s Sunday Lunch – The Best (Brand New Episode) – YouTube
“I am deeply disturbed and hurt by all of this”: Kevin Cronin slams REO Speedwagon concert organisers after being “knowingly excluded” from hometown show
(Image credit: Thomas Cooper/Getty Images)
Former REO Speedwagon frontman Kevin Cronin has taken to social media to bemoan his absence from an upcoming, one-off hometown show celebrating the band’s legacy in Champaign, IL.
The show, which is scheduled to take place at the State Farm Center in Champaign on June 14, will raise funds for the REO Speedwagon Foundation for rare GU cancer research at Moffitt Cancer Center, a nonprofit cancer treatment and research center located in Tampa, Florida.
In addition, tribute will be paid to late REO Speedwagon members Gary Richrath (guitar) and Gregg Philbin (bass), who both joined the band while they were resident in Champaign. The musicians lined up for the event include former members Neal Doughty, Alan Gratzer, Bruce Hall, Terry Luttrell, Mike Murphy and Steve Scorfina, but not Cronin.
“The organisers of the Champaign event could have picked a date when all of the former members of REO were available to participate,” Cronin wrote on Facebook, in response to a fan questioning his absence. “Instead they chose June 14, 2025, a date where it was public knowledge that I was previously committed to perform with Styx and Kevin Cronin Band in Bend, Oregon.
“Bottom line, I am being asked to participate in an event on a date when I can’t possibly be there in person. And then being falsely accused of turning down the invitation. I am deeply disturbed and hurt by all of this.
“After all I have done to help build the legacy of REO Speedwagon, I feel I have earned and deserve to be included in any event honoring that legacy. Instead, I have been knowingly excluded.”
Cronin also claims that REO veterans Dave Amato and Bryan Hitt have not been “shown the respect” of being invited to the Champaign show. It should be pointed out that neither musician was involved in the band’s early years, both having joined after they relocated to Los Angeles in 1977.
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Hall, who joined REO Speedwagon in 1977 in time to play on the band’s breakthrough album You Can Tune A Piano, But You Can’t Tuna Fish, had hoped to return to the stage after recuperating from back surgery, but was replaced on the final tour by Matt Bissonette.
Croinin will hit the road with Styx and former Eagles guitarist Don Felder in May on the Brotherhood Of Rock tour. Full dates below.
Styx, Kevin Cronin and Don Felder: Brotherhood Of Rock tour 2025
May 28: Greenville Bon Secours Wellness Arena, SC May 31: Tampa MidFlorida Credit Union Amphitheatre, FL Jun 02: Jacksonville Daily’s Place, FL Jun 04: Austin Germania Insurance Amphitheater, TX Jun 06: The Woodlands Cynthia Woods Mitchell Pavilion, TX Jun 07: Ridgedale Thunder Ridge Nature Arena, MO Jun 09: Denver Fiddler’s Green Amphitheatre, CO Jun 11: Salt Lake City Utah First Credit Union Amphitheatre, UT Jun 13: Concord Toyota Pavilion at Concord, CA Jun 14: Bend Hayden Homes Amphitheater, OR Jun 15: Ridgefield Inn Style Resort Amphitheater, WA Jun 28: Albuquerque Isleta Amphitheatre, NM Jun 30: Colorado Springs Ford Amphitheatre, CO Jul 02: Kansas City Starlight Theatre, MO Jul 05: Birmingham Coca-Cola Amphitheatre, AL Jul 06: Alpharetta Ameris Bank Amphitheatre, GA Jul 08: Charlotte PNC Music Pavilion, NC Jul 09: Raleigh Coastal Credit Union Music Park at Walnut Creek, NC Jul 11: Virginia Beach Veterans United Home Loans Amphitheater, VA Jul 12: Bristow Jiffy Lube Live, VA Jul 14: Syracuse Empower Federal Credit Union Amphitheater, NY Jul 15: Bridgeport Hartford HealthCare Amphitheater, CT Jul 18: Gilford BankNH Pavilion, NH Jul 19: Mansfield Xfinity Center, MA Jul 20: Holmdel Bank Arts Center, NJ Aug 01: Dallas Dos Equis Pavilion, TX Aug 02: Brandon Brandon Amphitheater, MS Aug 04: Franklin FirstBank Amphitheater, TX Aug 06: Richmond Allianz Amphitheater at Riverfront, VA Aug 08: Camden Freedom Mortgage Pavilion, NJ Aug 10: Burgettstown The Pavilion at Star Lake, PA Aug 12: Saratoga Springs Broadview Stage at SPAC, NY Aug 13: Toronto Budweiser Stage, ON Aug 15: Noblesville Ruoff Music Center, IN Aug 16: Clarkston Pine Knob Music Theatre, MI Aug 19: Cincinnati Riverbend Music Center, OH Aug 20: Cuyahoga Falls Blossom Music Center, OH Aug 22: Maryland Heights Hollywood Casino Amphitheatre, MO Aug 23: Tinley Park Credit Union 1 Amphitheatre, IL Aug 24: Milwaukee American Family Insurance Amphitheater, WI
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. 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.
Bachman-Turner Overdrive have released their first new song in nearly 30 years. 60 Years Ago arrives ahead of the first date of the band’s Back In Overdrive tour, which kicks off in Victoria, British Columbia, on April 1.
“As a thank-you to Winnipeg, the city that shaped us, I wrote a song called 60 Years Ago,” says band founder Randy Bachman. “It features Tal Bachman [Randy’s son], KoKo Bachman [Tal’s wife], and me, with Fred Turner on vocals, and features an incredible guitar solo from Neil Young.
“This song is our tribute to Winnipeg, the place where we grew up as teenagers in the ’60s, a time when the city’s music scene was exploding. It was the Liverpool of North America, a melting pot of incredible talents. Everyone I’ve talked to who spent time in Winnipeg and witnessed that musical explosion is excited to hear this song, and I hope you all enjoy it as much as we enjoyed creating it.”
60 Years Ago is the first freshly recorded material from BTO since 1996’s poorly-received Trial By Fire: Greatest & Latest (a collection of rerecordings made without Bachman), and the band’s first original material since 1984’s BTO album.
Bachman and Fred Turner are the only surviving members of BTO’s original lineup, as both Robbie Bachman (drums) and Tim Bachman (guitar) died in 2023. Meanwhile, the band’s touring lineup includes the three Bachmans alongside Lance Lapointe (bass) and Brent Knudsen (guitar).
“We’re playing all the hits, as well as diving deep into the album cuts, and the response from fans has been incredible,” says Bachman senior. “We can’t wait to tour Canada in April and May and show off this powerhouse lineup. The BTO sound is back!”
The band also play US dates in July and August. Full schedule below.
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Bachman-Turner Overdrive – 60 Years Ago (Official Audio) – YouTube
Apr 01: Victoria Save-On-Foods Memorial Centre, BC Apr 03: Abbotsford Centre, BC Apr 04: Penticton South Okanagan Events Centre, BC Apr 06: Cranbrook Western Financial Place, BC Apr 08: Prince George CN Centre, BC Apr 09: Grande Prairie Bonnetts Energy Centre, AB Apr 11: Tsuut’ina Grey Eagle Event Centre, AB Apr 12: Tsuut’ina Grey Eagle Event Centre, AB Apr 13: Lethbridge VisitLethbridge.com Arena, AB Apr 15: Regina Brandt Centre, SK Apr 17: Brandon Westoba Place, MB Apr 19: Winnipeg Canada Life Centre, MB Apr 24: Kitchener The Aud, ON Apr 26: Toronto The Theatre at Great Canadian Casino Resort, ON Apr 28: St. Catharines Meridian Centre, ON Apr 29: Peterborough Memorial Centre, ON May 01: London Canada Life Place, ON May 02: Ottawa TD Place, ON May 04: Sudbury Arena, ON May 05: Laval Place Bell, QC May 07: Saint John TD Station, NB May 08: Halifax Scotiabank Centre, NS
Jul 18: Council Bluffs Casino & Hotel, IA Jul 19: Welch Treasure Island Resort and Casino, MN Jul 20: Fargo Scheels Arena, ND Jul 22: Interlochen Kresge Auditorium, MI Jul 24: Appleton Neuroscience Group Field at Fox Cities Stadium, WI Jul 25: Terre Haute The Mill Terre Haute, IN Jul 26: Huber Heights Rose Music Center at The Heights, OH Jul 28: Bloomington Center for the Performing Arts, IL Jul 29: Elk Grove The Village Green, IL Jul 31: Jefferson City Capital Region MU Health Care Amphitheater, MO Aug 01: El Reno Lucky Star Casino, OK Aug 03: Amarillo Civic Center Complex, TX Aug 15: West Wendover Peppermill, NV Aug 16: Beaver Creek Vilar Performing Arts Center (VPAC), CO Aug 18: Boise Western Idaho Fair, ID Aug 21: Pala Pala Casino Spa & Resort, CA Aug 22: Fort Mcdowell We-Ko-Pa Casino Resort, AZ Aug 23: Albuquerque Route 66 Casino Hotel, NM Sep 20: Lincoln Thunder Valley Casino Resort, CA
From Ice-T to the Sex Pistols’ Steve Jones, Megadeth frontman Dave Mustaine isn’t averse to inviting outside musicians to appear on his band’s albums.
But there was one unlikely high-profile collaborator whose appearance on a classic Megadeth song fell apart at the very last minute.
In 1994, Megadeth were riding high on the success of albums such as Rust In Peace and Countdown To Extinction, the latter entering the Billboard charts at Number 2 – their highest ever chart position.
The band’s sixth album, Youthanasia, was their most commercial-sounding record yet, to the point where Dave Mustaine later complained that producer Max Norman pushed the band to slow down their songs to make them more palatable for radio.
“When you listen to those songs, they’re all really slow,” said Mustaine in 2024. “We’re a metal band, you can’t have everything at 120 BPM. It’s obvious that that’s a radio tempo.”
Despite his reservations, Youthanasia featured several classic tracks, including one that would be widely recognised as one of Megadeth’s greatest songs: A Tout Le Monde.
The version of A Tout Le Monde that appears on Youthanasia was sung by Mustaine alone, but the band would revisit it 13 years later with the intention of re-recording it as a duet.
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The updated version of the song, retitled A Tout Le Monde (Set Me Free), appeared on 2007’s United Abominations album and featured Mustaine trading lines with Cristina Scabbia, singer with Italian goth metal band Lacuna Coil.
“That song was never respected by the record company [Capitol], or by anyone except myself and the fans,” Mustaine told Metal Hammer in 2007. “Being one of my most beautiful songs, I thought it deserved a better chance before I went into retirement.”
But Scabbia wasn’t the first person that Mustaine approached to appear on the new version of the song. The Megadeth man had considered two unnamed singers who failed to work out, before reaching out to a third: Lisa Marie Presley.
Presley, who died in 2023, was the daughter of rock’n’roll legend Elvis Presley and a singer in her own right. But sadly, the mooted team-up with Megadeth fell through at the eleventh hour.
“She was literally getting onto the plane,” Mustaine told Metal Hammer, adding cryptically: “I felt awkward about it, but I’ve got a bad enough reputation and so has she.”
In another interview with Straight.com, the Megadeth frontman explained: “We had to call and say, ‘Sorry, we changed our minds. I would have loved to have heard what Lisa Marie Presley would have done,.”
The exact reason for Presley’s non-appearance on A Tout Le Monde (Set Me Free) has never been revealed. Instead, Mustaine enlisted Cristina Scabbia as his duet partner on the song.
“Cristina is the best of all the female singers around at the moment and I hope it helps her band’s career,” Mustaine told Metal Hammer.
Fittingly, given the Megadeth singer’s issues with Youthanasia’s radio-friendly approach, the new version of the song was faster than the original. As for what it would have sounded like with Lisa Marie Presley? We can only imagine.
Feature Photo: Distributed by Columbia Records, Public domain, via Wikimedia Commons
Santana is inseparably connected to the vibrant cultural fusion of San Francisco’s late 1960s music scene, where guitarist Carlos Santana assembled a dynamic lineup in 1966, setting the foundation for a groundbreaking fusion of rock, Latin rhythms, jazz, and blues. Originally known as the Santana Blues Band, the group’s early performances at iconic venues such as the Fillmore West garnered significant attention, positioning them for a defining moment at the 1969 Woodstock Festival. Their electrifying set, highlighted by an iconic rendition of “Soul Sacrifice,” catapulted the band to global recognition.
With a prolific discography spanning several decades, Santana has released twenty-six studio albums, along with numerous live recordings and collaborations, illustrating an unwavering commitment to musical innovation and evolution. Their eponymous debut album, released shortly after their Woodstock performance, established the band’s signature style and included standout tracks like “Evil Ways.” The following year, their landmark album “Abraxas” solidified their stardom, featuring chart-topping hits such as “Black Magic Woman” and the exuberant instrumental “Oye Como Va,” which remains one of their most celebrated tracks.
Throughout their impressive career, Santana achieved significant commercial and critical acclaim, amassing numerous awards and honors. Notably, the band earned multiple Grammy Awards, particularly in 2000 when their album “Supernatural” swept nine Grammy wins, including Record of the Year and Album of the Year. This landmark album, driven by the massive global hit “Smooth,” featuring Rob Thomas of Matchbox Twenty, introduced Santana’s timeless appeal to a new generation, reaffirming their unique ability to seamlessly bridge musical genres and generations.
Santana’s enduring popularity is deeply rooted in their authentic blend of diverse musical influences and virtuosic musicianship. Carlos Santana himself is widely revered for his soulful, expressive guitar style, characterized by fluidity and emotional depth, qualities that have made him one of rock music’s most admired guitarists. The band’s ability to continuously reinvent their sound while maintaining their musical integrity has cemented their status as both cultural icons and musical trailblazers.
Outside the recording studio, Carlos Santana and his bandmates have dedicated substantial efforts toward humanitarian and social activism. Carlos established the Milagro Foundation in 1998, committed to supporting underserved and vulnerable children around the world by funding educational, healthcare, and arts programs. The band’s commitment to social consciousness extends through benefit concerts and participation in various philanthropic initiatives, underscoring their belief in music’s transformative power beyond mere entertainment.
Santana’s legacy is thus characterized not only by their impressive catalogue and accolades but also by their profound influence across cultural and generational lines. Their passionate performances, commitment to innovation, and meaningful contributions to social causes illustrate why Santana continues to be cherished deeply within the global music community, respected for both their artistic excellence and dedication to humanitarian principles.
Complete List Of Santana Songs From A to Z
A Dios – Milagro – 1992
A-1 Funk – Lotus – 1974
Adouma – Shaman – 2002
Africa Bamba – Supernatural – 1999
Africa Speaks – Africa Speaks – 2019
Agua que va caer – Milagro – 1992
Ah, Sweet Dancer – Shape Shifter – 2012
All Aboard – Santana IV – 2016
All I Ever Wanted – Marathon – 1979
All the Love of the Universe – Caravanserai – 1972
America – Shaman – 2002
America for Sale – Blessings and Miracles – 2021
American Gypsy – Zebop! – 1981
Amoré (Sexo) – Shaman – 2002
Amor Correspondido – Corazón (Deluxe) – 2014
Angel Choir/All Together – Blessings and Miracles – 2021
Angelica Faith – Shape Shifter – 2012
Anywhere You Want to Go – Santana IV – 2016
Aqua Marine – Marathon – 1979
Aspirations – Borboletta – 1974
Aye Aye Aye – Shaman – 2002
Back in Black – Guitar Heaven – 2010 (AC/DC cover)
Bahia – Moonflower – 1977
Bang a Gong (Get It On) – Guitar Heaven – 2010 (T. Rex cover)
Batonga – Africa Speaks – 2019
Batuka – Santana III – 1971
Batukada – Lotus – 1974
Beijo de Longe – Corazón (Deluxe) – 2014
Before We Go – Freedom – 1987
Bembele – Africa Speaks – 2019
Besos de Lejos – Corazón – 2014
Black Magic Woman/Gypsy Queen – Abraxas – 1970
Blue Skies – Africa Speaks – 2019
Blues Magic – Santana IV – 2016
Body Surfing – Shangó – 1982
Borboletta – Borboletta – 1974
Break – Blessings and Miracles – 2021
Breaking Down the Door – Africa Speaks – 2019
Breaking Out – Beyond Appearances – 1985
Breathing Underwater – Blessings and Miracles – 2021
Brightest Star – Zebop! – 1981
Brotherhood – Beyond Appearances – 1985
Brown Skin Girl – All That I Am – 2005
Caminando – Santana IV – 2016
Can’t You Hear Me Knocking – Guitar Heaven – 2010 (The Rolling Stones cover)
Candombe Cumbele – Africa Speaks – 2019
Canela – Shape Shifter – 2012
Canto de los Flores – Borboletta – 1974
Carnaval – Festival – 1977
Castillos de Arena Part 1 (Sand Castle) – Lotus – 1974
Castillos de Arena Part 2 (Sand Castle) – Lotus – 1974
Changes – Zebop! – 1981
Choo Choo – Santana IV – 2016
Choose – Spirits Dancing in the Flesh – 1990
Come as You Are – Santana IV – 2016
Con Santana – All That I Am – 2005
Corazón Espinado – Supernatural – 1999
Cry Baby Cry – All That I Am – 2005
Da Tu Amor – All That I Am – 2005
Dance Sister Dance (Baila Mi Hermana) – Amigos – 1976
Dance the Night Away – Guitar Heaven – 2010 (Van Halen cover)
Dawn/Go Within – Moonflower – 1977
Dealer/Spanish Rose – Inner Secrets – 1978
Deeper, Dig Deeper – Freedom – 1987
Dios Bendiga Tu Interior – Africa Speaks (Bonus Track) – 2019
Do You Like the Way – Supernatural – 1999
Dom – Shape Shifter – 2012
E Papa Ré – Zebop! – 1981
Echizo – Santana IV – 2016
El Farol – Supernatural – 1999
El Fuego – All That I Am – 2005
El Morocco – Moonflower – 1977
El Nicoya – Abraxas – 1970
Eres La Luz – Shape Shifter – 2012
Eternal Caravan of Reincarnation – Caravanserai – 1972
Europa (Earth’s Cry Heaven’s Smile) – Amigos – 1976
Everybody’s Everything – Santana III – 1971
Every Step of the Way – Caravanserai – 1972
Everything’s Coming Our Way – Santana III – 1971
Evil Ways – Santana – 1969
Feel It Coming Back – Corazón – 2014
Feels Like Fire – Shaman – 2002
Fillmore East – Santana IV – 2016
Flame – Sky – Welcome – 1973
Flor d’Luna (Moonflower) – Moonflower – 1977
Flor de Canela – Borboletta – 1974
Foo Foo – Shaman – 2002
Forgiveness – Santana IV – 2016
Free All the People (South Africa) – Milagro – 1992
Free Angela – Lotus – 1974
Freedom in Your Mind – Santana IV – 2016
Full Moon – Spirits Dancing in the Flesh – 1990
Future Primitive – Caravanserai – 1972
Ghost of Future Pull / New Light – Blessings and Miracles – 2021
Ghost of Future Pull II – Blessings and Miracles – 2021
Gitano – Amigos – 1976
Give and Take – Borboletta – 1974
Give Me Love – Festival – 1977
Going Home – Welcome – 1973
Goodness and Mercy – Spirits Dancing in the Flesh – 1990
Guajira – Santana III – 1971
Gypsy Woman – Spirits Dancing in the Flesh – 1990
Gypsy/Grajonca – Milagro – 1992
Hannibal – Zebop! – 1981
Hard Times – Marathon – 1979
Here and Now – Borboletta – 1974
Hermes – All That I Am – 2005
Hold On – Shangó – 1982
Hope You’re Feeling Better – Abraxas – 1970
Hoy Es Adiós – Shaman – 2002
How Long – Beyond Appearances – 1985
I Ain’t Superstitious – Guitar Heaven – 2010 (The Jeff Beck Group cover)
I Am Somebody – All That I Am – 2005
I Don’t Wanna Lose Your Love – All That I Am – 2005
I Love You Much Too Much – Zebop! – 1981
I See Your Face – Corazón – 2014
I’ll Be Waiting – Moonflower – 1977
I’m Feeling You – All That I Am – 2005
I’m the One Who Loves You – Beyond Appearances – 1985
In the Light of a New Day – Shape Shifter – 2012
Incident at Neshabur – Abraxas – 1970
Indy – Corazón – 2014
Introduction — Bill Graham (Milagro) – Milagro – 1992
Iron Lion Zion – Corazón – 2014
It’s a Jungle Out There – Spirits Dancing in the Flesh – 1990
Jin-go-lo-ba – Spirits Dancing in the Flesh – 1990
Jingo – Santana – 1969
Joy – Blessings and Miracles – 2021
Jugando – Festival – 1977
Jungle Strut – Santana III – 1971
Just Feel Better – All That I Am – 2005
Just in Time to See the Sun – Caravanserai – 1972
Kyoto (Drum Solo) – Lotus – 1974
La Flaca – Corazón – 2014
La Fuente del Ritmo – Caravanserai – 1972
Leave Me Alone – Santana IV – 2016
Let It Shine – Amigos – 1976
Let Me – Amigos – 1976
Let Me Inside – Shangó – 1982
Let the Children Play – Festival – 1977
Let the Music Set You Free – Festival – 1977
Let There Be Light/Spirits Dancing in the Flesh – Spirits Dancing in the Flesh – 1990
Life Is a Lady/Holiday – Inner Secrets – 1978
Life Is Anew – Borboletta – 1974
Life Is for Living – Milagro – 1992
Light of Life – Welcome – 1973
Lightning in the Sky – Marathon – 1979
Little Wing – Guitar Heaven – 2010 (The Jimi Hendrix Experience cover)
Look Up (To See What’s Coming Down) – Caravanserai – 1972
Los Invisibles – Africa Speaks – 2019
Love – Marathon – 1979
Love Is You – Freedom – 1987
Love Makes the World Go Round – Santana IV – 2016
Love of My Life – Supernatural – 1999
Love, Devotion & Surrender – Welcome – 1973
Luna Hechicera – Africa Speaks – 2019
Macumba in Budapest – Shape Shifter – 2012
Make Somebody Happy – Milagro – 1992
Mal Bicho – Corazón – 2014
Mandela – Freedom – 1987
Mantra – Lotus – 1974
Marathon – Marathon – 1979
Margarita – Corazón – 2014
Maria Maria – Supernatural – 1999
María Caracóles – Festival – 1977
Meditation – Lotus – 1974
Metatron – Shape Shifter – 2012
Mientras Tanto – Africa Speaks (Bonus Track) – 2019
Migra – Supernatural – 1999
Mirage – Borboletta – 1974
Mother Africa – Welcome – 1973
Mother Yes – Blessings and Miracles – 2021
Mother’s Daughter – Abraxas – 1970
Move – Blessings and Miracles – 2021
Move On – Inner Secrets – 1978
Mr. Szabo – Shape Shifter – 2012
My Man – All That I Am – 2005
Never the Same Again – Shape Shifter – 2012
Night Hunting Time – Shangó – 1982
No One to Depend On – Santana III – 1971
Nomad – Shape Shifter – 2012
Nothing at All – Shaman – 2002
Novus – Shaman – 2002
Nowhere to Run – Shangó – 1982
Nueva York – Shangó – 1982
Once It’s Gotcha – Freedom – 1987
One Chain (Don’t Make No Prison) – Inner Secrets – 1978
One of These Days – Shaman – 2002
One with the Sun – Borboletta – 1974
Open Invitation – Inner Secrets – 1978
Over and Over – Zebop! – 1981
Oxun (Oshūn) – Shangó – 1982
Oye 2014 – Corazón – 2014
Oye Cómo Va – Abraxas – 1970
Oye Este Mi Canto – Africa Speaks – 2019
Para los Rumberos – Santana III – 1971
Paraísos Quemados – Africa Speaks – 2019
Peace on Earth…Mother Earth…Third Stone from the Sun – Spirits Dancing in the Flesh – 1990
Africa Speaks (2019): 13 songs (including bonus tracks)
Blessings and Miracles (2021): 15 songs
Check out our fantastic and entertaining Santana articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
“I was living a couch, with no food and no money, just hoping the band would come through this”: The epic story of Meshuggah’s rise from thrash metal wannabes to tech metal giants
(Image credit: Press)
Swedish trailblazers Meshuggah are one of the most innovative and influential bands of the last 30 years. In 2012, as they geared up to release their new album, Koloss, guitarist Mårten Hagström and drummer Tomas Haake looked back on their rise from thrash metal wannabes to tech metal giants.
Meshuggah guitarist Mårten Hagström is puzzled by the whole concept of ‘djent’. The Swedish band are universally acknowledged as pioneering this innovative and exciting strain of modern metal. The term describes a mix of syncopated, elastic guitar riffs, bringing together complexity and palm-muted, distorted chords. But for Mårten, it’s something of a mystery.
“I know we’re credited with starting this whole thing, but I really wonder what people mean by the term,” he says. “However, in the wider scheme of things it’s very warming and gratifying to know that there are a lot of bands out here – ones we respect – who claim us to be an influence. It’s a long way removed from where we were in the early days, when we thought nobody actually cared about what we did!”
Meshuggah’s story has been beset by as many out-of-the-blue interruptions and sudden, headspinning reconfigurations as their music itself. While not a rags-to-riches tale, it is about turning musical rage into sonic gold dust – the alchemy of sound.
“Tomas Haake [current Meshuggah drummer] and I remember them when they were Metallien back in 1985,” recalls Mårten of Meshuggah’s formation. “We were in the band Barophobia and supported Metallien in their very early days. So we saw them develop.”
Metallien were started by guitarist Fredrik Thordendal in the small Swedish town of Umeå. But after making a few demos, the band split up, realising that they were making little progress.
Meanwhile, in 1987, guitarist/vocalist Jens Kidman started a new band called Meshuggah, taking the name from an ancient Yiddish language term, as Mårten explains: “When the band was in its infancy, Jens was sitting looking through books for some name ideas for the band. He came across the word Meshuggah, which means ‘insane’. The band liked it so much they decided to keep it as a name.”
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However, this didn’t last long, and when the project fell apart, Jens teamed up with Fredrik in a new band called Calipash, the lineup also featuring bassist Peter Nordin and drummer Niklas Lundgren. It was at Fredrik’s suggestion that the Meshuggah name was revived, and this time there was some momentum.
Meshuggah in 1989 (Image credit: Press)
In 1989, the newly-christened band released the raw three-track EP titled Psykisk Testbild, with 1,000 copies pressed up on vinyl and sold at a local record shop, Garageland.
“The band used this to try and get a proper record deal,” says Tomas. “They sent out copies to every company they could think of, and Nuclear Blast offered them a contract.”
This feature originally appeared in Metal Hammer magazine issue 229 (March 2012) (Image credit: Press)
However, signing to the label meant having to find a new drummer, as Niklas Lundgren quit.
“He was scared by what the band had become,” considers Tomas. “To him it was all fine as long as the band remained no more than a hobby. But now it was something a lot more serious. So he left and sold his drum kit.”
The search for a replacement led to Tomas. “I was living in Örnsköldsvik, close to Umeå,” he continues. “I used to go there regularly to buy my drum heads from one particular music store. I got to know the guy who ran the drum department, and he also knew the Meshuggah guys. He told me they were looking for a new drummer, and he passed my number to them.”
With Tomas in place, the band recorded their debut album. Released in 1991, this was originally going to be called (All This Because Of) Greed, but at the last minute the title was changed to Contradictions Collapse.
“Well, we had this idea for the title and also the album cover design,” explains Tomas. “The line (All This Because Of) Greed is from the song Greed on that record. We explained our sleeve artwork idea to Nuclear Blast and they got someone to come up with a design. But when we saw what they’d done, all of us hated it. So the label then gave us a choice of three pieces of artwork that had already been done for other things, but never used. Now we liked the idea of the Statue Of Liberty set in what seemed to be the aftermath of a nuclear holocaust, but that didn’t fit in with the album title. That’s when we changed it.”
Musically, Contradictions Collapse was closely allied to the thrash movement, which had been a major source of inspiration for the four musicians as they grew up.
“We were all influenced by the Bay Area thrash scene, and also by NWOBHM,” agrees Tomas. “Bands like Anthrax, Metallica, Metal Church and even Holy Moses were our roots. You can hear all of this on that debut album. It was very primitive, I suppose, and a lot of the songs dated back a few years. Some were even written in 1987, and had first been recorded with Niklas. It is far removed from where we went musically, but as we developed so those influences began to become less important.”
The band, though, were about to go through yet another change, as Jens decided to concentrate on his vocals and gave up playing the guitar.
“Our music was beginning to become a little more complex,” reveals Tomas. “And it was difficult for Jens to play guitar and to sing live. He felt he had to make a choice, so decided to give up on the guitar completely and become our vocalist. This also suited Fredrik, because he had to do some of the live singing when Jens played guitar, and he hated doing it.”
The search for a new guitarist led to Mårten, who was cooling his heels at the time after Barophobia had split up.
“I was doing nothing musically at all,” he admits. “I’d even sold all of my equipment, except for one guitar. Inevitably, it was Tomas who suggested me to the rest of the Meshuggah guys. What convinced me to do it was that they not only wanted someone to play rhythm guitar, but also a person who could write. That suited me.”
The first recordings done by the new-look Meshuggah appeared as the EP None, released in 1994. For Mårten, this was a crucial opportunity to show what he could do.
“I was so lucky in that I was joining a band where I knew everyone, and also knew what they wanted to do musically,” he notes. “I was also encouraged to offer any ideas I had, and for None they actually chose to record some old songs I had never quite finished. This helped prove to them what I could do.”
“I think this was the moment when we really began to find our feet,” adds Tomas. “When you listen to None and compare it to Contradictions Collapse, you can see how much we were moving on. It was an important step for us.”
Meshuggah in 1995 (Image credit: Press)
But bad luck struck Meshuggah just as they were getting into their stride. Both Fredrik and Tomas suffered injuries.
“Fredrik was a carpenter by trade and he accidentally severed the tip of the ring finger on his left hand at work,” shudders Mårten. “Thankfully, it was sewn back on, but it took him ages to be able to play the guitar again. In fact, at one stage we did wonder whether he would ever be able to play again. Yes, it was very close to finishing his career.
“At the same time, Tomas split a finger in an accident. Again, we all wondered whether he’d recover enough to pick up the sticks again. It was a bad time for us. I was living on Tomas’s couch, with no food and no money and just hoping the band would come through this. Everyone told me to stop dreaming and get a proper job. But I stuck it out, and after about six months we slowly got back into action.”
Once the injured pair were over their problems in 1995, Meshuggah released the Selfcage EP, which had been recorded in ’94 but had been held back until the band had momentum again. Then they recorded what was to be a vital album, namely Destroy Erase Improve.
“We worked on this with Daniel Bergstrand as producer,” says Tomas. “And it was an important time for us and him. In fact, working together helped to give us both a boost.”
MESHUGGAH – New Millennium Cyanide Christ (Official Music Video) – YouTube
Meshuggah then got another shot in the arm when they were invited by Machine Head to open for them on a European tour in 1995, just as the new album was released.
“They were really a happening metal band at the time,” reveals Mårten. “Their first album, Burn My Eyes, was out and there was such a buzz about them. So to get the chance to tour with them was a great thrill.”
But health problems again hit the Swedes hard, as bassist Peter Nordin was forced to leave the tour.
“He was sick every morning, and none of us knew what was wrong with him,” sighs Mårten. “In the end, there was no choice but to send him home. Adam Duce from Machine Head did offer to stand in for him, but we decided to do things ourselves. So Fredrik played bass and we adapted the set to feature only those songs that worked with one guitar.”
Peter eventually quit the band, being replaced by Gustaf Hielm, as the Swedes carried on touring.
The next significant move for Meshuggah was literally a move, as the musicians decided to relocate from Umeå to Stockholm.
“It was a really tough time for us,” admits Mårten. “But it made sense to move to Stockholm, because that was a major city for the music industry in Sweden. We wanted to have our own studio, do a lot more touring, and to live right in the heart of everything was crucial. But we arrived there with no jobs and no money, and really didn’t know what to do.
“We’d just done the True Human Design EP, which came out in 1997. That had one new song called Sane, and we’d done it because Nuclear Blast were keen to hear what we were doing musically. But we were in Stockholm feeling frustrated and aggressive about where we were in our lives and career, and you can hear all of that on the Chaosphere album, which came out at the end of 1998. It was the most chaotic record we’d ever done.”
Meshuggah onstage at the 2002 Ozzfest (Image credit: Tim Mosenfelder/Getty Images)
But while the band might have believed the world was passing over them, in reality their stock was on the rise and they were about to get a major breakthrough in America. Because in 2002, the next album, Nothing, became not only their first charting release in the States (making it to number 165), but it was the first time Nuclear Blast had ever had an album in the Top 200 over there.
“I put a lot of the success Nothing achieved down to the amount of touring we did in the States around that period,” says Tomas. “We had done two tours with Tool, another with Slayer and also been on the Ozzfest bill in ’02. That all helped to get our music across to a wider audience.”
“I think we did seven weeks with Slayer,” remembers Mårten, “and that was such a big deal for us. To be honest, we never expected to go down at all well. Most bands who open for Slayer suffer because the fans only want to see them. But for some reason they took to us. But we were still shocked to have Nothing do so well, and we were amazed that Nuclear Blast had never had anything so big in America before.”
Typically, the band decided their next project would be an EP featuring just one track, and that was 21 minutes long. This was the I EP, put out in 2004, by which time Dick Lövgren had taken over on bass.
“That was on the Fractured Transmitter label, which was started by Jason Popson, who’d been a member of Mushroomhead,” says Tomas, “We’d met him on the Ozzfest tour and gotten on really well. When he left the band he started up his own label and asked if we’d give him one track, anything we wanted. We asked Nuclear Blast if they were OK with the idea, and then came up with this very long, single song.”
And a similar concept was followed for the next album, Catch Thirtythree. Released in 2005, this is a continuous piece of music lasting for 47 minutes, albeit divided into 13 parts.
“Fredrik and I would go into the studio and mess around with ideas,” Tomas continues. “Every time we felt that we had something worked out all of us would record that section. It was a very flexible type of arrangement, and it gave us so much freedom to explore musical visions. We never intended it to be as long as it turned out. But we just kept going and going.
“I used a lot of programmed drums on it, because we never thought of ever having to play it live. This was to be just studio music, so I got to try out different approaches.”
Contrary to expectations, though, they did eventually play some of the album live, which caused Tomas a huge headache.
“We did a 30-minute segment from Catch Thirtythree onstage, and I had to spend ages going back and learning how to play the music. The whole thing had been so deliberately unstructured that it was a nightmare working out how to do it on a live kit.”
The band spent almost a year on the next album, obZen, both in terms of the writing and also the recording. But while this might seem to be a lengthy process, for Mårten it all made total sense.
“We’re very lucky in that Nuclear Blast never rush us. We have complete artistic freedom. In fact, that’s in our contract with them. It’s something we’ve always insisted on, and this is so much more important than money to us. So, when we get into the creation of any album or EP, we decide the timetable.”
“We’re not the sort of band who can write on the road. We have to be completely locked away in a different environment and then focus solely on that side of things,” adds Tomas. “We toured a lot with Catch Thirtythree, so had to start from scratch with obZen. It might appear that we took a very long time to do the album, but if you analyse the process, it wasn’t so time consuming. One of the things with us is that we never have any material left over from albums that we can subsequently use. What we record is used; there are no leftovers or outtakes.”
Meshuggah in 2008 (Image credit: Press)
ObZen was to really catapult the band forward, reaching number 59 in the US charts and giving them more exposure than ever. But yet again health issues temporarily forced the band off the road. In April 2009, it was announced that Tomas was suffering from a herniated disc in his lower back.
“I had a back operation, and I lost control of my right foot. The control still hasn’t fully returned, and even when I could play again, for a while we had to cut anything from Chaosphere out of our live set, because I literally couldn’t play it. It’s been difficult. But I don’t think I’m unique among drummers. If you play as hard as I do then you are gonna put a lot of stress and strain on your body, and that leads to the type of injuries I’ve had. You just have to live with it.”
Thankfully, Tomas worked out his physically issues. The band’s 2012 album, Koloss, sees Meshuggah returning to a heavier approach.
“We do have our own style and sound now,” says Tomas. “You know a Meshuggah album when you hear it. But with each release, we try to move a little further sideways. Not forward, but sideways. We never want to repeat what we’ve done before.
“obZen was technically very complex and it was so difficult to do the songs live. It took us ages to learn how to do that. So this time, we’ve gone for music with a real groove and it’s also much heavier. As I’ve said, we are lucky enough to be able to do whatever we want.”
Meshuggah stand apart as one of the outstanding and individual metal bands of the 21st century. What they do is both visionary and inspirational, and they have inspired so many others to follow a similar path.
MESHUGGAH – Break Those Bones Whose Sinews Gave It Motion (OFFICIAL MUSIC VIDEO) – YouTube
“To see that the djent genre has caught on is special to us,” admits Tomas. “To know that there are bands out there who cite us as a big influence makes it all worthwhile. Is there anything better? But we aren’t part of any movement. We like to think that we’re removed from all of that, and what we do is unique to us. Like any founding fathers of a musical style, that actual style doesn’t fully describe us.”
“It took us ages to realise that anyone was paying attention to what we did,” concludes Mårten. “At first we thought we were only doing things for ourselves… that nobody was paying attention. Then we found out that people were buying our albums, and listening to what we were doing. The strange thing is, this made us all the more determined to be true to ourselves. Selling huge numbers of records is not why were are here. Our music matters most of all to us. As long as we know we’ve done the right thing, we’re comfortable. If we inspire anything, let it be the pursuit of personal excellence. It’s not about being part of the pack.”
Originally published in Metal Hammer issue 229, March 2012
Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica, published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term “thrash metal” while writing about the Anthrax song Metal Thrashing Mad in 1984. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He died in 2021.
Ted Nugent has long been known as the Motor City Madman, a title that he earned thanks to his penchant for wild live performances.
In his younger years, the guitarist was known for jumping off of speakers and hanging from the rafters during his shows. In a recent interview with Sirius XM’s Eddie Trunk, Nugent looked back on his outlandish onstage antics, specifically the stunts that could have gotten him killed.
“I mean, the running, the athleticism, the ramp — we created the whole ramp thing onstage because I was so hyper, so driven by the rhythms that my incredible band provided that you can’t stand there and play,” the guitarist recalled, before naming a memorable near-death experience. “Coming down out of the ceiling at Cobo Hall in the ‘80s, my hair got caught in the pulley 140 feet up in the air. And I had to literally violently yank out that big shard of hair from the pulley or I’d have plummeted to the ground and died.”
Another one of Nugent’s life-risking moves? Mounting a 1,000-pound wild animal onstage.
“Riding the buffalo onstage at the House of Blues in Chicago, where we’re going up the elevator where the buffalo’s horns were up against my ass,” the rocker continued. “And if he would sneeze, I’d have been fixed for life.”
“I should have died, oh, maybe 30, 40 times,” the guitarist estimated. “But luckily I was really healthy and athletic.”
Nugent likened his extreme performance style to a racecar driver pushing to “dangerous near-death limits to come in first. … I couldn’t have told you that was my approach back then, but that was my approach back then.”
How Did Ted Nugent Start Riding Buffalo During His Concerts?
A chance encounter with a buffalo farmer led Nugent to study the impressive beasts. He slowly learned how to earn the animal’s trust and eventually trained one to ride onstage.
“I know some people don’t think you should domesticate wild animals, but we do, we can, we do,” Nugent noted. “And if it’s done with reverence and done with respect and taking real genuine care of these animals, then there’s a place for that.”
Of course, practicing on a farm and getting out on a stage in front of an audience were two very different things. Nugent admitted he was worried the buffalo would “kill me or the first four rows” if it got spooked by the noise or lighting. “But luckily I had spent so much time riding him that he came to accept me and even accept the chaos and the outrage of a rock ‘n’ roll concert. And people would witness me come out riding Chief onstage.”
Riding a buffalo would become something of a calling card for Nugent, who repeated the act many times throughout his career. As for what happened to his very first onstage buffalo, the avid hunter was direct: “I do believe that we sauteed some of him on my barbecue.”
The Most Awesome Live Album From Every Rock Legend
Some of these concert recordings sold millions of copies, while others received little fanfare. Still, they remain the best of the best.
Feature Photo: Asturio Cantabrio, CC BY-SA 4.0 , via Wikimedia Commons
Does an album’s title really matter? Of course, it does. It’s probably the most important decision a musical artist makes when releasing a collection of songs they may have worked on for years. So why would some artists name their album with a title that has already been used? When David Bowie released Low in 1977, thrash metal band Testament probably wasn’t concerned that they’d use the same title 17 years later. Yet these naming coincidences create fascinating stories throughout music history.
For collectors, duplicate titles can be frustrating. Picture a fan ordering Dark Side of the Moon online only to receive Medicine Head’s obscure 1972 album instead of Pink Floyd’s iconic masterpiece—a mistake that would certainly disappoint most listeners. Digital platforms struggle too, occasionally serving up P!nk’s Funhouse when a listener wanted The Stooges’ raw proto-punk classic.
But perhaps these overlaps serve a deeper purpose. When The Replacements deliberately borrowed The Beatles’ title for their Let It Be, they created an artistic conversation across generations. Similarly, when both Fleetwood Mac and Camel released albums called Mirage within a decade of each other, they unintentionally formed a connection despite occupying completely different musical worlds.
Some artists view titles as merely practical labels—simply containers for the music within. Others see them as essential extensions of their artistic vision. Bob Dylan’s Modern Times carries different cultural weight than Al Stewart’s or Jefferson Starship’s albums of the same name, each serving its distinct purpose despite sharing identical spelling.
What these duplicate titles ultimately show us is something much simpler: in music, great minds sometimes think alike. Whether it’s coincidence or homage, the fact that both Michael Jackson and Lambchop called albums Thriller, or that five different artists chose Time as their album title, reminds us that even in creative fields, some ideas are just too good not to use twice.
116 Albums With Identical Titles By Different Artists
1. 13
Black Sabbath (2013)
Blur (1999)
2. 1984
Rick Wakeman (1981)
Van Halen (1984)
3. 1999
Cassius (1999)
Prince (1982)
4. 7
Beach House (2018)
S Club 7 (2000)
5. Album of the Year
Black Milk (2010)
Faith No More (1997)
6. Back Home Again
John Denver (1974)
Kenny Rogers (1991)
7. Black and Blue / Black & Blue
Backstreet Boys (2000)
The Rolling Stones (1976)
8. Blood
Lianne La Havas (2015)
This Mortal Coil (1991)
9. Blonde
Cœur de Pirate (2011)
Frank Ocean (2016)
10. Bloom / bloom
Beach House (2012)
Machine Gun Kelly (2017)
11. Blue
iamamiwhoami (2014)
Joni Mitchell (1971)
12. Body Talk
George Benson (1973)
Robyn (2010)
13. Born Again
Black Sabbath (1983)
The Notorious B.I.G. (1999)
14. Bridge Over Troubled Water
Simon and Garfunkel (1970)
Buck Owens (1971) (named after the Simon & Garfunkel song)
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
Feature Photo: Photographer: W. Veenman, CC BY-SA 3.0 NL , via Wikimedia Commons
The Kinks trace their roots back to Muswell Hill, North London, where brothers Ray and Dave Davies began playing music together in the early 1960s. Initially performing as The Ravens, the band evolved quickly after signing a record deal in 1964, adopting the name “The Kinks.” Their raw, energetic sound soon set them apart, blending rock and roll with distinctive lyrics and bold guitar riffs.
With their debut single “Long Tall Sally,” The Kinks made a modest impression, but it was their third single, “You Really Got Me,” released in 1964, that catapulted them into international acclaim. Featuring Dave Davies’s distorted guitar, achieved through slicing his amplifier speaker, this song became a hallmark of rock innovation. Other major hits followed swiftly, including timeless classics such as “All Day and All of the Night,” “Tired of Waiting for You,” and the introspective “Waterloo Sunset,” showcasing Ray Davies’s exceptional songwriting abilities.
Throughout their prolific career, The Kinks released twenty-four studio albums, cementing their position as prolific artists who continually evolved. Albums like “Face to Face,” “Something Else by the Kinks,” “The Kinks Are the Village Green Preservation Society,” and “Lola Versus Powerman and the Moneygoround, Part One” illustrate their creative depth and willingness to tackle diverse themes from social satire to personal introspection.
Remarkably influential despite fewer commercial successes in later years, The Kinks were inducted into the Rock and Roll Hall of Fame in 1990, affirming their enduring impact on music history. Their innovative approach and authentic narrative voice earned them widespread respect among peers and fans alike. Known for their vivid storytelling, capturing uniquely British perspectives with universal themes, their music has transcended generations.
Beyond their celebrated discography, The Kinks have earned considerable accolades, including the Ivor Novello Award for Outstanding Service to British Music. Their legacy continues to resonate deeply due to their profound influence on subsequent rock and pop artists, from punk rock bands to Britpop movements, attesting to their versatility and enduring relevance.
Outside music, members of The Kinks, particularly Ray Davies, have ventured into literary and theatrical arenas. Ray has notably authored several books, such as his autobiography, “X-Ray,” and has engaged deeply with musical theatre, successfully adapting Kinks material for stage productions. His creative pursuits exemplify the band’s broader artistic commitment, enriching their legacy far beyond their musical contributions alone.
Ultimately, The Kinks are cherished in the music industry for their honesty, lyrical craftsmanship, and innovative musical styles. Their story is one of constant reinvention and unwavering authenticity, characteristics that have anchored their place in rock history and made them beloved across generations.
Complete List Of The Kinks Songs From A to Z
20th Century Man – Muswell Hillbillies – 1971
A Gallon of Gas – Low Budget – 1979
A Little Bit of Abuse – Give the People What They Want – 1981
A Long Way from Home – Lola Versus Powerman and the Moneygoround, Part One – 1970
A Rock ‘n’ Roll Fantasy – Misfits – 1978
(A) Face in the Crowd – Soap Opera – 1975
Acute Schizophrenia Paranoia Blues – Muswell Hillbillies – 1971
Acute Schizophrenia Paranoia Blues – Everybody’s in Show-Biz – 1972 (live)
Add It Up – Give the People What They Want – 1981
Afternoon Tea – Something Else by the Kinks – 1967
Aggravation – UK Jive – 1989
Alcohol – Muswell Hillbillies – 1971
Alcohol – Everybody’s in Show-Biz – 1972 (live)
All of My Friends Were There – The Kinks Are the Village Green Preservation Society – 1968
Animal Farm – The Kinks Are the Village Green Preservation Society – 1968
Give the People What They Want (1981): 13 songs (including bonus tracks)
Word of Mouth (1984): 11 songs (including bonus tracks)
Think Visual (1986): 11 songs
UK Jive (1989): 12 songs (including CD bonus tracks)
Phobia (1993): 17 songs (including bonus tracks)
Check out our fantastic and entertaining Kinks articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Six former members of the band — Neal Doughty, Alan Gratzer, Bruce Hall, Terry Luttrell, Mike Murphy and Steve Scorfina — will join forces on June 14 for a one-off “retrospective” concert in their hometown of Champaign, Illinois. The event will also feature special guests and an in-memoriam segment for the late Gary Richrath and Gregg Philbin. Proceeds will benefit the REO Speedwagon Foundation for genitourinary cancer research at Moffitt Cancer Center.
When the event was announced, Cronin’s name was notably absent — and the band’s former frontman said he’s tired of being treated like the bad guy over it.
Kevin Cronin’s Statement on Missing REO Speedwagon Reunion Show
Cronin addressed his absence from the reunion show in the comments of a recent Facebook post announcing his participation in the 2026 Rock Legends Cruise, which you can see below.
“The organizers of the Champaign event could have picked a date when all of the former members of REO were available to participate,” Cronin wrote. “Instead they chose June 14, 2025, a date where it was public knowledge that I was previously committed to perform with Styx and Kevin Cronin Band in Bend, Oregon. Bottom line, I am being asked to participate in an event on a date when I can’t possibly be there in-person. And then being falsely accused of turning down the invitation. I am deeply disturbed and hurt by all of this.”
Cronin continued: “After all I have done to help build the legacy of REO Speedwagon, I feel I have earned and deserve to be included in any event honoring that legacy. Instead, I have been knowingly excluded.” He also expressed disappointment that “35-year REO veterans Dave Amato and Bryan Hitt were not even shown the respect of being invited to the Champaign event.”
Cronin is keeping the band’s catalog alive on the road now, touring with the same lineup that performed at the final REO show in December. The frontman played his first post-REO show last month, telling UCR it was an “exciting, if bittersweet” experience.