Ayreon mastermind Arjen Lucassen has shared a new video clip featuring keyboardist Joost van den Broek, teasing a September 2025 special event.
Ayreon’s debut album, The Final Experiment, was released in October 1995. At the time of this writing, it seems three shows are in planning for next year to celebrate the album’s 30th Anniversary.
Stay tuned for updates.
The Final Experiment is Ayreon’s debut studio album, released in 1995. It introduces several concepts which appear on future Ayreon albums, such as humanity’s propensity for war (“Waracle”), polluting earth’s environment (“Listen To The Waves”), or the gratuitous use of technology and computers in human society (“Computer-Reign (Game Over)”). The latter concept appears overtly in the tracks “Computer Eyes” from Actual Fantasy, “Web Of Lies” from 01011001, and “Evil Devolution” from Into The Electric Castle.
“I’m not a Satanist, I’m an atheist, but I write the best Satanic lyrics on the planet”: How Slayer went from thrash provocateurs to metal’s unlikeliest elder statesmen
(Image credit: Press)
The recently reunited Slayer formed in 1981 in Los Angeles and helped pioneer the whole thrash genre. In 2006, as they marked their silver jubilee with new album Christ Illusion, Classic Rock caught up with a band who refused to mellow with age.
It is the most innocuous of mini-malls, buried in the back of an industrial part of Corona, California, a typical So Cal suburb complete with a freeway running close by. Amid the glass-plated store fronts sits Napa29, a quiet, serene restaurant. And when your Classic Rock scribe saunters in (wearing a skull-adorned T-shirt) and starts to ask about a “reservation for Mr King”, the hostess interrupts, saying: “Kerry King isn’t here yet. He always sits in the corner of the bar though, so you can wait in there if you like.”
This, it quickly transpires, is the Slayer guitarist’s home from home; the place where he and his wife Aiesha come for a cocktail or two, some good food, some friendly company. With its upmarket light wooden walls and low-key atmosphere, it doesn’t look like the kind of place you’d expect to be favoured by a shaven-headed muscle-man adorned with tattoos and sporting a rather satanic biker beard. But once Kerry King arrives it all makes perfect sense; just a regular, local guy in his favourite restaurant, and the fact that he is very polite and congenial (almost bordering on shy at times) adds to the comfort zone.
Indeed it’s difficult to imagine that the man sitting quietly is the very same buzzball of seething rage who recently wrote lyrics such as ‘Religion is rape, religion’s obscure, religion’s a whore’ and ‘Obliterate, depopulate, divine atrocious suffering’. Then again, when it comes to torching subjects such as these, King, and Slayer, are the most élite of professionals. That’s because Slayer, the most aurally extreme band in heavy metal history, have been doing it successfully since the early 1980s; because their 1986 masterpiece Reign In Blood is widely considered to still be one of the most brutal and extreme 29 minutes of music ever recorded. Which, quite frankly, makes Slayer classic rock in every sense of the term. Moreover, Slayer are still punching their weight, as evinced by their latest record, Christ Illusion, their best album in more than a decade.
“I can say we definitely have made a mark,” King reflects, cocktail in hand. “We’ve made a big-ass blip on the radar screen, and we just came in at No.5 on the Billboard Top 50 US album chart [with Christ Illusion]. So I suppose somebody’s paying attention.”
Slayer in 2006: (from left) Dave Lombardo, Jeff Hanneman, Tom Araya, Kerry King (Image credit: Press)
It’s probably true to say that Slayer have joined the elite of metal history, along with Black Sabbath, Iron Maiden, Judas Priest and Metallica – among the handful of the most important rock bands of all time. And Slayer’s influence doesn’t seem to be diminishing in the slightest.
“You’d be amazed at which bands regard us a heroes,” chuckles Tom Araya, who with drummer Dave Lombardo is speaking separately to Classic Rock just after Slayer’s recent appearances at the Leeds and Reading Festivals. “My Chemical Romance love us. So do Taking Back Sunday and Bullet For My Valentine. I’m not sure if you can hear any Slayer riffs in their music, but they claim to be fans.”
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This feature originally appeared in Classic Rock issue 99, published August 2006 (Image credit: Future)
“A lot of the younger heavy metal bands, like Mastodon, are obviously inspired a little by us,” Lombardo adds. “When we played Leeds [on August 25] we had a lot of them coming up and thanking us for putting them on the bill. Of course, we didn’t have any say in that decision. But they took it as an honour to share the same stage as us. It’s a nice feeling, that sort of respect.”
It would be hard for anyone with a love of loud, aggressive music not to pay respect to Slayer. Christ Illusion (written mostly by Kerry King) displays a blistering intensity of bitter anger, frustration and disgust that even the bleakest nu-metal misanthropes find difficult to replicate with the same level of sincerity.
“I see things every day that piss me off,” King grumbles. “Traffic pisses me off, dumb people piss me off, rude people piss me off. Because, yes, I may be in Slayer, but I’m a courteous motherfucker! And it really bothers me when shit doesn’t happen as it should, when people are rude. It’s like: ‘I’ve gone out of my way to be courteous to you, so why are you a dickhead?!’ I don’t harbour that, but I can tap into it if I’m writing a song; I can invest in a premise and go to a bad place. And it isn’t hard to find, all day, every day.”
As Classic Rock nod our empathetic approval, King roars on: “A lot of times in public, I won’t say anything because I can get in trouble for it. But my wife feels the same, and we’ll both be out just thinking: ‘That’s fucking uncool.’ Or whatever. Like if a car doesn’t
signal when it’s changing lanes, I get pissed off about it. If I wind my window down and scream: ‘Nice signal, asshole!’ What are they gonna do? Because I look like a convict. Look, if you’re inconveniencing me by not signalling, then I fucking hate you!”
Slayer – Angel Of Death (Live At The Augusta Civic Center, Maine/2004) – YouTube
Despite looking like the sort of man who would rip off your head just for laughs, King is actually a cheerful fellow, the sort of guy who enjoys having a drink and watching football more than fighting or getting angry. But there’s little doubt that he, and Slayer, are unafraid to question and confront anything that doesn’t make sense to them. Which is why, ever since the band formed in Huntington Park, California, in late 1981, Slayer have consistently invoked controversy because of their attitude toward religion. Indeed, it has been claimed their name is an acronym, standing for ‘Satan Laughs As You Eternally Rot’. Being a confirmed atheist, King simply does not accept the various forms of religious rhetoric he hears.
“Look, I can get into anything I write about. I can write about serial killers; I can be a fucking Satanist. I’m not a Satanist, I’m an atheist, but I write the best satanic lyrics on the fucking planet. And it’s great entertainment. And religion is the funnest thing to make fun of.
“I remember back in 1990 during the Clash Of The Titans tour [with Anthrax, Megadeth and an unknown Alice In Chains], we had this religious talk-show guy Bob Larson out doing a special story on us for Spin magazine. Me and Jeff [Hanneman, fellow Slayer guitarist] have always been very similar in how we think about religion and atheism. So we’d listen to this guy – as I believe you should; you should always hear people out. But whenever I tried to question his beliefs, he’d go on the defensive and say: ‘It’s because the Bible says so.’ So then I’d ask: ‘Who the fuck wrote the Bible?’ Because to me it’s like a fairy tale that has been translated many times. And that’s when I realised these people are just fanatics. That’s when the seed got planted in my head to write about them. Because they really are out of their fucking minds.”
There’s always been an irony in Slayer’s double-decade dance with blasphemy and Satanism. Frontman and bassist Tom Araya has always held religious beliefs, yet he has found himself delivering a menagerie of anti-religious lyrics. It must have made for an interesting conversation somewhere in there over the years.
“I don’t think Tom’ll ever have that discussion with me, because he knows that I wholeheartedly don’t believe what he believes,” King ponders. “But I would listen to him talk about it at any time. And I’ll never ask him about it, because I don’t wanna throw that question of doubt into things. So really I think it’s something we both know is best left unspoken.”
But it isn’t all anti-religion as far as Slayer are concerned. In 1986 it was the song Angel Of Death (from Slayer’s seminal Reign In Blood album), which dealt with Nazi death camp doctor Josef Mengele, that twisted the knickers of the moralists into knots. Now, Jihad, from new album Christ Illusion, written from the viewpoint of a religious terrorist, is having a similar effect.
“Here we go again!” Araya sighs. “But upsetting people is never something we set out to achieve. People might get upset, but what can we do? It’s more about their ignorance; we’re not condoning terrorist actions. When Jeff came up with the song, for a split second I did think, ‘We’re gonna get shit.’ But that’s not gonna stop us from recording it.”
While that incident might cause minor irritation for the band, there was one occasion when their very existence was under threat. In 1996, 15-year-old Elyse Pahler was strangled and stabbed 15 times by Royce Casey, Joseph Fiorella and Jacob Delashmutt. The three youths claimed that their victim had been a sacrifice to Satan, in the perverted belief that this would help their band, Hatred, to become successful. Five years later, Pahler’s parents sued Slayer, claiming that the three boys were fans of Slayer and that their lyrics had ‘inspired’ such an horrendous act. The case was eventually thrown out of court, but it shook up Araya.
Slayer (and friend) in 1983 (Image credit: Press)
“I really started to think at one point that I was staring down the barrel of being found guilty as an accomplice to murder. Seriously, the case was all about proving that we should take responsibility for the murder, because of our lyrics. Crazy! But I wondered whether I’d be sent to jail for life.
“We weren’t the first band to face a lawsuit like that – Judas Priest and Ozzy had been through it before – but I felt we could be made an example of. It scared the hell out of me. Why should I be held to account for a murder that I took no part in? In the end the only winners were the lawyers, who got rich. When the bill came through, our label at the time [Sony, also named in the lawsuit] paid it off, but then passed it all on to us. We really were facing financial meltdown. It was a tough time for all of us. There was a great danger that we could split up, and it took us a long time to pay Sony back.
“As a parent, I also couldn’t understand the motives behind the suit. If my son ever did anything like that, I would tell him that he had to take full responsibility. I’d stand by him, and I would do my best to make sure that he didn’t face the death penalty, but one thing I would never do is look for an unconnected scapegoat. It is all about facing up to the consequences of your actions.”
The incident helped the members of Slayer bond together. After all, they have had more than enough time to figure out each other’s needs, thus avoiding the sort of conflicts that cause the break-up of bands.
“It’s all part of growing up,” King reflects. “We’re all different. Jeff and I hang out more, Tom and Dave have families so they don’t hang out, and that’s cool. When we’re on stage, doing what we do as well as we can do it, that’s what’s important. I mean, when Dave came back to the band he was fresh. When Dave quit the band [in 1992; he also left briefly during the Reign In Blood tour] I’d have put daggers in his eyes! But when he came back [in 2001 for the Ozzfest tour], I’d grown up, he’d grown up and we didn’t have the same issues. And I know he’s having a great fucking time, and with him being there I want it to be this way until we’re done. I don’t ever wanna look for another drummer again, and I’d like it to finish the way we started. I think that’d be awesome.”
Despite the occasional change in drummer (Tony Scaglione, Bob Gourley, Paul Bostaph and John Dette have all having stepped in at various times) King, Hanneman, Araya and Lombardo are all original members of Slayer. Even Metallica only have two founder members left. So what’s the secret?
“Compromise. Simple as that,” states Araya. “If you are to get through the tough times – and we have had them – then you must be prepared to compromise. If you can’t do that, then the band will split up. But… there’s one member of this band who’s compromised more than any other: me.”
There appears to be a look of concern in Araya’s eyes, as he realises once again how close he came to losing something that has defined his life for so long. There’s also something in his voice that seems to indicate an acknowledgement that it’s his fear of the unknown – of a world outside of the band – that has helped him to stay loyal, despite the way he has been treated over the years.
SLAYER – Eyes of The Insane (OFFICIAL MUSIC VIDEO) – YouTube
“There was a period when my input into Slayer was diminishing all the time,” he reveals. “My songs were barely used, and I wasn’t being listened to. It was all very frustrating. I was getting loads of offers to join other projects, to write songs for people, to guest on their records. And I turned them all down because I believed so much in this band. But I was watching as my influence was melting away.
“The turning point came when I guested on the Soulfly song Terrorist [from 2000’s Primitive]. That really fired me up, and I started to write a lot of ideas, took them to Kerry and Jeff… and I was still ignored. I then had to sit down and face up to the situation: did I want to carry on with Slayer under those conditions, or was it time to confront them? I felt that I had to compromise and do my best to make sure that we continued. The three of us are like a tripod: if one leaves, then the thing collapses.”
It’s at this point that Lombardo jumps in, and tries to encourage Araya to believe that he can work on projects outside of Slayer without losing touch with the band. The drummer has worked with other musicians including Fantômas, Testament, Apocalyptica, John Zorn and Grip Inc.
“I found that I could use creative energy in other situations,” Lombardo says. “There were things that I did which could never work with Slayer. But it was a huge release. That meant I could accept what Slayer were without feeling that I was missing out. Come on, Tom, you could do the same thing. What are you afraid of?”
“I do have a lot of songs stored up that I’d love to use on a solo album one day, but not right now, ” Araya responds. “I’ll have to wait, otherwise it will mean breaking the egg,” he adds, his face showing a surprising strain. “One day, though…”
Lombardo: “Why not multitask?”
Araya: “Because I can’t do that sort of thing. Some people can, I know. But for me, if you do more than one project, then you spread yourself too thinly, and you end up giving 10 per cent to each one. I have to focus on one thing, to give it 100 per cent. And that’s gotta be Slayer.”
Lombardo: “Well, I found it uplifting to get away from Slayer, to see the bigger picture. I really think you should try it.”
At this point, Araya shrugs his slightly slumped shoulders and deliberately steers the conversation in a different direction.
“You asked how we’ve managed to stay together for so long. One reason is that we don’t go public with everything. There’s been stuff that’s gone on in this band that could have split us up, but we dealt with it internally and moved on. We would never think about doing what Metallica did with the Some Kind Of Monster DVD. That would have been the end of us. I don’t understand how they could do that.”
Kerry King onstage in 2006 (Image credit: Mick Hutson/Redferns)
In the course of their near-25 year career, Slayer have cultivated a fan base of such physically (and spiritually) intense proportions that the odd riot or few has been inevitable. Like the time in 1987 when fans rearranged the seats at Manhattan’s Irving Plaza; or the ruck in 1988 at the Hollywood Palladium that saw the street blocked off at each end, with riot police, helicopters, a venue seething with raw, feral chaos, and an awful lot of damage caused in the process.
“That riot at the Palladium cost us a gig in Los Angeles county for years,” exclaims King, amused in retrospect. “We couldn’t go back for a long time. They over-sold that show and so there were a lot of kids who had tickets who couldn’t get in. I’d have been pissed, too. Our fans are the last ones you wanna mess with. They’ll band together, and someone will be appointed the general of the group, and shit will happen. The Palladium was a big deal, because we were banned from LA until a couple of years back when we finally played Universal Amphitheater. Before then, nobody would take us on.”
Those riotous gigs were the catalyst for a policy that Slayer initiated in the late 1980s that saw them do everything in their power to play general admission (no seats on the floor) shows and tours, as well as change the way over-zealous concert security interacted with their raucous fans.
“We had to take our own security guy out, not to protect us but to protect the kids,” King explains. “Jerry Mele [who went on to do venue security for the likes of U2 and Ozzy Osbourne] would go the venues and explain to the security how they [the fans] were going to behave. He came in right around the time of the Clash Of The Titans tour. He helped change shit out there.”
No one will convince Classic Rock, however, that Slayer don’t feel a warm sense of glee at their ability to cause such mayhem.
“Irving Plaza was instant gratification,” King grins. “Tom went out there, trying not to smile his ass off, and he has a hard time not smiling anyway. He went out there and said: ‘You’re making it so as we can’t play here again, and that fucks you up as well as us, because you won’t be able to see us here again.’ I remember that on stage left and right there were mountains of seat cushions!
“So yeah, it’s fun to a degree, but at the end of the day someone’s got to pay for that, and it’s most likely us. That was also the beginning of getting rid of the seated gigs. I remember at one show on the Tattoo The Earth tour in 2000, they had seats down in front of the stage. I remember thinking: ‘Bad idea.’ And sure enough, they were coming up on stage in batches. People were freaking out, but we pointed out we didn’t ask for it.”
Kerry King fixes Classic Rock with a cold, hard stare: “We have never been instigators and I’m proud of that. I mean, Tom is exceptionally mellow, and he never incites a crowd to do stuff. Because they do it themselves. And it’s cool that Slayer fans do what they wanna do because they wanna do it, and not because they’ve been told to.”
Back on the horizon of music, it’s true to say that what one generation takes as the ultimate in extremity, subsequent generations see a little trite. There’s no question that Slayer are no longer regarded as the last word from the underground, as they were when albums like Show No Mercy and Hell Awaits hit in 1983 and 1985 respectively. Now they’ve moved more towards the centre of the metal firmament. But what that has done is convince previous sceptics that, in reality, Slayer are superb musicians who write melodic songs.
“I am proud at being able to play in a band with such musicians,” laughs Araya. “Kerry, Jeff and Dave are brilliant. And, in the past, we never got the credit for that. Maybe now it’s changing. As for the songs, we take a lot of trouble in making them as good as possible. We spend ages working everything out meticulously. Unlike other bands we don’t use songs rejected for one album as the basis for the next album – if you do that, then you end up with a shit record. Your best stuff goes on the album, the rest… well, you throw them away. We wrote 14 songs for Christ Illusion, and then chose 10 from that list. It took a while, because we were very careful. That may surprise those who think all we do is go into the studio and just blast out a load of riffs at 200 miles per hour…”
“210 miles per hour!” corrects Lombardo.
“Yeah, 210 miles per hour,” continues Araya. “But if that happened, then albums like Reign In Blood would never have happened. I suppose that’s another reason we’ve been on the scene for so long. We give everything maximum care and attention.”
Soon Slayer will hit the magical silver anniversary mark. For a lot of people, it will be cause for celebration. But for the band themselves…
“Well, Jeff put it best when he was asked about that recently. Everybody else can party for us!” announces Araya. “I can’t even comprehend that we’ll have been around for so long. But that sort of thing means more to the fans than it does to the four of us. That’s not to say we’re ungrateful, but maybe we’re just too close. After all, Jeff, Kerry, Dave and I are ‘only’ in the band. We can’t know what it’s like to be on the outside looking in.
And with that, two of the finest musicians in the history of heavy metal head for their hotel rooms. To many, Slayer defined thrash, and deified it on Reign In Blood. But in ’06, they’ve become elder statesmen, with fans who span the generations. In their own way, they’ve moved effortlessly into the heritage rock category, while also retaining an intense credibility with today’s grass-roots metal scene. A feat that, perhaps, nobody else has achieved.
“Are we a classic band?” wonders Araya. “Yes, I’d like to think we are – but we’re classic heavy metal. Always metal.”
Originally published in Classic Rock issue 99, August 2006
The concept of change has been a powerful theme in rock music, especially during pivotal times like the 1960s, when musicians used their platforms to echo the desires of societal movements, particularly the Civil Rights Movement. Artists like Bob Dylan were at the forefront, using their songs to call for social progress, while others throughout the years have delved into more personal reflections on transformation. Whether addressing societal upheaval or personal reinvention, the theme of change in rock music is as broad as it is profound.
In this article, we’ve compiled 10 standout rock songs about change, each offering a unique take on the theme. From David Bowie’s introspective exploration of self in “Changes,” to Sam Cooke’s soulful call for societal reform in “A Change Is Gonna Come,” we’ve covered the broad spectrum of what change can mean. Songs like Sheryl Crow’s “A Change Would Do You Good” focus on personal renewal, while Bob Dylan’s “The Times They Are A-Changin’” captures the zeitgeist of the 1960s and its social revolution. Each track reflects a different facet of change, whether it’s about love, personal growth, or societal shifts, making this list as diverse as the artists who created these iconic songs.
# 10 – A Change Will Do You Good – Sheryl Crow
The opening track on this list of standout rock songs about change, A Change Would Do You Good by Sheryl Crow, perfectly captures the theme of transformation, both personal and societal. Released in 1996 as the fourth single from her self-titled album, the song quickly became a hit, reaching number two in Canada and peaking at number eight in the United Kingdom. Produced by Sheryl Crow, Bill Bottrell, and Jeff Trott, the track was recorded in Los Angeles during sessions that focused on capturing raw, organic sound, blending elements of rock, pop, and folk. Crow, known for her sharp lyrical wit and catchy melodies, penned this song with Trott and Bottrell, crafting a piece that resonates with anyone feeling stuck or in need of a fresh perspective.
The lyrics of A Change Would Do You Good weave together a series of vignettes that illustrate different aspects of life in need of reinvention. From the faded rock star “living in a paper bag” to the fashion model caught in the shallow world of fame, Crow highlights a range of characters who would benefit from shaking things up. The repetitive chorus, “A change would do you good,” drives home the universal truth that change, while uncomfortable at times, is often necessary for growth. The song’s non-sequitur style — bouncing from image to image — reflects the chaotic nature of modern life and the feeling of disorientation that can often accompany major shifts in personal identity or circumstances.
Musically, the song’s upbeat, jangly rhythm contrasts with its message of discontent, creating a sense of optimism about the potential for renewal. George Drakoulias’s lively guitar work and Crow’s raspy, yet soulful vocals blend to produce a track that is as engaging as it is thought-provoking. The song’s infectious energy makes it clear why it remains a fan favorite, and its lyrics invite listeners to reflect on their own lives and consider where they might need a shake-up. In this way, A Change Would Do You Good serves as the perfect starting point for a list focused on the power of change in rock music.
# 9 – Change My Way Of Living – The Allman Brothers Band
“Change My Way of Living” is a powerful blues-rock track from the Allman Brothers Band’s 1994 album Where It All Begins. Written by founding member Dickey Betts, the song delves into themes of personal responsibility, regret, and the determination to make a change when life has spiraled into chaos. As the second song on our list of standout rock songs about change, it highlights the internal struggle that often accompanies the need to overhaul one’s life. The Allman Brothers were no strangers to exploring deeply emotional and relatable themes, and this song continues that legacy.
The lyrics of Change My Way of Living tell a story of personal downfall and the realization that a change is necessary to escape the weight of bad decisions. The protagonist acknowledges that trouble is all around him and takes ownership of his situation: “There ain’t no one to blame but me.” The repeated refrain emphasizes the need for transformation in the face of overwhelming sadness and loss. The lines “I’ve got to change my way of living / ‘Cause trouble’s all that I can see” encapsulate the desperation for a fresh start when life has become unbearable, a theme that resonates deeply with the concept of change explored in this article.
Musically, the Allman Brothers Band brings their signature Southern rock sound to the song, with Gregg Allman’s soulful vocals driving home the emotional weight of the lyrics. The guitars of Dickey Betts and Warren Haynes intertwine seamlessly, delivering a raw bluesy feel that reflects the turmoil expressed in the lyrics. The rhythm section of Butch Trucks, Jaimoe, and Marc Quiñones adds depth, creating a groove that both moves and haunts the listener. The live recording approach, done in a Florida soundstage, captures the band’s energy and chemistry, giving the track an authentic, gritty edge that further enhances its impact.
“Change My Way of Living” stands as a testament to the Allman Brothers’ ability to blend personal introspection with musical mastery. Its exploration of life’s lows and the need for personal transformation makes it a standout on the Where It All Begins album and an essential part of this list of songs about change. The song is a reminder that sometimes, when the blues take hold, the only way out is to change your path.
“Can’t Change Me” is the first single from Euphoria Morning (1999), the debut solo album by Chris Cornell. Released in early 1999, the song marked a significant shift in Cornell’s style, moving away from the heavier sound of Soundgarden to a more introspective and melodic approach. The song was a commercial success, peaking at No. 5 on Billboard’s Mainstream Rock Tracks chart and No. 7 on the Alternative Songs chart, making it one of the standout tracks from the album. The track was also nominated for Best Male Rock Vocal Performance at the 2000 Grammy Awards, demonstrating its impact in the rock world.
Lyrically, “Can’t Change Me” explores the realization that even though someone may have the ability to change the world and help others, they may not be able to change or save the person they care about most. Cornell described the song as a “sad discovery” from the perspective of someone who recognizes the positive influence of their partner but realizes that it doesn’t seem to affect them. The poignant message of self-awareness and the inability to change resonates throughout the song, with Cornell’s haunting vocals bringing the emotional weight to life. The lines, “She’s going to change the world, but she can’t change me,” highlight the frustration of personal limitations in the face of someone else’s greatness.
Musically, the song’s clean production and subtle instrumental layers, produced by Chris Cornell and Alain Johannes, create a dreamlike atmosphere that underscores its melancholic theme. The song stands out as an example of Cornell’s versatility as a songwriter and performer, blending rock with elements of alternative and acoustic sound. It also represents a thematic exploration of self-reflection and inner conflict, fitting well with the album’s overall introspective tone.
Cornell’s lyrics offer a striking contrast to the more celebratory views of change found in Sheryl Crow’s “A Change Would Do You Good.” While Crow’s track is about embracing the need for transformation in life, Cornell’s is about recognizing the inability—or perhaps the refusal—to change despite the influence of someone powerful. The line, “Suddenly I can see everything that’s wrong with me…but she can’t change me,” encapsulates the resignation and awareness of one’s flaws without the motivation or ability to alter them.
“Can’t Change Me” remains a powerful reflection on the human condition, where the desire for change often clashes with the reality of personal limitations. Its placement as the third song on this list about change is fitting, as it explores both the internal and external struggles that come with transformation—or the lack thereof.
# 7 – Change It – Stevie Ray Vaughan & Double Trouble
“Change It,” from Soul to Soul (1985), showcases Stevie Ray Vaughan & Double Trouble’s blues mastery and depth, blending soulful guitar work with introspective lyrics. Written by Vaughan’s longtime collaborator Doyle Bramhall, the song is an anthem about accepting the limitations of life while embracing the present moment. As the fourth single from Soul to Soul, “Change It” highlights Vaughan’s ability to bring emotional weight to his performances, while continuing the themes of resilience and transformation that thread through much of his work.
The song’s message centers on the idea that some things in life cannot be changed or rearranged, urging the listener to focus on making the most of the time they have and moving forward with positivity. The lyrics “You can’t change it, can’t rearrange it / If time is all that we got, then baby, let’s take it” reflect this core sentiment. Bramhall’s songwriting, combined with Vaughan’s emotive guitar playing, gives the song a profound sense of urgency, with Vaughan delivering each line with a blend of tenderness and conviction. The repeated refrain of “Get away from the blind side of life” emphasizes a desire to break free from negativity and the past, reinforcing the idea of embracing change.
The recording of Soul to Soul took place between March and May 1985 at Dallas Sound Lab in Texas, with the album produced by Richard Mullen. Soul to Soul reached No. 34 on the Billboard 200, and “Change It” received regular rotation on MTV, further cementing Vaughan’s place in the blues-rock genre. Musicians on the album included Stevie Ray Vaughan on guitar and vocals, Tommy Shannon on bass, Chris Layton on drums, and Reese Wynans on keyboards. Their collective effort on the album added new layers to Vaughan’s sound, with Wynans’ keyboard work enriching the arrangements.
With Soul to Soul, Vaughan was lauded for his guitar virtuosity, though some critics pointed to inconsistency in songwriting. However, “Change It” stands out for its emotional depth, exploring themes of time, acceptance, and moving on—making it a perfect addition to this list of standout songs about change. Through both the music and lyrics, Vaughan delivers a message of hope and resilience, tied to the idea that while not everything can be controlled, love and the present moment are worth embracing.
# 6 – I’d Love to Change the World – Ten Years After
“I’d Love to Change the World” by Ten Years After is one of the most iconic rock songs addressing societal unrest and the desire for change. Written by the band’s lead guitarist and vocalist Alvin Lee, the track was released in 1971 as the lead single from their album A Space in Time. Featuring a blend of folk and blues rock, the song became Ten Years After’s only US Top 40 hit, peaking at number 40 on the Billboard Hot 100, and reaching the top ten in Canada. With its thought-provoking lyrics and haunting melody, the song captured the mood of a generation caught in the chaos of social, political, and environmental turbulence.
The track was recorded during the spring of 1971 and produced by Chris Wright at Olympic Studios in London. Alvin Lee’s songwriting reflected the disillusionment of the times, addressing issues such as wealth inequality, overpopulation, pollution, and the Vietnam War. The song opens with a folk-inspired guitar riff, immediately setting a contemplative tone. Lee’s lyrics voice frustration with the world’s problems, yet simultaneously convey a sense of helplessness, as he admits, “I’d love to change the world, but I don’t know what to do.” This sentiment of feeling overwhelmed by societal issues resonates deeply with the song’s listeners, making it a timeless anthem for change.
Musically, the song stands out with its juxtaposition of acoustic verses and electric choruses. The simple yet powerful melody mirrors the song’s themes of conflict and confusion. Lee’s plaintive vocals, accompanied by his guitar work, add layers of depth to the message of the song. The production is clean and minimal, allowing the lyrics to take center stage. Comparatively, the song evokes a similar sense of yearning for change found in tracks like Sheryl Crow’s A Change Would Do You Good, although where Crow’s song leans toward personal reinvention, Ten Years After tackles broader societal concerns.
“I’d Love to Change the World” was a staple on both AM and FM radio when it was released and became one of the defining songs of the early ’70s. Despite its chart success, the song is still tinged with the melancholy realization that real change is elusive. Unlike the more defiant tones found in other songs on this list, such as Change It by Stevie Ray Vaughan, which emphasizes the power of personal transformation, I’d Love to Change the World suggests that while the desire for change is there, the answers are complex and not easily found. The song’s enduring popularity speaks to its universal message and its ability to reflect the frustrations of any generation grappling with the challenges of change.
“Change” by John Waite is a quintessential rock anthem about transformation and self-reflection. Originally written by Holly Knight and first recorded by her band Spider in 1981, the song took on a life of its own when Waite recorded his own version in 1982 for his debut solo album Ignition. The song became a defining hit for Waite, aided by heavy rotation on MTV. The track reached No. 16 on the Billboard Album Rock Tracks chart and became even more popular when it was included in the 1985 Vision Quest soundtrack, propelling it to No. 54 on the Billboard Hot 100.
Recorded under the production guidance of Neil Giraldo, Ignition showcases Waite’s ability to channel emotional turmoil into powerful rock ballads. The song deals with frustration, transformation, and self-realization, aligning with the overall theme of change seen throughout the list. In comparison to the Allman Brothers Band’s “Change My Way of Living,” which addresses personal accountability and the bluesy consequence of life choices, “Change” by Waite feels more driven by emotional tension in navigating the inevitability of change in a broader societal sense. Where the Allman Brothers take a more somber approach to personal change, Waite’s track embraces the energy of rock, focusing on external expectations.
Lyrically, Waite’s “Change” contemplates the external pressures of fame, success, and personal identity, with lines such as “We think we have the answers, some things ain’t ever gonna change.” This contrasts sharply with the introspective nature of Stevie Ray Vaughan’s “Change It,” where Vaughan reflects on personal and internal change, seeking redemption from a life filled with emotional weight. Both songs emphasize that change is not only necessary but inevitable, but while Vaughan’s bluesy style speaks more to a personal internal struggle, Waite leans on rock to express societal and existential frustration.
Comparing Waite’s “Change” to Sheryl Crow’s “A Change Would Do You Good,” there’s a similar undercurrent of dissatisfaction with the status quo, but Crow’s track takes a more playful, tongue-in-cheek approach to change, using irony and humor to express the need for a shift. Waite, on the other hand, keeps it serious and earnest, matching the arena rock sound that drives the song’s message home with intensity.
In the grand scope of the list, Waite’s “Change” serves as a rallying cry for embracing both the harsh truths of transformation and the empowering realization that some things, at the core, will always stay the same. This song fits neatly alongside other rock songs that explore change from different emotional, lyrical, and musical perspectives.
“Don’t Change” by INXS is a quintessential anthem from the early 1980s, embodying both the band’s emerging global fame and their unique ability to fuse rock with pop sensibilities. Released as the second single from their third studio album Shabooh Shoobah in 1982, this track helped catapult the Australian band into international stardom. The song’s pulsating rhythms, sweeping guitars, and Michael Hutchence’s earnest vocals deliver a message of staying true to oneself despite the pressures of the outside world. As one of the standout rock songs about change, Don’t Change presents a different kind of transformation — a refusal to change for others, making it an empowering anthem of self-assurance.
The song was recorded at Rhinoceros Studios in Sydney, with Mark Opitz at the helm as producer. The lineup for INXS on Don’t Change featured the band’s classic roster: Michael Hutchence on vocals, Andrew Farriss on keyboards and guitar, Tim Farriss on lead guitar, Jon Farriss on drums, Garry Gary Beers on bass, and Kirk Pengilly on saxophone and guitar. The track was celebrated for its driving beat and soaring chorus, which encapsulated both the sound of the band and the larger new wave rock scene of the era. With its upbeat tempo and spirited guitar riffs, the song became a staple of FM rock radio and later, a favorite on MTV.
Lyrically, “Don’t Change” delivers a straightforward message of defiance and resilience. Hutchence sings, “Don’t change for you, don’t change a thing for me,” a declaration of personal integrity in the face of external pressure. The song’s underlying message is one of emotional liberation, resisting the temptation to conform or alter oneself to fit societal norms or expectations. It fits within the broader theme of the list, showcasing a type of change that comes not from transformation but from steadfastness and self-belief. This contrasts with other songs on the list, such as A Change Would Do You Good by Sheryl Crow, which embraces the need for reinvention and growth. While Crow’s song suggests that change is necessary for personal improvement, INXS’s anthem posits that staying true to who you are is equally valid.
Commercially, “Don’t Change” achieved success in both Australia and the United States. It peaked at number 14 on the Australian Kent Music Report chart, and hit number 17 on the Billboard Mainstream Rock chart in the US. Though it did not soar to the top of the Billboard Hot 100, reaching number 80, its impact extended beyond chart rankings. The track became one of INXS’s most beloved songs, with its iconic music video shot in an airport hangar directed by Scott Hicks, further solidifying its place in rock history. Its enduring popularity is evident from its inclusion in various film soundtracks and its selection for preservation in Australia’s National Film and Sound Archive’s Sounds of Australia collection. The song’s timeless appeal continues to resonate with listeners, reminding them of the power of staying true to oneself amidst life’s many challenges.
Bob Dylan’s “The Times They Are A-Changin’” stands as one of the most iconic songs about societal change, making it a fitting opening track for this article. Released in 1964 as the title track of his third studio album, The Times They Are A-Changin’, the song was designed by Dylan as an anthem for change, drawing inspiration from traditional Irish and Scottish ballads. Written during a time of significant social upheaval in the U.S., Dylan’s goal was to give voice to the sentiments of a generation pushing for civil rights, progress, and justice. While it wasn’t released as a single in the U.S., it reached number 9 on the UK Singles Chart and has since gained legendary status.
Recorded at Columbia Studios in New York on October 23 and 24, 1963, “The Times They Are A-Changin’” has remained one of Dylan’s most enduring works. The song’s simple yet powerful lyrics call on various social groups—politicians, parents, critics—to recognize and embrace the inevitable changes happening around them. The repetitive structure of the verses creates a hypnotic effect, each verse building upon the previous one to drive home the urgency of the message. Dylan’s vocal delivery adds emotional weight to the song, conveying both a warning and a promise of hope to those on either side of the social divide.
Lyrically, the song captures the essence of societal transformation, making it timeless in its relevance. Lines like “Come gather ’round people, wherever you roam” and “Your sons and your daughters are beyond your command” highlight the generational shifts that were—and continue to be—central to discussions of social justice and change. The song’s concluding verses reference the idea that “the first one now will later be last,” echoing biblical texts and reinforcing the theme of inevitable change. In comparison to other songs on this list, such as A Change Is Gonna Come by Sam Cooke, Dylan’s “The Times They Are A-Changin’” serves as a more direct and confrontational call to action. While Cooke’s song is a soulful reflection on racial equality, Dylan’s track speaks to a broader spectrum of societal issues, making it a multi-layered anthem for change.
David Bowie’s “Changes” is one of the most definitive tracks about personal and artistic transformation, making it a standout inclusion in this list of rock songs about change. Released on January 7, 1972, as a single from his 1971 album Hunky Dory, the song was recorded at Trident Studios in London between June and July of 1971. Produced by Bowie and Ken Scott, “Changes” features Rick Wakeman’s masterful piano playing, backed by Bowie’s future Spiders from Mars bandmates—Mick Ronson, Trevor Bolder, and Mick Woodmansey. The song is art pop at its finest, with an intricate piano riff that stands as one of the most recognizable aspects of the track.
Lyrically, “Changes” delves into Bowie’s ongoing struggle to find his place in the rock world, reflecting his frustration with a series of musical reinventions that had yet to secure him stardom. The first verse focuses on the process of constant reinvention, with Bowie declaring, “Turn and face the strange,” signaling his resistance to conforming to the rock mainstream. The second verse shifts focus to generational tension, with Bowie defending teenagers’ rights to self-expression against a backdrop of parental expectations, a recurring theme in his early work. These lyrics also capture the transient nature of fame, life, and the world, as Bowie comes to terms with the inevitability of change in both personal and professional contexts.
Musically, the song didn’t initially make waves when it was released as a single, but its popularity surged after Bowie’s rise to fame following Ziggy Stardust. The song was later included as the B-side to his 1975 reissue of “Space Oddity,” which became his first UK number-one hit. Critics have praised the song for its rich lyrical depth and Bowie’s poignant vocal delivery. Despite being a modest commercial success upon release, “Changes” became an anthem for artistic and personal growth. In comparison to other songs in this list, such as Bob Dylan’s The Times They Are A-Changin’, which deals with societal change, Bowie’s “Changes” is more introspective, addressing the inevitability of self-evolution and embracing the unpredictability of life.
Furthermore, like Sheryl Crow’s A Change Would Do You Good, Bowie’s track is also about personal reinvention, but where Crow’s song is playful and upbeat, Bowie’s “Changes” takes a more reflective and philosophical approach. The song is considered one of Bowie’s career-defining tracks, and its impact extends far beyond its initial release, influencing generations of artists and listeners alike.
Germany’s power metal upstarts, Sculforge, have checked in with the following update:
“After a surprisingly very brief search for a dude that can handle bass duties like a champ, we’re happy to welcome Felix ‘The Kerninator’ Kern to our little heavy metal boygroup!
We’re almost done recording and mixing the new album for an early 2025 release via MDD Records. We also did a video for our first single, to arrive in November. It’s an epic banger called ‘The Journey’. We worked with Kumar Productions and it’s goiung to be amazing!”
Sculforge released their debut album, Intergalactic Battle Tunes via MDD Records. This groundbreaking high-speed power metal journey takes you from the dark side of the moon, through the Milky Way, and beyond!
Intergalactic Battle Tunes packs an epic punch with 26 riveting tracks. Each song is an intricate tapestry of power and thrash metal, punctuated by radio-play-like interludes that progress the thrilling narrative. Standouts include “Into The Never”, “For The Omnisavior” and “The Sculforge Inn Incident.” This album isn’t just a collection of songs—it’s a high-octane journey through time and space.
The band’s unique line-up includes Polly McSculwood (Vocals & Guitar), Fabz McBlackscul (Guitar), Ariz Guinto (Bass), and Chris Merzinsky (Drums & Piano), all contributing to a virtuoso and fresh musical experience that fans of Helloween, Rhapsody, and Blind Guardian will adore.
Capturing the frenetic energy of their concept, the album was meticulously recorded at Hell’s Kitchen Studio Berlin and produced, mixed, and mastered by Fabian Pospiech & Sculforge. The cover by Aleh_z, and artwork by Oliver Göler & Fabian Pospiech, complement the saga’s vast, mysterious universe.
Tracklist:
“Into The Never” “Lost In The Warp” “Forbidden Knowledge” “For The Omnisavior” “For Honor” “Spacehull” “Lost And Found” “Dark Ruins” “The Sovereign Protects” “Secrets Unlocked” “Slave To The Machine” “The Extraction” “Extermination” “A New Hope” “Castilla Stands” “Glorious” “Schwanengesang” “The Escape” “Epitaph” “Kings Of The Battlefield” “Reign Of Chaos” “Follow Me” “Into The Depths” “Heart Of Darkness” “The Sculforge Inn Incident” “Sculforge Inn”
On October 2nd, KK’s Priest – featuring former Judas Priest members K.K. Downing and Tim “Ripper” Owens – performed at the Celebrity Theatre in Phoenix, AZ. Fan-filmed video of the entire show is available below.
Setlist:
“Hellfire Thunderbolt” “Strike of the Viper” “One More Shot at Glory” “The Ripper” (Judas Priest) “Reap the Whirlwind” “Night Crawler” (Judas Priest) “Sermons of the Sinner” “Burn in Hell” (Judas Priest) “Diamonds & Rust” (Joan Baez) “Hell Patrol” (Judas Priest) “The Green Manalishi (With the Two Prong Crown)” (Fleetwood Mac) “Before the Dawn” (Judas Priest) “Breaking the Law” (Judas Priest) “Sinner” (Judas Priest cover) “Raise Your Fists
KK’s Priest / Accept tour dates are listed below.
October 5 – San Diego, CA – The Magnolia 6 – Sacramento, CA – Ace Of Spades 7 – San Francisco, CA – The Regency Ballroom 10 – Houston, TX – Warehouse Live Midtown (KK’s Priest only, hosted by Eddie Trunk)
Mexico Metal Fest:
October 12 – Monterrey, Mexico – Mexico Metal Fest (w/ King Diamond)
After the surprise drop of their latest single “Dream Stealer” on July 31, extreme metal legends Arch Enemy are back with more exciting news. The Swedes are pleased to announce their 12th studio album, Blood Dynasty, a long player with 11 new tracks full of Arch Enemy’s powerful signature guitar riffs, guttural force and clean vocal surprises. The album arrives on March 28 via Century Media Records
Arch Enemy founder and guitarist Michael Amott shares, “This new album pushes the boundaries of what we’ve done before – it’s everything you’ve come to expect from this band, and then some! We can’t wait for you to hear it and feel the energy we’ve poured into every track. Welcome to the Blood Dynasty!”
Blood Dynasty is available for pre-order in the following formats:
– Special Edition CD (11 tracks) – Special Edition CD (US version) (11 tracks) – Ltd. Deluxe CD Box Set (11 + 2 bonus tracks) – Ltd. Deluxe A/B split (red&golden) LP (11 tracks) + bonus LP (2 tracks) + CD Artbook (13 tracks) + art print black LP & LP-Booklet (11 tracks) – Ltd. deep blood red LP + LP-Booklet (11 tracks) – Ltd. grey LP + LP-Booklet (11 tracks) – Ltd. transp. red LP + LP-Booklet (11 tracks) – Ltd. creamy white LP + LP-Booklet (11 tracks) – Ltd. dark green LP + LP-Booklet (11 tracks) – Ltd. bright gold LP + LP-Booklet (11 tracks) – Ltd. red blood splatter (clear-red splatter) LP + LP-Booklet (11 tracks) – Ltd. Liquid Blood Vinyl (limited to 666 copies) (11 tracks) – Ltd. black ice LP + LP-Booklet (US version) (11 tracks) – Ltd. milky clear LP + LP-Booklet (US version) (11 tracks) – Ltd. tangerine colored LP + LP-Booklet (US version) (11 tracks) – Digital album (11 tracks)
Next to the limited deluxe editions that feature two exclusive bonus tracks, fans can direct their attention to the Ltd. Liquid Blood Vinyl that is exclusively available in the band stores and limited to 666 copies.
Blood Dynasty tracklisting:
“Dream Stealer” “Illuminate The Path” “March Of The Miscreants” “A Million Suns” “Don’t Look Down” “Presage” “Blood Dynasty” “Paper Tiger” “Vivre Libre” “The Pendulum” “Liars & Thieves”
Arch Enemy are:
Alissa White-Gluz – Vocals Michael Amott – Guitars Joey Concepcion – Guitars Sharlee D’Angelo – Bass Daniel Erlandsson – Drums
Independent Danish book publisher Bjooks, creator of industry-renowned hardcover books including Push Turn Move, Synth Gems 1, and Patch & Tweak, has announced that shipping has begun on its latest title: The Minimoog Book. To fund the project, Bjooks founder and CEO Kim Bjørn initiated a successful Kickstarter campaign in April, 2024 and subsequently received overwhelming support from both new and existing readers.
A labor of love more than a decade in the making, The Minimoog Book is Bjooks’ most extensive and thoroughly researched effort to date. Kim Bjørn is quick to credit the 1,180 Kickstarter backers – comprising a wide set of music lovers, synth aficionados, and loyal Bjooks fans. “This is the most comprehensive book we’ve ever created, and it would not have been possible without our loyal fanbase and newcomers – many new to Kickstarter,” commented Kim Bjørn. “The Minimoog Book is written by JoE Silva and presents a comprehensive picture of the Minimoog’s life and times, seen through the eyes of its creators and the musical artists who changed the very fabric of our culture.”
“In an age where independent booksellers and publishers are struggling to keep up with behemoth ecommerce platforms and electronic distribution methods, it’s as important as ever that high-end, niche publishers like Bjooks are supported by loyal fans” he added. “We are proud to produce high-quality, tactile books that feature outstanding design and quality printing – and we know our customers appreciate this as well.”
In addition to having their copies shipped first, all Kickstarter backers will also receive a special numbered edition of the book with an exclusive dust jacket featuring an “authorized backer” sticker. Finally, all backers will receive early access to the forthcoming Bjooks Club, which is scheduled to launch this fall and for which more information will be forthcoming.
Comprehensive and authoritative: The Minimoog book features over 100 interviews with artists, engineers, and other experts, along with more than 700 photos of artwork, memorabilia, and rare artist shots. It includes exclusive photo sessions with 20+ unique Minimoogs in locations such as Alabama, Philadelphia, Asheville, Austria, and Copenhagen. The book also showcases images from famous rock photographers — many never before seen — and details over 30 recreated Minimoog patches by Anthony Marinelli and others, visualized in sound charts. Comprehensive visual overviews and infographics are also provided to enhance understanding of the Minimoog’s impact and historical evolution.
Readers can expect exclusive interviews and features with legendary musicians like Keith Emerson, Rick Wakeman, Chick Corea, Tony Visconti (David Bowie), George Duke, Anne Dudley (Art of Noise), Bernie Worrell, Devo, Kraftwerk, Air, J Dilla, Gary Numan, and many others — as well as some of today’s most respected songwriters and multi-instrumentalists, such as Greg Kurstin (Adele), Yumiko Ohno (Buffalo Daughter), Mac DeMarco, and more.
Foreword by Geddy Lee: The Minimoog Book begins with a foreword by the legendary Rush frontman Geddy Lee and offers over a decade of in-depth research and storytelling by JoE Silva, an esteemed journalist and music historian. Silva reflects, “When I started digging into the history of the Minimoog back in 2010, I quickly realized how universal it was. I was continuously stumbling upon artist after artist or another famous piece of music that used it. It was pretty clear right away how important the instrument became once it came out…”
Kim Bjørn’s mission with Bjooks is to create exciting, informative, and beautiful books about music technology, artists, and makers. With existing titles that intimately focus on musical instrument giants like Moog, Roland, and Korg, the publisher is thrilled to bring new inspiration to long-time Bjooks fans and newcomers with this release.
Pre-order the book here, or for more details on the Kickstarter campaign head here.
R.I.P. Erik “Grim” Brødreskift (BORKNAGAR, IMMORTAL, GORGOROTH drummer): December 23rd, 1969 – October 4th, 1999 (aged 29) Grim joined Immortal immediately after they had released their second album, Pure Holocaust. Despite not performing on Pure Holocaust, he was present when the picture was taken and ended up in the album cover. His stay with Immortal was limited to two European tours, after which the band decided to let him go. One of the founding members of Borknagar, Grim played on three albums: Borknagar (1996), The Olden Domain (1997) and The Archaic Course (1998). He also was responsible for the drums on Gorgoroth’s Under The Sign Of Hell (1997) and on the EP The Last Tormentor (1996).
HEAVY BIRTHDAYS
Happy 71st Gil Moore (TRIUMPH) – October 4th, 1953
Happy 56th Alex Holzwarth (RHAPSODY OF FIRE, SERIOUS BLACK) – October 4th, 1968
HEAVY RELEASES
Happy 33rd SAVATAGE’s Streets: A Rock Opera – October 4th, 1991
Happy 31st ENTOMBED’s Wolverine Blues – October 4th, 1993
Happy 30th DREAM THEATER’s Awake – October 4th, 1994
Happy 28th DIO’s Angry Machines – October 4th, 1996
Happy 25th RAGE’s Ghosts – October 4th, 1999
Happy 19th EXODUS’ Shovel Headed Kill Machine – October 4th, 2005 SOULFLY’s Dark Ages – October 4th, 2005
Happy 14th BRING ME THE HORIZON’s There Is Hell, Believe Me I’ve Seen It… – October 4th, 2010
Happy 11th RUNNING WILD’s Resilient – October 4th, 2013
Happy 10th NORTHERN OAK’s Of Roots And Flesh – October 4th, 2014
Happy 5th THE DARKNESS’ Easter Is Cancelled – October 4th, 2019 EXHUMED’s Horror – October 4th, 2019 GATECREEPER’s Deserted – October 4th, 2019 HELLOWEEN’s United Alive – October 4th, 2019 INSOMNIUM’s Heart Like A Grave – October 4th, 2019 TOXIC HOLOCAUST’s Primal Future: 2019 October 4th, 2019 THE DARKNESS – Easter Is Cancelled – October 4th, 2019 DYSRHYTHMIA – Terminal Threshold – October 4th, 2019 IN MOURNING – Garden of Storms – October 4th, 2019 ISSUES – Beautiful Oblivion – October 4th, 2019 NIGHTSTALKER – Great Hallucinations – October 4th, 2019 PAUL MASVIDAL – Human – October 4th, 2019 WE LOST THE SEA – Triumph & Disaster – October 4th, 2019 WILLIAM DUVALL – One Alone – October 4th, 2019
“We’d gone from being broke musicians to having James Hetfield slapping me on the back, saying, ‘Hey man, great album’”: How Corrosion Of Conformity ditched hardcore and embraced southern metal with Deliverance
(Image credit: Press)
Corrosion Of Conformity spent most of the 80s embedded in the US hardcore scene before pivoting to a more metallic sound with 1991’s Blind album. But it was 1994’s follow-up Deliverance that found them finally reaching a wider audience and getting the approval of metal’s biggest band.
Corrosion Of Conformity (or COC, as they’re more affectionately known) started in Raleigh, North Carolina during 1982. The original lineup featured vocalist Eric Eycke, bassist Mike Dean, guitarist Woody Weatherman and drummer Reed Mullin. However, after the release of debut album Eye For An Eye in 1984, Eric left, the remaining trio going on to record 1985’s Animosity, with Mike and Reed on vocals.
The arrival of former Ugly Americans singer Simon Bob Sinister led to the 1987 EP Technocracy, before the band began to change direction. Until then, the style had a punk/hardcore approach, with hints of thrash. Now, with both Mike and Simon departing, COC went for a heavier, more metal approach. In came vocalist Karl Agell, guitarist Pepper Keenan and bassist Phil Swisher. 1991’s Blind got the band a lot more attention, with the new metal style ensuring that the song Vote With A Bullet became an immediate favourite. But there was further upheaval on the horizon. Karl and Phil quit to form stoner band Leadfoot, Mike returned, Pepper took over on vocals and COC signed to Columbia – in time for 1994’s Deliverance.
At least that’s the simplistic version of events. But the reality behind Deliverance is complex, painful and not a little stressful. That is, if you’re Pepper Keenan.
“Here’s the way it was: we were signed to an independent label called Relativity,” th singer says. “They’d put out Blind, but musically things changed when we started the process for the next record; we’d moved totally away from that hardcore metal scene. We’d written the song Albatross, and had already gotten the Skynyrd vibe going on. The truth is that we were determined to become a different type of band.”
Corrosion Of Conformity’s Deliverance-era line-up: (from left) Pepper Keenan, Mike Dean, Reed Mullin, Woody Weatherman (Image credit: Press)
On the advice of The Smashing Pumpkins’ Billy Corgan – a fan of the Blind album – COC went to Southern Tracks Studios in Atlanta with the still-incumbent Karl Agell in tow. Teaming up again with producer John Custer (who had worked with them on the previous album), they started working on the basic recordings for their next album. Which is where the problems began.
“We were on a real roll, and things were coming out so well. Then Karl came down to the studio, and it was obvious to all of us that he wasn’t up to the standard we needed. His vocals were wrong, his lyrics weren’t right. We knew it, John Custer knew it. So we made the decision to get rid of him. At which point, Phil Swisher freaked out and quit, which was OK by us.”
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This feature originally appeared in Metal Hammer issue 200 (December 2009) (Image credit: Future)
At this juncture, COC had very little money. They were working on the sort of tiny budget a small label in the early 1990s could afford to give to a band. This wasn’t a massive project with bottomless pockets. Therefore, the band’s choice to switch vocalists had consequences.
But slowly things began to take a fresh shape. Firstly, Mike Dean elected to return to rejoin COC, which proved to be crucial.
“Mike was living in the jungle somewhere, but got to hear a tape of what we’d done,” says Pepper. “And he liked it. So much so that he asked to come back, which suited us just fine. The first thing we did was play him a track which, at the time, was called ‘The Thin Lizzy Song’, and would later become Clean My Wounds. Mike totally turned it around. He came up with this amazing walking bass line, and everything just seemed to fit into place.”
The first nightmare had been dispersed. But the band were still without a singer, and time was skipping merrily towards the inevitability that money would soon run out. Then Dean made a momentous suggestion.
“I’d been working my ass off writing lyrics. We’d been auditioning vocalists with no luck,” says Pepper. “Then one day, Mike just said to me, ‘Why don’t you sing?’ I’d done the vocals on Vote With A Bullet, so I thought about it, and off we went. The first thing I did was Albatross, and it just came across as being correct. We went from there.”
After working on it for almost two years, finally COC had an album finished. But there was another hurdle facing them. The band did not want to release their lovingly created record through Relativity.
“By then they’d really gone on to backing hip hop bands like 24-7 Spyz,” says Pepper. “We didn’t fit in at all, with our new sound. So we asked them to let us go. They refused.”
It was an impasse that took the sort of turn you’d only find in an improbable movie scripted by a total fantasist on a major acid trip. Enter Columbia Records.
“Somehow, and I don’t know what happened, a tape of the album got to Don Ienna, who was the President of Columbia Records. He freaked out over it, wanted to sign us. So, he contacted Relativity.”
So were the band bought off the indie label and ended up happy ever after with a major company? No, that would have been far too easy.
“Relativity refused to give us up,” says Pepper. “They’d paid for the record, and were not gonna hand it over to anyone. We were stuck. All of us were flat broke, I was living on some- one’s floor, and just as it looked as if things were going our way, we were crippled.”
That might have been the end of the matter, had it not been for one more financial twist of them all.
“One day, someone connected with Columbia said to me, ‘Check the New York Times financial pages.’ I was intrigued, got a copy and… holy shit! There it was: ‘Sony Buy Out Relativity’. Sony, who owned Columbia, had only gone out and bought Relativity and made them a small arm of their operation. I swear, I was told that the only reason Sony had done this was to get the COC album. That sounds fucking insane, but it’s what people connected to Columbia said to me. I called up all the guys, informed them that we were now on a big label, and then went out and got more drunk than I’d ever been in my life!”
Corrosion Of Conformity onstage in 1994 (Image credit: Steve Eichner/Getty Images)
After all the agonies they’d been through to get this point, there was finally a light at the end of the tunnel for COC. Their commitment to an album that could have easily ended up doomed more than once was paying off.
“I tell you how bad it got in the studio,” says Pepper. “We’d already paid for the time there when we got rid of Karl. There was no way we’d ever get the money back. In desperation and for something to do, Woody Weatherman, John Custer and I wrote instrumental pieces. We never had any clue what to do with them at the time, but they ended up being ‘interludes’ between the songs.
“When Deliverance was released, everybody thought it was an amazing idea. The truth was that it was simply something we’d come up with to use up studio time we’d already paid for. But that was typical of this album – we did things without realising how far-reaching they might be.”
Deliverance was at last released in late September 1994, and started to create a genuine buzz. Fuelled by the radio success of Clean My Wounds, which also appeared on the soundtrack for Tekken: The Motion Picture, and Albatross, it went on to become COC’s biggest-selling album. Official figures in 2005 put US sales alone at 440,000, just 60,000 short of earning the band a gold record.
“By now it must have gone past that mark,” muses Pepper. “But I still don’t have a gold record on my wall!”
Things were really going COC’s way. They were invited to be part of the bill for the 1995 Monsters Of Rock Festival at Donington, headlined by Metallica.
“Metallica personally chose every band on the bill, so it was a real honour for us to be included,” says Pepper. “We also got to open for them when they played a ‘secret’ warm-up show beforehand at what was then called the LA2 in London. We’d gone from being these broke musicians with no sort of a future to having James Hetfield coming up, as he did, and slapping me on the back, saying, ‘Hey man, great album.’”
Corrosion Of Conformity – Clean My Wounds – YouTube
For Pepper, the best thing about Deliverance was that, by being utterly determined to do what they believed to be right, Corrosion Of Conformity proved so many people wrong.
“I recall when we had a tape of the songs without vocals, we knew it was the right move to make, even though every- thing was against us,” he says. “That’s what I’m most proud of. At a time when the world was going Seattle crazy, we were listening to classic rock like Grand Funk Railroad, and insisting that’s where wanted to be.
“We’d grown up with Sabbath, but really couldn’t play what they did,” he continues. “That’s why the early stuff sounds like Sabbath sped up! But we got so into the Southern vibe, and we were doing it when it was far from trendy. You could say we began the revival, and gave the idea to so many others.”
The other thing Pepper is delighted about is the way Deliverance severed the last remaining connections with the hardcore scene that had spawned COC a decade earlier.
“We were fed up with that scene,” he says. “It was going round in circles, offering nothing new. But when we came out with this album, so many hardcore bands and fans accused us of selling out. I thought it was laughable. Like what they were doing was true hardcore? I’ll tell you what was ‘hardcore’: COC going onstage and facing all those fans and playing Albatross. That took balls. Tat’s being more true to the spirit of the movement than anybody else.
“Then, 10 years after the album was released, we had all these hardcore dudes who’d publicly hammered us, coming up and asking for our autographs on vinyl copies of Deliverance. They apologised to us for being the way they’d been at the time. That’s what I call vindication!”
Originally published in Metal Hammer issue 200, December 2009
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.
# 10 – The Day The Earth Stood Still – Willie Nile
Willie Nile’s “The Day The Earth Stood Still” captures the haunting and surreal experience of living in New York City during the COVID-19 pandemic lockdown. The song, the title track from Nile’s 2021 album, evokes the stillness and eerie beauty of a city usually bustling with life. Inspired by the deserted streets of Greenwich Village, a neighborhood where Nile has lived for nearly fifty years, the track reflects on the profound silence that descended on New York, transforming it into a ghost town. Nile recalls how the empty streets, usually so chaotic, became a surreal landscape of history and memory, filled with the echoes of the poets, artists, and musicians who had once roamed the city.
The song’s title is drawn from the 1951 sci-fi film The Day The Earth Stood Still, a metaphor for the unprecedented global pause brought on by the pandemic. Nile recalls a particularly striking moment during the lockdown: standing at the usually congested corner of Varick and Spring Street at rush hour and seeing not a single car or person in sight. It was at that moment that the film’s title hit him, and he knew it was the perfect expression of what he was witnessing. The song’s chorus—“The day the earth stood still. I saw grown men cry makin’ out their will the day the earth stood still”—captures the emotional weight of the pandemic, mixing images of emptiness, fear, and mortality with a sense of quiet resilience.
The recording of The Day The Earth Stood Still mirrors the rawness of the song’s theme. Produced by Stewart Lerman and recorded during the pandemic, the album includes Nile’s signature mix of gritty rock and poetic reflection. Musically, it reflects the desolate atmosphere of the city, with haunting instrumentation and a straightforward yet poignant delivery from Nile. In the context of the album, the song stands as a powerful statement on the pandemic’s impact, not just on New York but on the world, tapping into the collective experience of isolation, uncertainty, and endurance.
Tom Waits’ Day After Tomorrow, featured on his 2004 album Real Gone, stands out as one of the most poignant and politically charged songs in his catalog. While much of Waits’ work delves into dark, abstract themes, this track is a direct and moving protest against the Iraq War, though its message transcends specific conflicts. Written as a letter from a soldier to his family, the song captures the emotional toll of war through deeply personal reflections. The narrator longs to return to his home in Illinois, expressing fatigue and disillusionment with the senseless violence around him. Waits uses simple yet devastating lyrics to convey the futility of the conflict, offering a quiet but powerful plea for peace.
The recording of Day After Tomorrow took place during the Real Gone sessions, produced by Tom Waits and Kathleen Brennan. The album’s stripped-down, percussive sound is reflected in this song’s sparse arrangement, which allows the lyrics to take center stage. The acoustic instrumentation, with its delicate fingerpicking and understated delivery, provides a somber backdrop to the soldier’s words, enhancing the emotional weight of the song. Waits’ raw, gravelly voice lends an authenticity to the soldier’s narrative, capturing the weariness and vulnerability of someone desperate to escape the horrors of war.
Lyrically, Day After Tomorrow questions the broader implications of conflict, asking how God chooses sides and highlighting the shared humanity of all soldiers, regardless of nationality. The song’s refrain, “My plane will touch down on the day after tomorrow,” underscores the soldier’s hope for survival and return, a theme that resonates with anyone affected by war. The deeply personal nature of the song, coupled with its universal message, makes it one of the most emotionally charged entries in Waits’ discography. It serves as both a lament for the individual caught in the machinery of war and a timeless critique of the forces that drive nations into conflict.
# 8 – Redemption Day – Sheryl Crow and Johnny Cash
Originally released on Sheryl Crow’s 1996 self-titled album, Redemption Day found new life in 2019 as a haunting collaboration with Johnny Cash, featured on her album Threads. The song, with its heavy themes of political and moral accountability, reflects Crow’s growing concerns with global injustices and the ravages of war. When Cash recorded the song for his posthumous album American VI: Ain’t No Grave in 2010, his powerful interpretation elevated its message, and Crow later revisited the track, blending her original vocals with Cash’s haunting delivery. This collaboration brings a deeper resonance, making Redemption Day one of the most stirring protest songs in Crow’s career. The track gained even more weight with its poignant music video, which blends imagery of war, destruction, and hope, showcasing the timeless relevance of the song’s themes.
Recorded as part of Threads in 2019, the updated version of Redemption Day preserves the raw and emotional tone of the original while layering Cash’s deep, gravelly voice. The production of this version adds a somber, almost spiritual dimension, creating a sense of finality as Crow and Cash sing about a “train heading straight to Heaven’s gate.” The timing of the release coincided with a resurgence of global political tensions, and the song’s plea for redemption and change became even more urgent in its new context. The poignant string arrangements and atmospheric soundscape amplify the song’s intensity, drawing listeners into its powerful narrative.
Lyrically, Redemption Day is a searing indictment of political leadership and the persistent cycle of violence. Lines like “Come leaders, come ye men of great / Let us hear you pontificate” point a finger at the empty rhetoric of those in power, while the repeated invocation of “freedom” at the song’s close speaks to a collective yearning for justice. In revisiting the song for Threads, Crow emphasizes the enduring relevance of its message, while Cash’s involvement adds a prophetic layer, as his voice seems to echo from beyond, reminding listeners of the weight of these unresolved societal issues.
Bonnie Raitt’s rendition of Dimming of the Day on her 1994 album Longing in Their Hearts brings a deeply emotional interpretation to a song originally written by Richard Thompson for his 1975 album Pour Down Like Silver with Linda Thompson. The song, a gentle yet intense ballad, centers around themes of longing, vulnerability, and the need for solace during life’s most difficult moments. Raitt’s soulful voice beautifully captures the sentiment of the lyrics, transforming the song into a profound expression of the universal human experience of seeking comfort and love when everything else seems to be falling apart. This theme fits seamlessly into the overall introspective and reflective nature of Raitt’s Longing in Their Hearts, an album that also produced major hits like “Love Sneakin’ Up on You.”
Raitt’s cover of Dimming of the Day stands out not just for her delicate vocals but for the lush instrumental arrangements that give the song a timeless, haunting quality. Her approach is warm, intimate, and conveys the deep yearning present in the lyrics, such as “I need you at the dimming of the day,” which expresses a deep longing for connection at a time of personal darkness. Raitt’s version of the song, like the original, relies on its folk and acoustic foundations, but she adds her signature blues-infused style, giving the track a distinct identity while honoring its roots.
The song has been covered by several notable artists, including Emmylou Harris and Alison Krauss, but Raitt’s version is particularly striking due to its subtle emotional power. The simplicity of the arrangement allows her voice to take center stage, pulling listeners into the deep emotional resonance of the lyrics. The delicate pull of longing is heightened by the musical interplay, making it a standout among other songs with “day” in the title, as it is not just about the literal passing of time but the emotional dimming of hope and the yearning for solace that follows.
Like Sheryl Crow’s Redemption Day, Dimming of the Day grapples with a reflective search for understanding and peace, though Raitt’s version centers more on personal heartache than societal injustice. Both songs use soft, intimate arrangements to complement the weighty emotional subject matter, allowing the vocals to drive the narrative forward.
In the broader context of this list, Dimming of the Day stands apart from more overtly political tracks like The Day the Earth Stood Still by Willie Nile. Where Nile’s song captures the eerie stillness of New York City during the pandemic, Raitt’s song reflects a more timeless and personal plea for emotional support. Despite the differences in scope and subject, both songs resonate deeply with their audiences through their raw, emotional honesty and stripped-down musical arrangements.
Four Days Gone, written by Stephen Stills, is one of the standout tracks from Buffalo Springfield’s final album, Last Time Around, released in July 1968. The album came together after the band had essentially disbanded, with members already moving on to other projects. The song reflects the complex political and social climate of the late 1960s, drawing inspiration from the anti-Vietnam War sentiment and themes of personal escape and survival. Stills’ lyrical storytelling in Four Days Gone captures the emotional weight of a man on the run, trying to find refuge and avoid being swept up in the chaos of government oppression, a theme that was prevalent in many protest songs of the era.
The song’s stripped-down acoustic arrangement places Stills’ evocative vocals and vivid lyrics front and center, creating a haunting atmosphere that complements its introspective subject matter. The narrator recounts a four-day journey as a fugitive, a reflection of the disillusionment many felt during the turbulent years of the 1960s. The lyrics, “I’ve been travelin’ four days and nights, sir / And I do want to thank you for the ride, sir,” convey a sense of gratitude and weariness, while the admission, “I can’t tell you my name / ‘Cause I’m four days gone into runnin’,” hints at the desperation of a man trying to escape forces beyond his control. Stills’ soft but intense delivery heightens the sense of anxiety and urgency that permeates the track.
In the context of the list of standout rock songs with “Day” in the title, Four Days Gone sits comfortably alongside songs like Tom Waits’ Day After Tomorrow, where themes of war, displacement, and survival are also central. Both tracks delve into the human experience of feeling lost or trapped by forces larger than oneself, though Four Days Gone leans more into the psychological and emotional journey of a man running from the madness of the government, while Waits’ track takes a more direct approach to the realities of war. Stephen Stills’ ability to convey profound themes through simple yet poetic lyrics and sparse instrumentation makes Four Days Gone a timeless example of folk-rock protest music.
Buffalo Springfield’s dissolution was already in full swing when Last Time Around was pieced together, but this song remains a highlight of the album and of Stills’ contributions to the band. The group’s complex dynamics and shifting lineups are reflected in the eclectic nature of the record, with contributions from Neil Young, Richie Furay, and others. Yet, Four Days Gone serves as a poignant reminder of the band’s ability to deliver songs that resonate with the spirit of the times, even as they were breaking apart.
Blue Monday Blue Day is a track from Foreigner’s 1978 album Double Vision, which solidified the band’s place in rock history with its blend of arena-ready anthems and emotional ballads. Written by Mick Jones and Lou Gramm, Blue Monday Blue Day showcases Foreigner’s talent for merging hard rock energy with emotionally charged lyrics, creating a track that speaks to the pain and melancholy of lost love and isolation. As the title suggests, the song’s tone is steeped in sadness, capturing the dreariness that often accompanies both literal and emotional “blue” days.
Musically, the song features Foreigner’s signature blend of powerful guitar riffs and tight, polished production. The melancholy mood is accentuated by Mick Jones’ moody guitar lines and Lou Gramm’s dynamic vocal delivery, which carries a sense of resignation and heartache. The chorus, “Blue Monday, blue day, won’t you see things my way?” speaks to the yearning and frustration that comes from feeling misunderstood and abandoned in a relationship. The track’s energy shifts between introspective verses and a soaring, emotionally cathartic chorus, reflecting the emotional rollercoaster of heartbreak.
In comparison to other songs on this list, Blue Monday Blue Day taps into themes of longing and sadness in a similar way to Bonnie Raitt’s Dimming of the Day, though Foreigner’s song is more rooted in rock, with a driving beat and anthemic structure. The song’s exploration of emotional struggle and a sense of being stuck in a painful loop of rejection or despair aligns with the overall narrative of resilience seen in tracks like The Day The Earth Stood Still by Willie Nile. Both songs explore personal and emotional battles, but while Nile reflects on external, world-altering events, Foreigner focuses inward, portraying a more intimate struggle with loss and confusion.
Blue Monday Blue Day wasn’t released as a single, but it stands as a deep cut on Double Vision that showcases the band’s emotional depth beyond their more well-known hits. The song’s placement in this article highlights Foreigner’s ability to translate personal turmoil into a larger, relatable rock anthem.
I just love this song. You watch the video and it brings you back to the 70s if you were there. Day by Day is one of the most memorable songs from the 1971 musical Godspell, composed by Stephen Schwartz. Its simple yet profound lyrics are derived from a 13th-century prayer attributed to Saint Richard of Chichester, emphasizing the desire to see, love, and follow God more closely, day by day. The song’s refrain has resonated with audiences for decades, making it a standout track not only from the musical but also within the broader folk-rock genre. The song was performed by the original off-Broadway cast and, when released as a single in 1972, it became a major success. It spent 14 weeks on the Billboard Hot 100, peaking at number 13, and became a chart hit in other countries, such as Canada and Australia.
Musically, Day by Day captures the spirit of early 1970s folk-rock with its melodic simplicity and accessible spiritual message. The song’s meditative quality, driven by the repetition of its central prayer, gives it a timeless appeal. This is further enhanced by the universal themes of seeking clarity, love, and direction in life, which have allowed it to transcend the boundaries of musical theater. The production itself reflects the era’s folk sensibilities, with acoustic elements that blend seamlessly with the hopeful tone of the lyrics.
Comparing Day by Day to other songs on this list of standout rock tracks with “day” in the title reveals its unique spiritual dimension. Unlike the more socially reflective songs such as The Day The Earth Stood Still by Willie Nile, which addresses the eerie stillness and societal upheaval during the pandemic, Day by Day focuses on personal faith and connection to a higher power. Where Dimming of the Day by Bonnie Raitt carries a tone of personal longing and heartbreak, Day by Day offers a sense of peace and acceptance, asking for guidance and spiritual closeness. In contrast to Tom Waits’ Day After Tomorrow, which reflects on the futility of war and personal disillusionment, Day by Day remains hopeful and centered on spiritual growth.
Lyrically, the song’s prayerful nature gives it a different emotional resonance compared to tracks like Four Days Gone by Buffalo Springfield, which focuses on escaping societal pressures. Instead of seeking physical freedom, Day by Day asks for emotional and spiritual clarity. The simplicity of its structure and repetition allows it to serve as a calming mantra, which sets it apart from the other more complex or introspective tracks on this list.
In summary, Day by Day remains a classic not only for its musical simplicity and spiritual depth but for its message of love, clarity, and following a path of faith. Among rock songs that touch on the concept of “day,” this track stands as a testament to the power of simplicity and earnestness in music, offering listeners a brief yet profound prayer for spiritual connection.
# 3 – Day After Day – Badfinger
“Day After Day” is one of the standout tracks in Badfinger’s catalog and remains one of the band’s most enduring songs. Written by Pete Ham and featured on their 1971 album Straight Up, the song was produced by George Harrison, who also contributed a signature slide guitar part that gives the track its unmistakable melodic depth. Released as a single in the U.S. in November 1971 and later in January 1972 worldwide, it became Badfinger’s biggest commercial success, peaking at number 4 on the Billboard Pop Singles chart and reaching number 10 in the UK Singles Chart. The song’s success culminated in a Gold certification in 1972, marking the band’s only gold single in the U.S.
The recording process for Day After Day was shaped by notable collaborations. Pete Ham’s heartfelt lyrics and gentle vocals anchor the track, but the song is equally celebrated for its lush instrumentation, with George Harrison and Ham’s slide guitar work intertwining to create a sense of longing and melancholy. Leon Russell also contributed piano, adding to the track’s rich, multi-layered arrangement. Although Harrison initiated the production, he had to step away to focus on the Concert for Bangladesh, and Todd Rundgren took over the final mix, giving the song a polished and emotionally resonant finish.
Lyrically, Day After Day is a reflection of longing and emotional vulnerability. Lines such as “Looking out from my lonely room, day after day” capture the essence of isolation and unrequited love. The song’s melancholic tone and lyrical themes bear comparison to other reflective and heart-wrenching songs, such as Bonnie Raitt’s Dimming of the Day. Both songs evoke a similar sense of emotional yearning, though Day After Day stands out for its distinctive slide guitar work, giving it a dreamlike, almost haunting atmosphere.
In the context of this list, Day After Day holds its own as a song that captures a deeply personal struggle, much like Tom Waits’ Day After Tomorrow, which contemplates life and loss from a soldier’s perspective. Both songs share a meditative quality, though Badfinger’s track leans more into the realm of romantic heartache rather than societal commentary. The song’s timeless quality, blending rock, pop, and folk influences, ensures its place as one of the standout songs with “Day” in the title.
# 2 – That’ll be the Day – Linda Ronstadt or Buddy Holly
Linda Ronstadt’s cover of That’ll Be the Day from her 1976 album Hasten Down the Wind is a standout example of how an artist can breathe new life into a rock ‘n’ roll classic. Originally written by Buddy Holly, Jerry Allison, and producer Norman Petty, the song was first recorded by Buddy Holly and the Crickets in 1957. Holly’s version quickly became a defining moment in the early days of rock music, topping the Billboard Best Sellers chart and later being inducted into the Grammy Hall of Fame. It captured the rebellious energy and defiance of young love, driven by Holly’s distinct voice and the Crickets’ driving rhythms. Ronstadt’s version, released nearly 20 years later, taps into this same energy, but with her own unique style, making it a major hit once again.
While Ronstadt’s version stays true to the original’s rockabilly roots, her powerful voice adds a new level of emotional complexity to the track. Produced by Peter Asher, the 1976 recording features a cleaner, more polished sound compared to Holly’s rawer, stripped-down production. Ronstadt’s vocal performance takes center stage, with her signature country-rock influence giving the song a fresh sound that fit perfectly within the 1970s rock landscape. Her version reached number 11 on the Billboard Hot 100, proving that the song’s universal themes of love, heartache, and defiance still resonated with listeners across generations.
The lyrics of That’ll Be the Day tell the story of someone who refuses to believe their lover will leave them, despite threats of separation. The repeated refrain, “That’ll be the day when you say goodbye,” is both a declaration of confidence and a shield against the vulnerability that comes with love. Ronstadt’s delivery of lines like, “You say you’re gonna leave, you know it’s a lie,” carries an emotional weight that echoes both defiance and the fear of abandonment. This emotional complexity, which was also present in Buddy Holly’s original, comes through even more strongly in Ronstadt’s version, as her rich vocals bring out the song’s inherent tension.
Ronstadt’s That’ll Be the Day can be compared to other songs on this list, like Day After Day by Badfinger, which also navigates themes of love, loss, and longing, but through a softer, more melancholic lens. While Badfinger’s song portrays a sense of sadness and yearning, Ronstadt’s take on That’ll Be the Day is more assertive, reflecting a confidence in the face of potential heartbreak. Similarly, it shares thematic ties with Day By Day from Godspell, as both songs focus on themes of faith and steadfastness, albeit in different contexts. In That’ll Be the Day, there is a faith in love and a refusal to believe in the end of a relationship, while Day By Day speaks to a different kind of devotion. Both songs explore how emotions can persist despite the challenges faced, making them timeless additions to this list of standout songs with “Day” in the title.
Ronstadt’s version of That’ll Be the Day remains a pivotal moment in her career, showcasing her ability to take classic songs and reimagine them for new audiences. The track also underscores her talent for blending country, pop, and rock influences into something distinctly her own. As a staple of her live performances and included on her Greatest Hits album, it cemented its place in her catalog as one of her most successful covers.
