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Billy Joel has cancelled a string of tour dates after being diagnosed with a rare brain condition that affects his hearing, balance and vision.

A total of 13 shows in North America and the UK – scheduled to take place between June and November – have been cancelled, with fans offered full refunds on their tickets.

He was due to be joined by Rod Stewart, Sting and Stevie Nicks on different nights of the planned tour.

Joel has been diagnosed with Normal Pressure Hydrocephalus (NPH), which is caused by excess fluid on the brain. It is often misdiagnosed as Alzheimer’s or Parkinson’s disease and less than 20% of people with NPH are given the correct diagnosis.

Joel had previously rescheduled some dates while he dealt with the then unknown illness. Now those rescheduled shows, along with the remainder of the tour, have been cancelled.

He says in a statement: “I’m sincerely sorry to disappoint our audience, and thank you for understanding.”

A longer explanation posted on Joel’s social media accounts reads: “Billy Joel has announced that he will be cancelling all scheduled concerts following a recent diagnosis of Normal Pressure Hydrocephalus.

“This condition has been exacerbated by recent concert performances, leading to problems with hearing, vision and balance. Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period.

“Billy is thankful for the excellent care he is receiving and is fully committed to prioritising his health. He is grateful for the support from his fans during this time and looks forward to the day when he can once again take the stage.”

Fans do not need to take any action to get their ticket costs refunded, as this will happen automatically according to the statement.

From their origins as Virginia club rockers to becoming one of the last great successes of the hair metal era, FireHouse carved out a distinctive place in rock history during their four-decade career spanning from 1984 to the present day. The band reached stardom during the early 1990s with charting singles like “Don’t Treat Me Bad,” “All She Wrote,” and “Reach for the Sky,” as well as their signature power ballads “Love of a Lifetime,” “When I Look into Your Eyes,” and “I Live My Life for You.” At the 1992 American Music Awards, FireHouse won the award for “Favorite New Heavy Metal/Hard Rock Artist,” chosen over Nirvana and Alice in Chains, marking their peak moment during the transition between hair metal and grunge. The band has sold over 7 million albums worldwide and maintained remarkable stability in their lineup throughout most of their career, with the original core remaining intact for over three decades.

Originally composed of vocalist/keyboardist C.J. Snare, guitarist Bill Leverty, drummer Michael Foster, and bassist Perry Richardson, the band maintained its original members with the exception of Richardson, who departed in 2000. The history of FireHouse can be traced back to 1984, when Leverty’s band White Heat needed a drummer and after over 20 auditions, Michael Foster answered the ad and impressed Leverty with his skill, leading to his immediate hiring. When the band wasn’t on tour, Leverty and Foster would visit rock clubs, and it was at one of these clubs where they caught sight of a band called Maxx Warrior, featuring C.J. Snare as vocalist and Perry Richardson as bassist. This chance encounter would lead to the formation of one of the most enduring lineups in hard rock history.

FireHouse’s success story is unique among their contemporaries, as they managed to achieve sustained popularity even as musical tastes shifted dramatically in the 1990s. While the band’s success had waned in the United States by their third album’s release in 1995, they brought them more success overseas than ever before, particularly in Asia where they became massive stars in countries like Japan, Thailand, India, Malaysia, Philippines, Indonesia, and Singapore. Snare remarked that despite drastic changes in the industry, FireHouse was the only band of its genre that managed to have a Top 40 hit as late as 1995 without having to make drastic changes to their sound. This international success allowed them to maintain an active touring schedule and continue releasing albums well into the 2000s, making them one of the few hair metal bands to successfully transition from the MTV era to the digital age.

C.J. Snare

Carl Jeffrey Snare, known professionally as C.J. Snare, served as FireHouse’s lead vocalist and keyboardist from the band’s formation in 1989 until his death on April 5, 2024, at the age of 64. Born on December 14, 1959, in Washington, D.C., Snare was classically trained as a pianist in his youth and was first chair tenor in the Pennsylvania State Choir by the time he was a teenager. His classical background provided him with the technical foundation that would later allow him to deliver the soaring vocal performances that became FireHouse’s trademark, while his keyboard skills added an additional melodic dimension to the band’s sound.

Snare’s path to FireHouse began when he was performing with a band called Maxx Warrior alongside bassist Perry Richardson. Leverty and Foster were impressed with Snare’s vocal ability and became determined to unite the bands. As soon as Maxx Warrior broke up, Leverty sent Snare some of his songs and asked him to sing on his tape. After hearing the results, they brought Snare in to be the band’s lead singer for a show in Virginia several weeks later. Snare later recalled that after performing live with them, he felt like this was the right band for him, cementing the partnership that would define his career.

Throughout FireHouse’s career, Snare co-wrote most of the band’s songs, demonstrating his abilities as both a performer and creative force behind their success. He was an integral songwriter from the start, bringing in great songs and ideas while working closely with guitarist Bill Leverty. People don’t know, but he’s a maestro keyboardist. The guy has so much talent and creativity, not to mention a real knack for catchy melodies and lyrics. He’s a complete artist in every sense of the phrase. Snare’s seven songs charted on the Billboard Hot 100, four of which were top 40 hits, including the band’s biggest success “Love of a Lifetime,” which reached No. 5 in 1991.

In September 2020, Snare was diagnosed with Stage IV colon cancer, beginning a battle that he faced with remarkable positivity and determination. Despite his illness, he continued performing with the band until health issues forced him to step back in 2023, with American Idol contestant Nate Peck filling in as temporary vocalist. Snare had been expected to return to touring in summer 2024, and just a week before his death, he posted on social media: “Feeling Stronger Everyday! I’ll be back on stage with FireHouse before you know it.” His sudden passing from cardiac arrest was described by his bandmates as unexpected, marking the end of an era for one of the last great voices of the hair metal generation. Following Snare’s death, Nate Peck was officially announced as the band’s new frontman, continuing FireHouse’s legacy.

Bill Leverty

William G. Leverty II has served as FireHouse’s guitarist and primary songwriter since the band’s formation, making him one of the most consistent creative forces in hard rock over the past four decades. Born on January 30, 1967, in Richmond, Virginia, Leverty received his first guitar from his parents when he was four years old, though he didn’t take playing seriously until age 14. Around this same time, he began studying music theory in high school, providing him with the technical foundation that would later allow him to compose FireHouse’s most memorable songs and guitar parts.

Leverty’s musical journey began in earnest in 1984 when his band White Heat held auditions for drummers. It was during these auditions that he met Michael Foster, a meeting that would evolve into a lifelong friendship and musical partnership spanning over 40 years. The pair developed their sound through extensive touring throughout Virginia and surrounding states, playing club dates that served as both income and training ground for their later success. Their booking agent used alcohol sales per person as the barometer of success, and if you increased the audience’s drinking, you’d be asked back, which became their measure of whether they were any good.

As FireHouse’s primary songwriter, Leverty has been responsible for writing many of the band’s hit songs, often collaborating closely with C.J. Snare to create the melodic hard rock sound that made them famous. His guitar influences include Stevie Wonder and Led Zeppelin early on, followed by Eddie Van Halen, Ted Nugent, Michael Schenker, and Randy Rhoads. This diverse range of influences helped him develop a playing style that could deliver both powerful rock anthems and delicate ballad passages with equal effectiveness.

Throughout the 2000s, Leverty has also pursued an active solo career, releasing five albums: “Wanderlust” (2004), “Southern Exposure” (2007), “Deep South” (2009), “Drive” (2013), and “Divided We Fall” (2020). Despite his solo success, Leverty has stated that it would be “extremely selfish” to tour in support of his solo work while putting FireHouse on hold, demonstrating his commitment to the band that made him famous. Following C.J. Snare’s death in 2024, Leverty alongside drummer Michael Foster are the only original members still active in the band, carrying forward the musical legacy they helped create four decades ago.

Michael Foster

Michael Foster has served as FireHouse’s drummer since 1984, making him not only a founding member but also the longest-tenured musician in the band’s history. Born on December 9, 1964, in Richmond, Virginia, Foster began his musical journey at an remarkably early age when his mother gave him his first real drum set at age 5. His dedication to practice from such a young age, combined with his natural talent, led him to play in school bands and eventually learn music theory as well as other percussive instruments.

Foster’s audition for White Heat in 1984 became the stuff of band legend. After the band had auditioned probably about 20 drummers, Foster was the last one they heard. Michael came in — it wasn’t the best-looking drum kit in the world; it was green and didn’t really fit our look — but we were like, “Let’s just hear the guy.” And he had such a groove and he could swing – then we heard him sing. That sealed the deal for all of us. This audition not only launched Foster’s career but also cemented his friendship with Bill Leverty that has lasted over four decades.

Foster’s drumming style became the rhythmic foundation upon which FireHouse built their success. His ability to provide both power and groove made him perfectly suited for the band’s combination of hard rock anthems and melodic ballads. His parents were really into Elvis, so he had Elvis on all the time in the house, so he was rocking and rolling at a very early age. This early exposure to rhythm and blues influenced his playing style, giving him the loose, relaxed feel that distinguished him from more technically proficient but less musical drummers.

Beyond his role as FireHouse’s drummer, Foster has contributed backing vocals throughout the band’s career and even took lead vocals on one track during the “Prime Time” album, marking the first time he had ever sung lead on a FireHouse recording. He has also participated extensively in Bill Leverty’s solo career, playing drums on both “Wanderlust” and “Southern Exposure” albums, demonstrating the continued creative partnership between the two founding members. Following C.J. Snare’s death in 2024, Foster and Leverty remain the only original members still active in FireHouse, continuing to honor the musical legacy they began building four decades ago.

Perry Richardson

Perry Richardson served as FireHouse’s bassist from 1989 to 2000, providing the low-end foundation for the band’s most successful period and contributing to their rise to international stardom. Born on July 7, 1958, Richardson graduated from Conway High School in Conway, South Carolina, and went on to graduate from the University of South Carolina/Coastal Carolina in 1980 with a Bachelor of Science degree in Business Management. His educational background in business would later prove valuable as the band navigated the complexities of the music industry during their peak years.

Richardson’s introduction to what would become FireHouse occurred through his band Maxx Warrior, where he performed alongside future FireHouse vocalist C.J. Snare. When Leverty and Foster attended one of their shows, they were impressed with both Snare’s vocal ability and Richardson’s bass playing. The three-member group took their tape to Perry Richardson, the ex-bassist for Maxx Warrior, who said he liked it but had made a six-month commitment to the band that he was a member of at the time. True to his word, when the commitment was fulfilled, Richardson joined his new bandmates as they moved to Charlotte, North Carolina, and began recording demos in Leverty’s bedroom.

Richardson’s bass playing was integral to FireHouse’s sound throughout their most successful period, appearing on all their major albums from their self-titled debut through their live recordings. His style complemented the band’s approach of combining hard rock power with melodic sensibility, providing a solid foundation that allowed Leverty’s guitar work and Snare’s vocals to shine. While with the band, they sold over 7 million albums worldwide and won an American Music Award in 1991 for “Favorite New Artist Heavy Metal/Hard Rock.” Richardson was also inducted into the South Carolina Entertainment Hall of Fame in 1995, recognizing his contributions to the music industry.

Sometime in 2000, the band parted ways with bassist Perry Richardson due to personal conflict. The exact nature of these conflicts was never publicly detailed, but the departure marked the end of an era for the classic FireHouse lineup. After leaving FireHouse, Richardson demonstrated his musical versatility by playing bass for country music performers Craig Morgan and Trace Adkins, showing his ability to adapt to different musical genres. In recent years, Richardson has found a new musical home as the bassist for legendary Christian metal band Stryper, continuing his professional music career more than two decades after leaving FireHouse.

Allen McKenzie

Allen McKenzie joined FireHouse as bassist in 2004, becoming the band’s longest-serving bass player after Perry Richardson’s departure and providing stability during the band’s continued touring and recording activities. McKenzie came to FireHouse with impressive credentials, having been “Geddy Lee” in what was considered the best Rush tribute band in the country, demonstrating his technical proficiency and ability to handle complex bass parts. His background in tribute work made him particularly well-suited for joining an established band with a large catalog of well-known songs that required faithful reproduction in live settings.

Before joining FireHouse, McKenzie had just finished a tour as the bassist in Jane Lane’s solo band, showing his experience with professional touring and recording. When FireHouse found themselves in need of a bassist after Bruce Waibel’s departure, Bill Leverty contacted McKenzie based on his reputation in the music community. McKenzie’s response was enthusiastic, and the fit was immediate, with his flawless bass playing and powerful backing vocals becoming what the band described as their “secret weapon for decades.”

McKenzie’s addition to FireHouse came during a period when the band was focusing heavily on their international touring, particularly in Asia where they maintained massive popularity. His technical skills and professional approach made him an ideal fit for the demanding schedule of international touring and the expectations of audiences who knew FireHouse’s catalog intimately. His backing vocals added an additional dimension to the band’s live sound, complementing C.J. Snare’s lead vocals and providing the harmonic depth that characterized their studio recordings.

Throughout his tenure with FireHouse, McKenzie has participated in their continued recording activities and extensive touring schedule. His contributions helped maintain the high musical standards that fans expected from FireHouse while allowing the band to continue evolving their sound. Following C.J. Snare’s death in 2024 and the addition of new vocalist Nate Peck, McKenzie’s experience and professionalism will be crucial in helping the band navigate this transition period while honoring their musical legacy and continuing to serve their dedicated international fanbase.

Bruce Waibel

Bruce Waibel served as FireHouse’s bassist from 2000 to 2003, providing a crucial bridge between the Perry Richardson era and the band’s later lineup changes while contributing his extensive professional experience to their continued success. Waibel brought impressive credentials to FireHouse, having played in The Gregg Allman Band for over 10 years, where he recorded on the “I’m No Angel” and “Just Before The Bullets Fly” albums. He had also toured with The Marshall Tucker Band for 5 years while Gregg Allman was not on the road, demonstrating his versatility and ability to adapt to different musical contexts.

Leverty met Waibel in Sarasota, Florida, and was immediately impressed with his bass guitar skills. When the band had an opening for a bassist due to Richardson’s departure, Leverty contacted Waibel and asked him to join the band. The fit was excellent, and with Waibel, they recorded their next album, “O2,” which has been called their best album ever by fans and critics from all over the world. Leverty described it as a return to their melodic hard rock roots with a 21st century twist, and Waibel’s contributions were integral to achieving this sound.

Waibel’s experience and professionalism made him an ideal addition to FireHouse during a transitional period. His background with Southern rock legends provided him with the musical maturity and touring experience that helped the band maintain their high standards while exploring new musical directions. The band toured extensively with Waibel, including participation in the Metal Edge 2002 tour with Dokken, Ratt, Warrant, and L.A. Guns, where his bass playing helped FireHouse hold their own among their hard rock contemporaries.

Tragically, Waibel’s time with FireHouse came to an end when he decided to part ways with the band after the twelve-week tour to spend more time with his family. In 2003, Waibel died unexpectedly at age 45, marking a sad end to what had been a productive and musically fulfilling period for both the bassist and the band. Guitarist Bill Leverty expressed the band’s sadness over his death in a statement shortly after the news broke, acknowledging the positive impact Waibel had made during his brief but significant tenure with FireHouse.

Dario Seixas

Dario Seixas served briefly as FireHouse’s bassist in 2003, representing one of the shortest tenures in the band’s history while contributing to one of their most critically acclaimed albums. The Brazilian bassist joined FireHouse following Bruce Waibel’s departure and played bass on the band’s 2003 album “Prime Time,” which was engineered, produced, mixed, and mastered by Bill Leverty. Despite the brief nature of his involvement with the band, Seixas’s contributions to “Prime Time” were significant, as the album received great reviews from the press and showcased some of the best performances in the band’s catalog.

“Prime Time” proved to be a showcase for all the band members’ abilities, with Michael Foster’s drumming being described as the best he had ever recorded, and C.J. Snare’s voice remaining as amazing as ever. Seixas’s bass work provided the foundation for these performances, contributing to an album that demonstrated FireHouse’s continued creative vitality despite the various lineup changes they had experienced. The recording process was described as enjoyable, with everyone going the extra mile to make the recording the best it could possibly be, and Seixas’s professionalism was crucial to achieving this atmosphere.

However, Seixas left the band shortly after the completion of “Prime Time,” making his tenure one of the briefest in FireHouse’s history. The reasons for his departure were not widely publicized, but his exit left the band in need of another bassist just as they were preparing to promote their new album. His departure prompted the band to announce publicly that they were in need of a bassist, beginning the search process that would eventually lead them to Allen McKenzie.

Despite the brief nature of his involvement with FireHouse, Seixas’s contributions to “Prime Time” remain part of the band’s recorded legacy. The album stands as a testament to FireHouse’s ability to work effectively with different musicians while maintaining their distinctive sound and high musical standards. His work on the album demonstrates the professional level of musicianship that FireHouse has consistently demanded from all their collaborators throughout their career.

Nate Peck

Nate Peck joined FireHouse as lead vocalist in 2023, initially serving as a temporary replacement for C.J. Snare during his health struggles before being officially named the band’s new frontman following Snare’s death in April 2024. A former American Idol Season 21 contestant, Peck brought both vocal talent and performance experience to his role with FireHouse, demonstrating his ability to handle the demanding vocal requirements of the band’s extensive catalog while respecting the legacy established by his predecessor.

Peck’s introduction to FireHouse came during a difficult period when C.J. Snare was dealing with serious health issues related to his colon cancer diagnosis. The band needed someone who could step in temporarily while maintaining the vocal quality and stage presence that FireHouse audiences expected. Peck’s background as an American Idol contestant had prepared him for high-pressure performance situations and demonstrated his ability to handle challenging vocal material, making him a logical choice for this sensitive role.

When Snare passed away unexpectedly in April 2024, Peck found himself in the position of transitioning from temporary fill-in to permanent replacement, a role that carries both tremendous opportunity and significant responsibility. A month after Snare’s death, FireHouse announced that Peck would officially be taking over as the band’s new frontman, marking the beginning of a new era for the veteran hard rock band. This transition represents one of the most significant changes in FireHouse’s four-decade history.

Peck’s challenge going forward will be to honor the vocal legacy established by C.J. Snare while bringing his own artistic personality to the role. FireHouse’s extensive catalog of hits requires a vocalist capable of delivering both powerful rock anthems and delicate ballads with equal effectiveness, and Peck’s early performances with the band suggest he possesses these abilities. His role in continuing FireHouse’s legacy will be crucial as the band moves forward without one of their founding members for the first time in their history, carrying the responsibility of maintaining the musical standards that have sustained the band’s international popularity for over three decades.

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

Bill Leverty of FireHouse Interview: 10 Albums That Changed My Life

Complete List Of Firehouse Albums And Songs

Top 10 Firehouse Songs

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Firehouse Band Members article published on ClassicRockHistory.com© 2025

Billy Idol guitarist Steve Stevens dazzles fans every night with a nylon-string guitar solo that ever-so-slightly teases bits of Led Zeppelin‘s “Stairway to Heaven” and Van Halen‘s “Eruption.” It’s a fitting homage, considering Eddie Van Halen inspired Stevens to perform a classical solo in the first place.

“Oddly enough, the way that I ended up doing a nylon [string] guitar solo was that I was in Vince Neil‘s band, and we did about six weeks opening for Van Halen [in 1993],” Stevens recently told UCR. “And Vince said, ‘Hey, man, you’ve got to do a guitar solo.’ And I thought, ‘Well, I’m not going to do an electric solo, because in about an hour, this guy’s going to come out and play “Eruption,” and that’s the definitive word.’

“So I said, ‘Well, what do I bring that’s going to be unique to Steve Stevens?'” he continued.  “And I thought [of] doing a nylon guitar solo, which, I’ve played nylon guitar since I was 8 years old. One of my first guitar teachers was a flamenco guitarist. So I thought, ‘Well, that’s something that I’ll do that is nothing like what Ed’s gonna do.’ And so I’ve been doing that style of solo since the ’90s.”

Steve Stevens Says Eddie Van Halen ‘Couldn’t Have Been More Generous’

Stevens — who’s on the road with Idol in North America and Europe through late September — remembered jamming with Eddie Van Halen in the ’80s and recalled the namesake Van Halen guitarist’s incredible generosity.

“I had already become friends with Eddie [by the time of the Neil tour], and previous to that, I played at the NAMM show with him,” Stevens said. “And then I remember when Billy Idol was touring and we played the Forum in L.A. — it must have been ’88 — we had Eddie come up during the encore. So I was already his friend, and we hung out quite a bit, actually.”

READ MORE: Billy Idol Albums Ranked

At that point, Stevens recalled, “I was still bringing out my vintage Marshalls on tour, and they were not road-worthy. They were breaking down. And I remember him coming over, going, ‘Hey, man, why don’t you try some of mine?’ And he had just brought out his Peavey 5150 line, and lo and behold, three days later, a truck shows up with three heads and three cabinets and solved everything for me. And I became a Peavey endorser for many years because of that.” (Van Halen gave similarly lavish gifts to tour mates Alice in Chains and Skid Row.)

“Guy couldn’t have been more generous,” Stevens added. “And it extended to giving us a full sound check, full use of the PA and lights and everything. When you’re Van Halen and you’re that freaking good, you’re secure. You can be really generous, because you know you’re great.”

Watch Billy Idol Play ‘Rebel Yell’ With Eddie Van Halen at 1988 NAMM Show

Steve Stevens Unveils Ciari Signature Ascender Guitars With Foldable Necks

Stevens is no stranger to innovative guitar technology himself. The guitarist has partnered with Ciari Guitars to create the Steve Stevens Signature Ascender. The series’ two models — the Ascender Platinum and the Ascender Premier — both feature Stevens’ signature Bare Knuckle Ray Gun pickups and Ciari’s patented foldable neck system, allowing players to collapse their guitars and bring them on planes as personal items.

READ MORE: 5 ’80s Rock and Metal Guitarists Who Started Great New Bands

“As a touring musician, I continue to write and I do demos and I’m sending ideas around while on tour,” Stevens told UCR. “I’m set up in my hotel room with a little recording thing. So having this guitar has really been a godsend, because it’s enabled me to work and play anywhere.”

“We have the luxury of bringing, with Billy Idol, tons of gear and all that. We have semis and all that,” Stevens added. “But I do quite a number of all-star shows with either Billy Morrison’s Royal Machines or Matt Sorum‘s Kings of Chaos. And when I do those kinds of shows, you’re not bringing a lot of gear, and we’re using amp modelers, and a folding guitar certainly fits right into that sensibility.”

Honestly, there has been no rhyme or reason to Paul McCartney‘s choice of album opening songs.

In some cases, like 1973’s Band on the Run, 1975’s Venus and Mars and 1984’s Give My Regards to Broadstreet, McCartney led with big hit singles. Other times, as on his ’70s band Wings‘ debut Wild Life and the 2013 solo LP New, he kicked things off with loose jams.

There are songs here that became part of a generation’s soundtrack and others that sank like a rock to the bottom of his discography. Then there were those times, from 1970’s McCartney and 1979’s Back to the Egg to 2018’s Egypt Station, when he employed song snippets that did little more than set the scene.

READ MORE: Top 40 Paul McCartney ‘70s Songs

He took the opportunity on albums including 1980’s McCartney II, 1993’s Off the Ground and 2020’s McCartney III to try some intriguing, if not always successful experiments. But then 1976’s At the Speed of Sound gets going with one of McCartney’s most McCartney-esque songs.

All of it works in concert to make this ranked list of Paul McCartney’s opening songs one of the most entertaining, frustrating and ultimately varied as any in rock history:

No. 24. “Mumbo”
From: Wild Life (1971)

One of the more conspicuous throwaways on Wings’ decidedly shaky debut, “Mumbo” sounds like what it is: This shambolic jam session around a song with essentially only a title for lyrics. “At the beginning of the cut, you can hear me say, ‘Take it, Tony,'” McCartney said in Keith Badman’s The Beatles: The Dream is Over – Off the Record 2. “We had been going for five minutes and then I suddenly realized that he wasn’t recording.” But really, co-engineer Tony Clark needn’t have bothered.

No. 23. “Lonely Road”
From: Driving Rain (2001)

So casual it’s barely a song, “Lonely Road” was written while on a beach vacation in January 2001 in Goa, India, and very much retains that vibe. “It is what it is, this song,” McCartney later wrote on his website. “You can make of it what you want to make of it. To me, it’s not particularly about anything other than not wanting to be brought down.” Today, “Lonely Road” is best remembered, if it’s remembered at all, for the debuts of guitarist Rusty Anderson and drummer Abe Laboriel Jr., who’d remain with McCartney for decades.

No. 22. “Save Us”
From: New (2013)

McCartney was still kicking off albums with throwaway rockers, decades after 1971’s Wild Life. This time, he dropped by new co-producer Paul Epworth’s studio without any concrete song ideas. Epworth had a sound in mind, and “Save Us” grew out of their first jam. “So he jumped on the drum kit; I jumped on the piano. We multilayered it,” McCartney told Rolling Stone. “I put chords in, structured it a bit, and started blocking out the words.” Unlike “Mumbo,” however, he actually went back and wrote lyrics.

No. 21. “Off the Ground”
From: Off the Ground (1993)

Originally a little folk thing, the title track from this early-’90s album wasn’t even in the running until McCartney and keyboardist Paul “Wix” Wickens rebuilt it on a computer. This was exciting new terrain for McCartney, who moused out a foundation of mechanical rhythm and synth bass before personally adding guitars and percussion. One of McCartney’s daughters later asked him about his day and she loved the name of the song. “And it ended up being the title track – the song that nearly didn’t make it,” McCartney mused in the souvenir booklet for his subsequent tour.

No. 20. “London Town”
From: London Town (1978)

Wings was once again whittled down to a Band on the Run-style trio by the time they completed London Town, but this would be a decidedly more laid-back affair. That’s made clear on an opening title track that walks right up to the edge of twee. Since-departed guitarist Jimmy McCulloch and drummer Joe English took part but couldn’t imbue this Denny Laine co-write with the energy and fun of earlier work on Venus and Mars and Speed of Sound. Tellingly, “London Town” reached No. 17 on the U.S. Easy Listening chart.

No. 19. “Long Tailed Winter Bird”
From: McCartney III (2020)

The seeds of this song date back to a ’90s-era leftover titled “When Winter Comes,” co-produced by George Martin. McCartney began extending the musical lines and a new song emerged. “Long Tailed Winter Bird” opened McCartney III, with much anticipation. As McCartney circled around a fluttering riff, he added a lurching, swamp-stomping rhythm and some whispers of Eastern intrigue. But then “Long Tailed Winter Bird” became an unkept musical promise as both its lyric and musical structure dissolved into a drone.

No. 18. “Pipes of Peace”
From: Pipes of Peace (1983)

There’s a reason Pipes of Peace often echoes 1982’s Tug of War. The LP was rounded out with leftovers from its more celebrated predecessor. There’s also a reason the sweetly conveyed title track sounds like a kid’s song. McCartney had been asked to write something for an international children’s society when inspiration struck. “Pipes of Peace” reached No. 1 in the U.K. but failed to chart in America until it was re-released as the b-side to “So Bad,” a song so saccharine that it ruined a long-hoped-for reunion with Ringo Starr.

No. 17. “Coming Up”
From: McCartney II (1980)

Docked a few points because McCartney II opened with the skeletal solo synth version instead of the Wings live take that pushed McCartney to the top of the U.S. singles charts again. He was an admitted amateur with this new keyboard technology, but joy and gumption occasionally carried the day on his uneven successor to 1970’s more acoustic McCartney. This version is also docked a few more points, however, because it’s one of the McCartney II tracks where he annoyingly speeds up his vocals using a vari-speed tape machine.

No. 16. “Stranglehold”
From: Press to Play (1986)

Positioning this as the lead track on the often exhaustingly mechanized Press to Play should have had McCartney brought in on false-advertising charges. Still, “Stranglehold” represents the first frail flowerings of a creative rebound, as he sets a smart little reed-honking groove, then barks out the lyrics with a whiskey-shot of vigor. For all of the times he got lost in billowing clouds of whimsy — or in the case of this album, billowing clouds of Fairlight synths — McCartney very nearly pulls off a “Jet”-level anthem. Unfortunately, the LP was basically completed with a gleaming pile of MTV-ready, Hugh Padgham-produced dreck.

No. 15. “The Lovely Linda/That Would Be Something”
From: McCartney (1970)

McCartney played the “Lovely Linda” snippet while trying out a new four-track recorder in his home studio in London just before Christmas 1969. At less than 45 seconds, this remains his second shortest song – but suddenly, McCartney’s first proper solo album was underway. “The Lovely Linda” would lead directly into the groove-laded “That Would Be Something.” Honestly, it’s all groove. “There’s no lyrics, really: hippies and the rain – a very ’60s idea, very peace and love,” McCartney later admitted. He’s not wrong.

No. 14. “Let ‘Em In”
From Wings at the Speed of Sound (1976)

McCartney scheduled his first U.S. tour since the Beatles‘ final bow in 1966 – but only after rushing out the doggedly democratic At the Speed of Sound. The LP shot to the top of the charts over seven non-consecutive weeks as Wings’ blockbuster tour continued into the summer of ’76, powered in no small way by two consecutive gold-selling Top 5 smashes, including the feather-light Grammy-nominated “Let ‘Em In.” Some of those found knocking at the front door were real friends and relatives and some weren’t. Ironically, McCartney later married Nancy Shevell, who has both a “Sister Susie” and a “Brother Jon.”

No. 13. “Dance Tonight”
From: Memory Almost Full (2007)

McCartney found inspiration in his toddler, who danced when he played a new left-handed mandolin. Unlike so many of his other album-opening songs, however, the lilting, utterly charming “Dance Tonight” was the last song McCartney completed for Memory Almost Full. He created the distinctive kick-drum sound by stomping his foot – just as he had at home. “So I fell in love with this song and with the mandolin and the whole hoe-down aspect,” McCartney said on his website, “and eventually it kind of wrote itself.”

No. 12. “Tug of War”
From: Tug of War (1982)

“Here Today” was the most obvious song about John Lennon found on Tug of War, which arrived two years after McCartney’s Beatles bandmate was brutally murdered. But McCartney seems to be talking about their tangled relationship here, too. And what better setting than alongside George Martin once more? The former Beatles producer created an emotional orchestral framework that perfectly mirrors the ebbs and flows of McCartney’s lyrics. Darkness in the verses eventually gives way to soaring hope in the song’s chorus.

No. 11. “No More Lonely Nights”
From: Give My Regards to Broadstreet (1984)

McCartney named his film Give My Regards to Broad Street and, not surprisingly, struggled to come up with a title track. So, instead, he wrote one of his most gorgeous mid-tempo love songs, completing things with the reliably celestial guitar solo by David Gilmour. “No More Lonely Nights” came together very quickly in the studio – then, unlike the movie, became an international Top 10 hit. For some reason, however, there was also an Arthur Baker dance mix and it should be avoided at all costs.

No. 10. “Opening Station/I Don’t Know”
From: Egypt Station (2018)

After 41 seconds of pointless atmospherics, McCartney’s first No. 1 LP since 1982 officially got underway with a looming sense of doubt. It’s a surprising emotion from the world’s most famous progenitor of silly love songs. But then, “I Don’t Know” echoes “Tug of War,” found earlier on this ranked list of McCartney opening songs: The verses, perhaps the bleakest McCartney has ever penned, gave way to a gorgeous, more typically consoling chorus. Then McCartney’s deft piano figure somehow transcends this brilliant juxtaposition.

No. 9. “Nothing Too Much Just Out of Sight”
From: The Fireman’s Electric Arguments (2008)

McCartney ran into Jimmy Scott, a fast-talking conga player to the stars, at London’s Bag O’Nails club – and walked away with two song titles. Scott was fond of saying “Ob-la-di, ob-la-da, life goes on.” McCartney used that on the White Album. Decades later, he returned to another Scott saying – “nothin’s too much, just outta sight” – for the opener from his only rock-leaning album as the Fireman with Martin “Youth” Glover. “He was just one of those guys who had great expressions, you know,” McCartney told Playboy in 1984.

No. 8. “Reception/Getting Closer”
From: Back to the Egg (1979)

“Reception” is about twice as long as “The Lovely Linda” or “Opening Station” from earlier in this ranked list, but doesn’t say anything more. “Getting Closer” then provides one of the most curious moments in all of the McCartney solo catalog by using “my salamander” as a term of endearment. Seriously, a slimy, amphibian wall-crawler? Even so, because he’s Paul McCartney, “Getting Closer” is still propulsively enjoyable. Credit late-period Wings guitarist Lawrence Juber’s simply monstrous riff.

No. 7. “The Song We Were Singing”
From: Flaming Pie (1997)

Work on the Beatles’ Anthology series clearly had McCartney in a nostalgic mood. The first song attempted for Flaming Pie puts McCartney back together with John Lennon at the peak of their friendship and musical collaborations. “The song represents for me good memories of the ’60s, of dossing around late at night, chatting, smoking, drinking wine, hanging out, jawing through the night,” McCartney later remembered. “I think it works as an opening track – it creeps you into the album and sets it up nicely.”

No. 6. “Big Barn Bed”
From: Red Rose Speedway (1973)

On the preceding Ram, McCartney returned to “Ram On” with a reprise that connects directly to the first song on Wings’ second LP: “Who’s that coming round that corner? Who’s that coming round that bend?” is also the opening line of “Big Barn Bed.” In the end, however, this is perhaps the best example of McCartney putting everything he had into a song – except a proper conclusion. He never quite figured one out. Thankfully, the first half is so perfect, so joyous and loved filled, that it carried Wings past another bad end.

No. 5. “Fine Line”
From: Chaos and Creation in the Backyard (2005)

You get the sense that McCartney could write catchy songs like this in his sleep. (And maybe he does?) But that doesn’t make “Fine Line” any less charming – and there’s a cool little quirk buried beneath its radio-ready hook. But first, the Top 20 U.K. hit opens with a telling lyric: “There’s a fine line between recklessness and courage.” McCartney knew something about that, having thrown out his entire way of working for this aptly named LP. The biggest change was hiring Nigel Godrich, best known for producing Radiohead. He’s the one who encouraged McCartney to continue building “Fine Line” around a wrong bass note.

No. 4. “My Brave Face”
From: Flowers in the Dirt (1989)

It seemed McCartney’s spell of ’80s disappointments could only be broken with a new songwriting partner in the vein of John Lennon. McCartney found that person in Elvis Costello, who helped him back to the charts — and, more importantly, back to respectability. With a newfound knife-sharp approach to the lyrics, collaborations like “Mistress and Maid” and “You Want Her Too” worked as canny updates of the Beatles’ “We Can Work it Out” and “I’ve Got a Feeling” yet didn’t feel derivative. Their work on “My Brave Face” was different: Costello helped McCartney channel his own vintage pop self, right down to that old bass.

No. 3. “Too Many People”
From: Ram (1971)

Ram arrived amid a period of very public sniping between McCartney and Lennon. The LP included an utterly unsubtle cover image of two beetles copulating – and the rather silly conceit that his photographer wife was somehow stepping in as a songwriting equal. Then McCartney opened with “Too Many People,” a song clearly directed at his former bandmate that risked immediately tanking the whole project with haughty sermonizing. But “Too Many People” rises above that fractious moment, catching a tough groove. It’s helped along by two electric guitar solos that McCartney completed in one take.

No. 2. “Venus and Mars/Rock Show”
From: Venus and Mars (1975)

Recorded in part at local impresario Allen Toussaint’s Sea Saint Recording Studio in New Orleans, Venus and Mars reflected the settled atmosphere surrounding McCartney (and Wings). He’d firmly established himself outside of the Beatles, so there was suddenly time to look toward the stars. “Venus and Mars,” a dreamy piece of space junk, fed directly into “Rock Show” as McCartney name checked favorite concert venues back here on Earth. Record buyers pushed the third single from Venus and Mars to No. 12 in the U.S., but U.K. listeners were apparently less into astronomy. “Venus and Mars/Rock Show” didn’t chart at all there.

No. 1. “Band on the Run”
From: Band on the Run (1973)

From their lowest moment arose Wings’ greatest triumph, as a band searching for direction after a pair of member defections crafted an ageless Grammy-winning multi-part paean to escape. With the arguable exception of Ram, no McCartney album so successfully blended his interests in the melodic, the orchestral, the rocking and the episodic. Somehow all of that fizzy creativity is found in miniature within its title track, too. And to think, it all started with a throwaway complaint former bandmate George Harrison made as an Apple Corps meeting dragged on: “If we ever get out of here.”

Born from the metal-saturated streets of Des Moines, Iowa, Vended emerged in 2018 as a force determined to carve their own path in heavy music. The band features two members who are sons of members of Slipknot: singer Griffin Taylor is the son of Corey Taylor, and drummer Simon Crahan is the son of Shawn “Clown” Crahan. Vended was formed in 2018 by Griffin Taylor and Simon Crahan when they were teenagers; the duo then recruited Jeremiah Pugh, Cole Espeland, and Connor Grodzicki. The five-piece has maintained a stable lineup throughout their career, with no departures or member changes since their formation.

Vended released the EP What Is It//Kill It in 2021, as well as several stand-alone singles. The band’s self titled debut arrives on September 20 and includes 13 tracks produced by Chris Collier. While specific chart positions and major awards have not been widely documented, the band has achieved significant milestones including sold-out shows and major festival appearances. Their name is pronounced with emphasis on the second syllable: “ven-DEAD”, and is based on the word vendetta.

The band avoided touring during their first few years due to their young age. Their first live performance was in Des Moines in March 2020, just before being forced to go on hiatus by the COVID-19 pandemic. Since emerging from the pandemic, Vended has toured extensively, including major festival appearances and supporting tours with established acts like Jinjer and P.O.D.

Griffin Taylor

Griffin Taylor joined Vended as the founding vocalist in 2018 alongside Simon Crahan. As the son of Slipknot frontman Corey Taylor, Griffin initially faced uncertainty about pursuing music as a career path. Griffin Taylor didn’t even know if he wanted to be a musician before forming the band Vended. “People were like, ‘So are you gonna get into music just like your dad?’ I didn’t even know if I wanted to be a musician as a kid,” the vocalist confessed. “I wanted to be a florist, a video game designer and a police officer, and I think at least two of those things are still on the table.”

Griffin has been with Vended since its inception and appears on all of the band’s recorded material, including the 2021 EP “What Is It//Kill It” and their 2024 self-titled debut album. Vended released their first recording, the single “Asylum”, on September 21, 2021. Griffin’s vocal contributions to the band include powerful performances on tracks like “Asylum,” “Burn My Misery,” “Ded to Me,” and the more recent singles “Am I The Only One,” “The Far Side,” and “Nihilism.” He has been instrumental in establishing Vended’s aggressive vocal style, which combines elements of nu-metal and modern metal.

“I started learning how to scream in middle school and my dad was out in Vegas.” Griffin has emphasized his independence in developing his vocal technique, maintaining that he learned his screaming abilities largely on his own without extensive coaching from his father. Outside of Vended, Griffin has made notable appearances with Slipknot, including joining his father on stage to perform “Custer” during Slipknot’s European tour. frontman Griffin Taylor has actually shared a stage with the headliners, being invited onstage in Bucharest, Romania by his father Corey on July 20 to sing guest vocals on Custer. The younger Taylor has consistently worked to establish his own identity separate from his famous father, focusing on building Vended’s independent career and reputation.

Simon Crahan

Simon Crahan co-founded Vended in 2018 as the band’s drummer, partnering with Griffin Taylor to form the core of what would become the five-piece metal outfit. As the son of Slipknot percussionist Shawn “Clown” Crahan, Simon grew up immersed in the world of professional metal music but has been adamant about forging his own path. “My dad never showed me how to play the drums,” Simon Crahan continues. “Maybe he showed me little things, but I learned that shit by myself – we all learned this shit by ourselves.”

Simon has remained with Vended throughout their entire history and appears on all recorded releases, from their debut single “Asylum” through their 2024 self-titled album. His drumming forms the backbone of Vended’s sound, providing the rhythmic foundation for tracks across both their EP and full-length releases. With a rhythm section that uses the trifecta of speed, power and precision. Simon’s contributions to Vended’s albums include powerful percussion work that drives songs like “Bloodline,” “Antibody,” and “Overall,” demonstrating his ability to blend technical proficiency with raw energy.

“I started learning how to scream in middle school and my dad was out in Vegas. I understand when people say, ‘Oh, they got all of their musical talent from their fathers.’ I understand where people come from with that, because of genes or just the way a voice is built or someone’s reflexes are built, but we didn’t get our parents’ musical talent. We found that on our own.” Beyond Vended, Simon has had unique opportunities to tour with Slipknot, allowing him to spend time with his father while both bands perform. He has been vocal about addressing criticism regarding nepotism, consistently defending the band’s independent achievements and musical abilities. Simon’s career highlights include performing at major festivals like Knotfest and supporting established acts across international tours.

Jeremiah Pugh

Jeremiah Pugh joined Vended as their bassist in 2018, recruited by founding members Griffin Taylor and Simon Crahan to complete the band’s rhythm section. Vended was formed in 2018 by Griffin Taylor and Simon Crahan when they were teenagers; the duo then recruited Jeremiah Pugh, Cole Espeland, and Connor Grodzicki. As one of the original five members, Jeremiah has been part of Vended’s journey from their basement beginnings in Des Moines to their emergence as a recognized force in modern metal.

Jeremiah appears on all of Vended’s recorded output, providing the low-end foundation for both their 2021 EP “What Is It//Kill It” and their 2024 self-titled debut album. The core element at the band’s heart – in the music, message, and theatricality – is authenticity. His bass work contributes significantly to Vended’s heavy sound, anchoring tracks like “Burn My Misery,” “Ded to Me,” and the newer material including “Serenity” and “Disparager.” Pugh and Crahan have the rhythm section in vicious lock, demonstrating the tight musical partnership between the bassist and drummer.

While Jeremiah does not come from a musical family like Griffin and Simon, he has proven himself as an integral part of Vended’s sound and success. His background prior to joining Vended and specific musical training remain less documented in public sources, but his contributions to the band’s aggressive, precision-driven sound are evident throughout their catalog. Outside of Vended, Jeremiah has participated in the band’s extensive touring, including major festival appearances and support tours with established metal acts. He continues to be an active member of the band as they work toward their stated goal of “world domination” in the metal scene.

Cole Espeland

Cole Espeland joined Vended as their lead guitarist in 2018, completing the band’s five-member lineup as one of the original recruits brought in by Griffin Taylor and Simon Crahan. Formed in February 2018 by Cole Espeland (lead guitar), Griffin Taylor (vocals), Simon Crahan (drums), Jeremiah Pugh (bass) and Connor Grodzicki (rhythm guitar) As the band’s lead guitarist, Cole has been responsible for crafting many of the intricate solos and melodic elements that complement Vended’s heavy foundation.

Cole has contributed to all of Vended’s recorded material since their formation, appearing on both the 2021 EP “What Is It//Kill It” and their 2024 self-titled debut album. Espeland and Grodzicki bring an enthralling combination of frantic, wah-laden lead work and freight-train thrash to the table. His guitar work is featured prominently across tracks like “Asylum,” their breakthrough single, as well as more recent material including “Am I The Only One,” “The Far Side,” and “Nihilism.” Ferocious and driving guitars with soul crushing solos. Cole’s lead guitar contributions help establish Vended’s modern take on nu-metal and heavy music.

While specific details about Cole’s musical background before joining Vended remain limited in public sources, his technical proficiency and creative contributions to the band’s sound are evident throughout their catalog. It’s a clever arrangement, too – leaving space for each of them to exert a little muscle. He has remained a consistent presence in Vended’s lineup throughout their growth from local Des Moines act to internationally touring band. Outside of Vended, Cole has participated in the band’s extensive touring schedule, including performances at major festivals like Knotfest and Bloodstock, as well as supporting tours with established metal acts across multiple continents. His continued involvement in the band demonstrates his commitment to their shared goal of becoming a major force in contemporary metal music.

Connor Grodzicki

Connor Grodzicki joined Vended as their rhythm guitarist in 2018, recruited along with Cole Espeland to complete the band’s dual-guitar attack. Vended was formed in 2018 by Griffin Taylor and Simon Crahan when they were teenagers; the duo then recruited Jeremiah Pugh, Cole Espeland, and Connor Grodzicki. As one of the founding five members, Connor has been integral to establishing Vended’s heavy, rhythmically-driven sound that combines elements of nu-metal with modern metal aggression.

Connor appears on all of Vended’s recorded releases, contributing rhythm guitar work to their 2021 EP “What Is It//Kill It” and their 2024 self-titled debut album. Espeland and Grodzicki bring an enthralling combination of frantic, wah-laden lead work and freight-train thrash to the table. His rhythm guitar provides the chordal foundation for tracks across both releases, supporting songs like “Bloodline,” “Antibody,” and “Overall” from their EP, as well as newer material including “Paint The Skin,” “Going Up,” and “Pitiful.” Connor’s guitar work helps create the wall of sound that defines Vended’s approach to heavy music.

Connor Grodzicki (Rhythm Guitar) – With a rhythm section that uses the trifecta of speed, power and precision. While details about Connor’s musical background prior to Vended are not extensively documented, his partnership with lead guitarist Cole Espeland has been crucial to the band’s guitar-driven sound. He has remained a stable member of the band’s lineup throughout their evolution from teenage metal enthusiasts to internationally touring musicians. Outside of Vended, Connor has been part of the band’s extensive touring history, including major festival appearances and support slots with established acts like Jinjer and P.O.D. Connor continues to contribute to Vended’s mission of establishing themselves as a dominant force in contemporary metal, working alongside his bandmates toward their stated goal of “world domination.”