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Anytime we publish an article about Three Dog Night, it receives a tremendous response, which tells us one thing: people loved that band. Of course, they are one of my favorite bands of all time. I grew up listening to them. Not just the big hits on the radio, but as a teenager in the 1970s, I purchased every single album they released. So I thought it was time to basically go back and run through every single one of their Studio albums and just write a little bit about the records, give some helpful information, and some commentary about each one of their albums. So we start with their debut album…..

Recorded in Los Angeles during the summer of 1968, the album (also known as “One”) was produced by Gabriel Mekler. The album featured the vocal talents of Danny Hutton, Cory Wells, and Chuck Negron, backed by an impressive lineup of musicians who too often did not get the credit that they should have gotten. These fantastic musicians played with an intense spirit that balanced the perfect blend of rock and soul grooves that sounded perfect on the radio. They were their own Wrecking Crew.  The band included Michael Allsup on guitar, Jimmy Greenspoon on keyboards, Joe Schermie on bass, and Floyd Sneed on drums. Originally formed in 1967, the group had initially gone by the name Redwood before settling on Three Dog Night, a name referring to an Australian aboriginal expression.

The album made a strong commercial impression, reaching the Top 20 on both the U.S. and Canadian album charts. While the first two singles from the album, “Nobody” and “Try A Little Tenderness,” achieved only moderate success, it was the third single, “One” (a cover of Harry Nilsson’s song), that became their breakthrough hit, reaching number five on the Billboard charts in 1969. The album brilliantly showcased the group’s versatility and talent for interpretation, featuring songs from an impressive array of songwriters including Traffic, The Beatles, Johnny “Guitar” Watson, Randy Newman, and Neil Young.

Three Dog Night’s debut album included several songs that would later become part of their live repertoire, and notably contained their version of “Your Song,” making them one of the first major acts to record an Elton John composition well before he achieved his own breakthrough in America.  This pattern of identifying and covering songs by up-and-coming songwriters would become a hallmark of Three Dog Night’s career, helping to introduce audiences to writers like Harry Nilsson, Laura Nyro, Randy Newman, and others.

The album title has often caused some confusion among fans. Gary Burden designed the album’s cover art, which initially displayed only the band’s name. Following the success of the single “One,” the title was added to capitalize on the song’s popularity. Nevertheless, the album is not officially titled One; it is simply Three Dog Night.

Three Dog Night’s self-titled debut album made a remarkable commercial impact upon its release in 1968, peaking at an impressive number eleven on the Billboard 200 chart and reaching number seventeen on the Canadian Albums Chart. The album’s commercial success was further validated when it was certified Gold by the RIAA on August 15, 1969, for sales exceeding five hundred thousand units, and nearly four decades later, was awarded Platinum certification on August 5, 2008, recognizing sales of over one million copies.

While the album’s first single “Nobody” barely made a dent on the charts at number one hundred sixteen on the Billboard Hot 100, the second single “Try a Little Tenderness” performed considerably better, reaching number twenty-nine in the US and number nineteen in Canada. However, it was the third release, “One,” that became the album’s breakout hit, climbing to number five on the Billboard Hot 100, reaching number one on Record World Singles chart, and performing strongly internationally with a number four position in Canada and number sixteen in New Zealand.

While many fans remember the hits, the album’s first two tracks have become cult favorites among many hardcore fans who bought the individual albums. The album’s opening track, “Nobody,” is a real scorcher, followed by another smoking rock and roll song called “Chest Fever.”

CD Track Listings:

1. “Nobody” 2:19
2. “Chest Fever” 3:25
3. “I’ll Be Creeping” 3:30
4. “Don’t Make Promises” 3:00
5. “Bet No One Ever Hurt This Bad” 3:12
6. “It’s For You” 2:15
7. “Let Me Go” 3:55
8. “One” 3:00
9. “Try A Little Tenderness” 4:05
10. “Heaven Is In Your Mind” 3:07
11. “Find Someone To Love” 2:00

“Nobody”

Lead Vocal – Cory Wells

Written by Beth Beatty, Dick Cooper, and Ernie Shelby

“Chest Fever”

Lead Vocal – Cory Wells

Written by Robbie Robertson

And, of course, we need to include the two big hits…

“One”

Lead Vocal – Chuck Negron

Written by Harry Nilsson

“Try A Little Tenderness”

Lead Vocal – Cory Wells

Written by Jimmy Campbell, Reginald Connelly, and Harry M. Woods

Another choice deep track

Don’t Make Promises

Lead Vocal – Chuck Negron

Written by Tim Hardin

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

10 Most Rocking Three Dog Night Songs

Top 10 Three Dog Night Love Songs

Top 10 Three Dog Night Deep Tracks

10 Three Dog Night Songs We All Loved

Top 10 Three Dog Night Albums

Three Dog Night: Underappreciated Hitmakers

In A Classic Rock Year, Three Dog Night’s Joy To The World Was No.1

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Three Dog Night 1968 Debut Album Review article published on ClassicRockHistory.com© 2025

AC/DC has spent the past half-century defying the odds at every turn, and they did it once again on Monday at Arlington, Texas’ AT&T Stadium during the second night of their North American Power Up Tour.

You can see exclusive photos from the show below.

The septuagenarian rockers played the same 21-song set as their opening night in Minneapolis, delivering a relentlessly energetic two-hour performance that left 80,000 fans feeling shell-shocked and thunderstruck — fitting, considering they were in the home of the Dallas Cowboys, whose beloved cheer squad dances to the 1990 hit at every game.

AC/DC Keeps Getting Better With Every Tour Stop

It was an ear-splitting, unqualified triumph that became all the more remarkable when you consider just how unlikely it is that AC/DC is even here in 2025. The band’s 2016 Rock or Bust Tour, which ended with Axl Rose subbing for a hearing-impaired Brian Johnson, felt like an elegy, compounded by the death of Malcolm Young the following year. 2020’s reunifying Power Up album roared like a beast awoken from its slumber, but AC/DC didn’t return to the stage until late 2023 for the Power Trip festival. That show felt like a miracle, but could the band — particularly Johnson — really handle the rigors of a world tour?

Needless to say, the answer is a resounding “yes.” Not only can AC/DC still deliver their peerless, megawatt stadium rock spectacle, but they’re getting better with each tour stop, gleefully rubbing it in the faces of their doubters.

At 70 years old, Angus Young stomped and shimmied down the catwalk with the same combustible energy of his youth. He ripped the solo to “You Shook Me All Night Long” with economical precision, and the stadium roared with applause when he writhed on a raised platform during the free-form, splendidly gratuitous “Let There Be Rock.”

READ MORE: How to Hear and Watch Every US AC/DC Tour: 1977-2023

Johnson, meanwhile, seems to harvest the life force of every audience. The frontman shook the rust off his vocal cords throughout the band’s 2024 European tour, and his voice sounded demonically robust on Monday. He screamed like a feral alley cat on “Highway to Hell” and “For Those About to Rock (We Salute You),” and he delivered an inspired, gravelly interpretation of “Sin City.” Some croaks and crags are inevitable at 77, but Johnson has developed workarounds for the toughest vocal moments — and when he needed backup, he had 80,000 screaming fans more than happy to oblige.

That’s the timeless beauty of an AC/DC concert. It’s still a night out with the lads like no other, a testament to the communal, life-affirming spirit of rock ‘n’ roll. We know better than to ever count them out at this point — maybe they’ll be back in Dallas again in a couple of years. But if the Power Up Tour ends up being their swan song, it will be remembered as a blaze of hellfire and glory from one of rock’s most indomitable forces.

10cc is returning to the U.S. for a run of shows this summer.

The dates follow the British band’s concerts in the States last summer, their first performances in the U.S. since 1983. The Ultimate Ultimate Greatest Hits Tour starts on Aug. 27 in Napa, California, and will hit major U.S. cities for the next few weeks.

10cc’s 2025 lineup includes singer, bassist and band cofounder Graham Gouldman; guitarist Rick Fenn, who’s been with the band since 1976; drummer Paul Burgess, a member since 1983; and touring members keyboardist Keith Hayman and multi-instrumentalist Andy Park.

READ MORE: Top 40 Soft-Rock Songs

“After not having toured the U.S. for more than three decades, last year’s tour was a remarkable experience,” Gouldman said in a press release announcing the shows.

“We’re used to our regular audiences across Europe, Australia and New Zealand, but the reaction of the American audiences took us completely by surprise – it was incredible. We are really looking forward to our return and playing new venues this year.”

Looking back at 10cc’s earliest U.S. tours, Gouldman told UCR last year, “It was great to be in America – because American music is such a big part of what influenced us. And for me, it still does to this day, and it always will.

“People like Buddy Holly, Eddie Cochran, the Everly Brothers, Chuck Berry, Little Richard, that’s in my DNA and the DNA of all of my contemporaries. Every writer or anybody I work with, once we start talking about influences, it’s always pretty much the same.”

Where Is 10cc Playing in 2025?

After 10cc’s Ultimate Ultimate Greatest Hits Tour launches in Napa, California, the band will play dates in Las Vegas, Phoenix, Denver, Chicago, Detroit, Cleveland and other cities before wrapping up on Sept. 14 in Alexandria, Virginia.

You can see all of 10cc’s current tour dates below. More information, including tickets, can be found on the band’s website.

10cc Ultimate Ultimate Greatest Hits 2025 Tour
Aug 27 – Napa, CA @ Uptown Theatre
Aug 28 – Monterey, CA @ Golden State Theatre
Aug 29 – Thousand Oaks, CA @ Kavli Theatre
Aug 30 – Las Vegas, NV @ Westgate Resort & Casino
Aug 31 – Phoenix, AZ @ Celebrity Theatre
Sept 2 – Denver, CO @ Paramount Theatre
Sept 3 – Lincoln, NE @ Bourbon Theatre
Sept 4 – Leewood, MO @ Ranch North
Sept 5 – Chicago, IL @ Park West
Sept 6 – Detroit, MI @ Royal Oak Theatre
Sept 7 – Columbus, OH @ Kemba Live!
Sept 9 – Cleveland, OH @ Agora Theatre
Sept 10 – Glenside, PA @ Keswick Theatre
Sept 11 – Norwalk, CT @ District Music Hall
Sept 12 – Tarrytown, NY @ Tarrytown Music Hall
Sept 13 – Carteret, NJ @ Carteret Performing Arts Center
Sept 14 – Alexandria, VA @ Birchmere

Lexi Jones, the musician daughter of David Bowie and supermodel Iman, has detailed her struggle to escape her late father’s legacy.

Jones, 24, released her debut album, Xandri, earlier this month — however it’s not the first art she’s launched into the world. She previously established herself as a painter, whose work is for sale in a variety of formats.

Presumably in response to the reception of her musical creations, Jones published a poem titled “David Bowie’s Daughter” – with the subheading “That gets your attention ay?”

READ MORE: Why David Bowie’s ‘Space Oddity’ Was Rush-Released

“I’m the daughter of a legend / but I’m more than just his name / They see the blood, they hear the sound / yet fail to see me, don’t feel the same,” she began.

Suggesting exasperation at being compared to Bowie’s heights, “like I’m supposed to reach his light,” she continued: “I’m not here to chase what’s already been done.”

Jones went on to say that while people expect her to carry on her late father’s legacy, it has never been a driving force in her life. In fact, she added, “I’m not a copy, not a shadow… never thought I was good at much.”

Lexi Jones Says She’s Not Trying to Fill David Bowie’s Shoes

Elsewhere in the poem, Jones reported that she’d finally focused on freeing herself from the expectations of others: “Even when the world is hard to please / I’m not trying to fill his shoes  / I’m just trying to find my own peace.”

On Jones’ website she explains that her mission with art is “to create and share my pieces with the intent to encourage others to create their own.”

Noting that she’d started drawing as a child before it became more important to her as she encountered mental health issues later, she added: “My hope is to inspire those [who] come across this body of work to join in the journey… find something that fuels a passion to find your driving force in life. It’s a necessity for everyone.”

Listen to Lexi Jones’ Song “The Passage Unseen”

The Best Song From Every David Bowie Album

He tried on many personas over his long career, and tested out various styles. Which tracks are the most essential?

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

The Darkness have announced a sprawling North American tour in support of new album Dreams on Toast.

The first leg of the trek begins on Aug. 29 in Pryor, Oklahoma, and runs through Sept. 21 in Cleveland. It picks up again on Nov. 7 in Houston and concludes on Nov. 22 in Denver.

Tickets go on sale to the general public on Friday. You can see the full list of dates below.

READ MORE: Justin Hawkins Explains ‘Back in Black’ Moment at Taylor Hawkins Show

How the Darkness Became ‘Bulletproof’

Dreams on Toast, the Darkness’ eighth studio album, arrived on March 28. UCR’s Michael Gallucci wrote: “Dreams on Toast bears no overriding theme other than have a good time and try to get out alive; if you can’t, that’s cool, too. The album’s 33 minutes whiz by, with power pop, metal and even some galloping country (‘Hot on My Tail,’ ‘Cold Hearted Woman’) tossed into the fidgety mix.”

When the band’s star-making debut album, Permission to Land, turned 20 in 2023, frontman Justin Hawkins marveled to UCR about making it two decades in the business.

“You get a band that’s around for 20 years and then you can’t shoot them down,” he said. “They’re bulletproof, they have their own audience and their own way of doing things. And that’s the sort of longevity that you don’t dare to imagine at the beginning of a project. If you get there it’s a miracle, really.”

The Darkness 2025 North American Tour Dates
Aug. 29 – Pryor, OK @ Pryor Creek Music Festival Grounds
Aug. 30 – Saint Louis, MO @ The Pageant
Aug. 31 – Nashville, TN @ Brooklyn Bowl
Sept. 2 – Atlanta, GA @ Masquerade – Heaven Stage
Sept. 3 – Huntsville, AL @ Von Braun Center – Mars Music Hall
Sept. 5 – Norfolk, VA @ The NorVa
Sept. 6 – Richmond, VA @ The National
Sept. 7 – Washington, DC @ Lincoln Theatre
Sept. 9 – Allentown, PA @ Archer Music Hall
Sept. 10 – New York, NY @ Irving Plaza
Sept. 12 – Toronto, ON @ Phoenix Concert Theatre
Sept. 13 – Kitchener, ON @ Elements
Sept. 14 – Montréal, QC @ Club Soda
Sept. 16 – Indianapolis, IN @ Egyptian Room at Old National Centre
Sept. 17 – Detroit, MI @ Saint Andrew’s Hall
Sept. 19 – Minneapolis, MN @ Varsity Theater
Sept. 20 – Milwaukee, WI @ The Rave/Eagles Club – The Rave Hall
Sept. 21 – Cleveland, OH @ Agora Theatre and Ballroom
Nov. 7 – Houston, TX @ Warehouse Live Midtown
Nov. 8 – Austin, TX @ Emo’s
Nov. 9 – Dallas, TX @ The Echo Lounge & Music Hall
Nov. 12 – Los Angeles, CA @ The Wiltern
Nov. 13 – San Francisco, CA @ The Fillmore
Nov. 15 – Boise, ID @ Knitting Factory Concert House
Nov. 17 – Portland, OR @ Revolution Hall
Nov. 18 – Vancouver, BC @ Commodore Ballroom
Nov. 19 – Seattle, WA @ The Showbox
Nov. 21 – Salt Lake City, UT @ The Depot
Nov. 22 – Denver, CO @ Summit Music Hall

2025 Summer Rock Tour Preview

# 10 – Mean Old ‘Frisco Blues (1942-1943)

We open up our Crudrup list with this song on purpose because it’s the first song on his first officially released album, which is really just a compilation of his early recordings. This early Crudup recording became one of his signature songs throughout the American South. The song was covered by Eric Clapton and released on his Slowhand album. Clapton’s Derek and the Dominoes also recorded the song which was released on the Layla And Other Assorted Love Songs (50th Anniversary Deluxe Edition).

Read More: Top 10 Eric Clapton Songs

# 9 – Rock Me Mama (1944-1945)

“Rock Me Mama”  is a pivotal recording that showcases Crudup’s distinctive rhythmic approach that would later become fundamental to rock and roll. This track appears on comprehensive collections of his work and represents his commercial peak period with RCA Victor’s Bluebird label. One of the song’s most popular cover versions was done by Big Bill Broonzy.Bob Dylan recorded what he called a “sketch” of a song during sessions for the “Pat Garrett & Billy the Kid” soundtrack, which he titled “Rock Me Mama” and credited the phrase to Crudup, although it sounds nothing like the Crudup song.

# 8 – Death Valley Blues – 1941

​Arthur “Big Boy” Crudup’s “Death Valley Blues” stands as a poignant testament to the depth and authenticity of Delta blues. Recorded on September 11, 1941, in Chicago, this track was released later that year on November 21 as the B-side to “If I Get Lucky” under RCA Victor’s Bluebird label . The song’s evocative lyrics paint a somber picture: “I went down in Death Valley, nothing but tombstones and dry bones,” capturing themes of mortality and desolation that resonate deeply within the blues tradition.​

The raw emotion and storytelling in “Death Valley Blues” have inspired numerous artists over the decades. Sleepy John Estes offered his rendition in 1962, while Snooks Eaglin’s 1959 version brought a New Orleans flair to the piece. British blues-rock band Black Cat Bones included a powerful cover on their 1970 album “Barbed Wire Sandwich,” showcasing the song’s versatility and enduring appeal . Other notable covers include performances by Dave Ray in 1967 and Henry Qualls in 1994, each bringing their unique interpretation to Crudup’s original composition.

# 7 – Ethel Mae

Arthur “Big Boy” Crudup recorded “Ethel Mae” on February 22, 1946, in Chicago, Illinois. The session featured Crudup on vocals and guitar, accompanied by Ransom Knowling on bass and Judge Riley on drums. The track was released later that year by RCA Victor as the B-side to “So Glad You’re Mine” on Bluebird Records. “Ethel Mae” reached number 4 on the Billboard R&B chart in 1946.

# 6 – If I Get Lucky

“If I Get Lucky” was recorded on September 11, 1941, at RCA Victor’s studio on the lakefront in Chicago. This session marked his recording debut and was arranged by producer Lester Melrose, who had discovered Crudup performing on the streets of Chicago. The recording featured Crudup on vocals and guitar, accompanied solely by Kansas Joe McCoy on one-string bass. The track was released by Bluebird Records on November 21, 1941, with “Death Valley Blues” as the B-side. ​

This initial session also produced other songs, including “Black Pony Blues” and “Mean Old Frisco.” Notably, “Mean Old Frisco” is recognized for featuring one of the earliest uses of electric guitar in a Chicago blues recording. “If I Get Lucky” has been covered by various artists over the years. James Thomas recorded a version in 1979, followed by John Hammond in 1987. A rendition by Willie Menifee and Mance Lipscomb, recorded earlier, was released in 1993.

# 5 – I’m Gonna Dig Myself a Hole

Arthur “Big Boy” Crudup recorded “I’m Gonna Dig Myself a Hole” on April 24, 1951, in Chicago, Illinois. The recording session featured Crudup on vocals and guitar, Ransom Knowling on bass, and Judge Riley on drums. The single was released by RCA Victor in August 1951 with the catalog number 22–0106. The B-side of the record was “Too Much Competition.” The song was one of several that Crudup recorded during his final Chicago sessions for RCA before the label shifted his future work to Atlanta. Upon its release, “I’m Gonna Dig Myself a Hole” reached number 9 on the Billboard R&B chart in 1951.

The song has been covered by multiple blues and rock artists over the decades. Robert Lockwood Jr. recorded a version in December 1951. In 1973, the Downchild Blues Band included it on their album Straight Up. Ken Hamm recorded the song in 1978, and John Dee Holeman released a version titled “I’m Going to Dig Myself a Hole” in 1992. That same year, Tav Falco & Panther Burns also recorded a rendition. Boz Boorer covered the song in 1997. In 2003, Belushi Aykroyd recorded a version that appeared on the Have Love Will Travel album. Colin James included a cover on his 2018 album Miles to Go, released on September 21, 2018.

# 4 – Who’s Been Foolin’ You – 1944-45

“Who’s Been Foolin’ You” was written and first recorded by Arthur “Big Boy” Crudup on December 15, 1944. The track was released in March 1945 on the Rock Me Mamma single issued by RCA Victor.

The song features a mid-tempo blues rhythm with lyrics centered around infidelity and emotional betrayal, themes common in Crudup’s work during the 1940s. Like many of his early records, it was produced under RCA’s Bluebird imprint, which handled much of the blues catalog during that era.

Over the years, the song has been recorded by several other artists. Notable versions include a 1976 cover by Frank Hovington, a 1995 version by Betty and The Bops, a 1997 recording by Robert Cage, and a high-profile rendition by Buddy Guy released on May 15, 2001, as part of his album Sweet Tea. Earlier thematically similar songs include “Five Feet Seven” by Big Bill Broonzy (1949) and “Who’s Been Jivin’ You” by Jimmy Witherspoon (1949), though they are distinct recordings and not direct covers.

Read More: Top 10 Buddy Guy Songs

# 3 – So Glad You’re Mine – 1946

In the immediate aftermath of World War II, Arthur “Big Boy” Crudup cut “So Glad You’re Mine,” on February 22, 1946, in Chicago, Illinois. The song gained renewed prominence when Elvis Presley recorded his rendition on January 30, 1956, at RCA Studios in New York. This version, characterized by Presley’s energetic delivery and the backing of guitarist Scotty Moore, bassist Bill Black, drummer D.J. Fontana, and pianist Shorty Long, was included on his second studio album, “Elvis,” released on October 19, 1956.Presley’s adaptation infused the track with a rockabilly flair, bridging the gap between traditional blues and the burgeoning rock and roll movement.​

Beyond Presley’s interpretation, “So Glad You’re Mine” has been covered by a diverse array of artists, reflecting its enduring appeal across genres and generations. Notable covers include those by Marty Wilde (1959), Vince Taylor and His Playboys (1961), Sleepy John Estes (1964), The Siegel-Schwall Band (1966), Shakin’ Stevens (1978), Sonny Burgess (1978), Tim Hardin (1994), Junior Wells (1996), Peter Case (1993), and Andy Fairweather Low and The Low Riders (2015). 

# 2 – My Baby Left Me

Recorded on November 8, 1950, in Chicago, the track featured Ransom Knowling on bass and Judge Riley on drums. It was released in January 1951 as the B-side to “Anytime Is the Right Time” on RCA Victor 22–0109.

The song’s prominence escalated when Elvis Presley covered it in 1956, releasing it as the B-side to his hit single “I Want You, I Need You, I Love You.” Presley’s rendition infused the track with a rockabilly flair, featuring Scotty Moore’s dynamic guitar riffs, Bill Black’s driving bass lines, and D.J. Fontana’s energetic drumming. This version contributed to the single’s massive success, with advance orders reportedly exceeding 650,000 copies, solidifying Presley’s status as a rock and roll icon .

Beyond Presley, “My Baby Left Me” attracted a multitude of artists across various genres, each bringing their unique interpretation to the song. In 1964, British singer Dave Berry released a version featuring future Led Zeppelin guitarist Jimmy Page, which reached number 37 on the UK Singles Chart . Creedence Clearwater Revival included their take on the track in their 1970 album “Cosmo’s Factory,” paying homage to their blues roots . John Lennon recorded a version titled “Since My Baby Left Me” during his 1973 “Rock ‘n’ Roll” sessions, which was posthumously released in 1986 on the album “Menlove Ave.”

Read More: Complete List Of Creedence Clearwater Revival Songs From A to Z

# 1 – That’s All Right (1946)

Recorded on September 6, 1946, during a historic session above a Chicago pawnshop with drummer Judge Riley and bass player Ransom Knowling “That’s All Right” stands as a landmark work in American music history, bridging the gap between Delta blues and the emergence of rock and roll.  The song was released in April 1947 by RCA Victor. ​

The song gained monumental significance when Elvis Presley recorded his version on July 5, 1954, at Sun Records in Memphis. This rendition, backed by Scotty Moore and Bill Black, was released on July 19, 1954, as Presley’s debut single, with “Blue Moon of Kentucky” on the B-side. While it didn’t chart nationally, it became a regional hit and is often cited as a pivotal moment in the birth of rock and roll.​

The influence of “That’s All Right” extended beyond Presley. Marty Robbins released a country version in 1955, reaching number 7 on the Billboard Country Singles chart. Other notable artists who covered the song include Carl Perkins, Snooks Eaglin, Billy Fury, George Hamilton IV, and Albert King, who included it in his 1970 album “Blues for Elvis – King Does the King’s Things.” ​

The Beatles performed “That’s All Right” during their early years, and a live recording from 1963 was later released in 1994 on their “Live at the BBC” album. Rod Stewart included a version on his 1971 album “Every Picture Tells a Story.”  John Lennon’s Original Quarrymen also recorded the song, reflecting its deep roots in the British rock scene. Despite its success and widespread influence, Arthur Crudup faced significant challenges regarding compensation. Due to exploitative contracts, he received minimal royalties from the song’s success, highlighting the broader issues of artist rights and recognition during that era

Read More: Complete List Of Elvis Presley Songs From A to Z

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

10 Essential Arthur “Big Boy” Crudup Songs article published on ClassicRockHistory.com© 2025

It’s possible the news passed you by, but a prog band won the Mercury Prize last year. It’s possible you caught their twee, unambitious, nothing-to-see-here band name (see also: Dry Cleaning, Wet Leg, etc) and decided not to explore further.

It’s possible you thought they were part of that ever-growing, NME-friendly, modern English post-punk glut (see also: Dry Cleaning, Wet Leg etc) and dismissed them as cookie-cutter. It’s possible you weren’t really paying attention.

But English Teacher – whose debut album This Could Be Texas walked away with the Mercury award – are about as progressive as it gets.

Anyone unconvinced is advised to ease their way in with track nine. Nearly Daffodils comes together quickly, kicking off like a Disney version of Neu!, with Nicholas Eden’s bass racing jauntily beneath singer Lily Fontaine’s breathless, half-sung, half-spoken vocals.

By the 10-second mark, the song is already doing the unexpected, with a sudden blast of discordant, cusp-of-collapse guitar hoving into view before vanishing just as quickly. The song continues in this vein, with clever flurries of musical activity keeping multiple balls in the air. And then, at 1:50, it all goes, against expectations, a bit King Crimson.

“The middle section of Nearly Daffodils is heavily inspired by the end section of Frame By Frame [from King Crimson’s 1981 album Discipline],” Eden told Brooklyn Vegan last year. “Robert Fripp’s guitar parts make me rewind nearly every time I listen to this track.

“Adrian Belew and Fripp’s 7/8 guitars interweave (somehow), finding each other and completing with a flurry of notes from a third guitar at the very end. Yummy.”

In the same interview, English Teacher namechecked other songs that fed into the creation of This Could Be Texas, among them Radiohead’s discombobulating weepy True Love Waits, the propulsive space rock of King Gizzard & The Lizard Wizard’s Rattlesnake and David Bowie’s melodramatic Five Years.

They careen wildly from one idea to the next, toying with mood and time signature without losing sight of beautifully crafted pop melodies

They sound like a band who didn’t plot their sound before plugging in. Instead, they sound like the happiest of accidents, where notions of genre weren’t so much put carefully aside as deemed irrelevant from the off, where great taste begat great results.

There’s an enticing freedom to their music, with songs – such glorious, memorable songs! – that careen wildly from one idea to the next, giddily toying with mood and time signature without ever losing sight of some beautifully crafted pop melodies.

And they have the chops to pull it off. It should be noted that the band met while studying at Leeds Conservatoire, where alumni include Asia/Yes man Geoff Downes and a plethora of notable jazzers.

All of which boils down to something inescapable: English Teacher are a phenomenal band, and This Could Be Texas is a phenomenal album. Do yourself a favour and give it a listen.

Alice Cooper and Judas Priest will coheadline a tour this fall. The two dozen dates will spread across North America starting in September.

The upcoming dates follow Cooper’s spring and summer tour that begins on May 2 and ends on Aug. 30, which gives him about two weeks’ rest before he heads back on the road with Judas Priest.

The band was last onstage in fall 2024, when they played concerts supporting that year’s Invincible Shield album. Cooper’s most recent album, Road, was released in 2023.

READ MORE: Top 50 Hard Rock Songs of the ’70s

Corrosion of Conformity will open most shows on the upcoming tour. A list of tour dates is below.

Where Are Alice Cooper and Judas Priest Playing in 2025?

Cooper and Judas Priest will kick off their coheadling tour on Sept. 16 in Biloxi, Mississippi, and perform dates in Toronto, Cincinnati and Los Angeles before concluding the run on Oct. 26 in Houston.

Tickets will be available starting tomorrow at 10 a.m. local time with artist presales; other presales will run throughout the week before the general on-sale on April 18 at 10 a.m. local time.

Alice Cooper and Alice Cooper 2025 Tour
Sep 16 – Biloxi, MS – Mississippi Coast Coliseum
Sep 18 – Alpharetta, GA – Ameris Bank Amphitheatre*
Sep 20 – Charlotte, NC – PNC Music Pavilion
Sep 21 – Franklin, TN – FirstBank Amphitheater
Sep 24 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Sep 26 – Holmdel, NJ – PNC Bank Arts Center
Sep 27 – Saratoga Springs, NY – Broadview Stage at SPAC
Sep 29 – Toronto, ON – Budweiser Stage
Oct 01 – Burgettstown, PA – The Pavilion at Star Lake
Oct 02 – Clarkston, MI – Pine Knob Music Theatre
Oct 04 – Cincinnati, OH – Riverbend Music Center
Oct 05 – Tinley Park, IL – Credit Union 1 Amphitheatre
Oct 10 – Colorado Springs, CO – Broadmoor World Arena
Oct 12 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Oct 14 – Mountain View, CA – Shoreline Amphitheatre
Oct 15 – Wheatland, CA – Toyota Amphitheatre
Oct 18 – Chula Vista, CA – North Island Credit Union Amphitheatre
Oct 19 – Los Angeles, CA – Kia Forum
Oct 22 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Oct 23 – Albuquerque, NM – Isleta Amphitheater
Oct 25 – Austin, TX – Germania Insurance Amphitheater
Oct 26 – Houston, TX – The Cynthia Woods Mitchell Pavilion

*Without support from Corrosion of Conformity

Top 35 Hard Rock Albums of the ’70s

From holdover electric blues to the birth of heavy metal, these records pretty much summed up the decade.

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To rework their tangled history, or maybe it’s just a way to organize their prolific release schedule, Melvins have issued a handful of albums over the past dozen years under the name Melvins 1983 – a callback to the year they formed in Washington and, in a more strategic move, to the heavier and less experimental music of their earliest days.

The designation also emphasizes the pared-down lineup of founder Buzz Osborne, original drummer Mike Dillard, who was gone before their 1986 debut EP, and current Melvins drummer Dale Crover, who’s been a band member since 1984 and played on Nirvana‘s 1988 demo. (Osborne recommended Dave Grohl to Kurt Cobain when Nirvana needed a new drummer in 1990.)

Thunderball, the third album to be credited to Melvins 1983, doesn’t sound much different from 2024’s Tarantula Heart, made by a four- (and occasionally five-) piece lineup. Both records contain five songs and run a few minutes shy of 40 minutes, and both include enough weird ideas to satisfy old fans while never resting in too familiar a place. As far as 28th albums go, few artists have been as rewardingly consistent as Melvins.

READ MORE: More 2025 Album Reviews

Osborne and Dillard are joined by Void Manes, credited with “noise, creepy machine vocals,” and Ni Maitres (“noise, upright bass, hand gestures”) here. (Crover doesn’t appear on Thunderball, though he is still a band member.) The guest electronic artists don’t so much add to the Melvins sound as they become a part of it. Listen to the way the skips and gurgles of the two-minute instrumental “Vomit of Clarity” bridge the lean opener “King of Rome” to the 12-minute “Short Hair With a Wig.”

Thunderball rarely deviates from the playbook; muddy riffs skulk along at a lumpish pace, building, on two of the tracks, over 10-plus minutes. “King of Rome” could have easily come from one of the band’s early records. And “Victory of the Pyramids” never loosens its grip after 10-and-a-half intense minutes. Despite Manes and Maires’ additions, Thunderball is undoubtedly a Melvins record, as persistent, uncompromising and victorious as anything they’ve done over the past 40 years.

Top 25 Rock Albums of 2024

Once again, reports of the genre’s death have been greatly exaggerated. 

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Judas Priest paid tribute to former drummer Les Binks, whose death was confirmed at 73.

The Irishman died on March 15 “peacefully at hospital in London,” a death notice explained. No cause was given, although the family asked for donations to the Chest, Heart & Stroke Association, and said Binks was “lovingly remembered by his brother, sisters and all the family circle.”

“We are deeply saddened about the passing of Les and send our love to his family, friends and fans,” Judas Priest said in a social media statement. “The acclaimed drumming he provided was first class – demonstrating his unique techniques, flair, style and precision. Thank you, Les; your acclaim will live on.”

READ MORE: How Judas Priest’s ‘Stained Class’ Showed the Way Forward

Binks can be heard on 1978’s Stained Class and Hell Bent for Leather, notably on the drum-heavy track “Take on the World,” which became Priest’s first Top 40 hit. He also appeared on the 1979 live album Unleashed in the East, which led to a dispute with management and his departure from the band.

He went on to work with British metal bands Lionheart and Tytan, continuing to perform with his group Les Binks’ Priesthood until recently. He reunited with Priest for their 2022 induction into the Rock & Roll Hall of Fame, performing a three-song set at the ceremony.

Later that year, he told Metal Crypt that he’d helped former guitarist K.K. Downing through what could have been an acrimonious reunion for the induction. “There’s been a lot of anguish between the two sides,” Binks said.

How Les Binks Navigated Judas Priest’s Rock Hall Reunion

“I spoke to K.K. [Downing, the band’s former guitarist] before. We flew together to Los Angeles and flew back together. We just decided … ‘Let’s just be professional about this; just bite your tongue and just get on with giving the audience the performance they came to see. That’s what we did.”

He added: “I hadn’t seen them for such a long time. I gave them all a big hug because I never fell out with anyone in the band. I fell out with the band’s management but not with them.

“I was able to reunite with the guys in the band without any problems at all. … It was nice to get to meet up with everyone again and actually perform together.”

Watch Les Binks Reunite with Judas Priest at Rock Hall

In Memoriam: 2025 Deaths

A look at those we’ve lost.

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