Web Rock News

Harry Styles was raised in the village of Holmes Chapel in Cheshire, England, where his natural charisma and early love for music were evident from a young age. As a teenager, he became the lead singer of the band White Eskimo, which gave him foundational experience performing in local venues. His path to stardom took a major turn in 2010 when he auditioned for The X Factor, originally as a solo contestant. Though he didn’t make it past the initial stage individually, he was brought back by the judges to form a group with four other contestants—Niall Horan, Zayn Malik, Liam Payne, and Louis Tomlinson. The result was One Direction, a group that would go on to become one of the biggest pop phenomena of the decade.

During their five-year run, One Direction released five studio albums: Up All Night (2011), Take Me Home (2012), Midnight Memories (2013), Four (2014), and Made in the A.M. (2015). The group sold millions of records worldwide, topping charts in multiple countries and spawning hit singles such as “What Makes You Beautiful,” “Story of My Life,” and “Drag Me Down.” Styles was widely recognized as a key creative contributor to the group’s sound, particularly as they shifted toward a more rock-leaning direction in their later albums. When the group went on hiatus in 2016, Styles transitioned to a solo career, determined to prove his artistic identity beyond the boy band image.

In 2017, he released his self-titled debut album Harry Styles, which showcased a blend of classic rock, folk, and glam influences. The album debuted at number one in several countries, including the U.S. and the U.K., and included the hit single “Sign of the Times,” a sweeping ballad that revealed his ambition to reach beyond radio-ready pop formulas. Critics praised the record for its boldness and sincerity, and it established him as a solo artist with serious intent and range. He followed the album with a sold-out world tour that highlighted his magnetic stage presence and connection with fans.

Styles expanded on that foundation with his second studio album Fine Line in 2019. The album was both a commercial and critical triumph, debuting at number one on the Billboard 200 and becoming one of the best-selling albums of the year. Singles like “Adore You,” “Golden,” “Watermelon Sugar,” and “Falling” balanced sonic experimentation with emotional vulnerability. “Watermelon Sugar” earned Styles his first Grammy Award in 2021 for Best Pop Solo Performance, and the album as a whole was hailed as a defining statement in his post-band evolution. Fine Line cemented his reputation as a bold risk-taker who could blend pop with psychedelia, funk, and classic rock.

In 2022, Styles released his third studio album, Harry’s House, which marked yet another creative shift. Incorporating synth-pop and intimate storytelling, the album debuted at number one in over 25 countries and earned widespread acclaim. The lead single “As It Was” broke multiple records, including a 15-week reign atop the Billboard Hot 100, making it one of the longest-running number one singles in chart history. The track also won the 2023 Grammy Award for Best Pop Solo Performance, and the album received the Grammy for Album of the Year—an acknowledgment of his artistic growth and commercial power.

Over the course of his solo career, Styles has received numerous awards, including multiple Brit Awards, American Music Awards, MTV Video Music Awards, and iHeartRadio Music Awards. His accolades recognize not only his musical achievements but also his influence on culture and fashion. His willingness to defy gender norms—often appearing in lace, pearls, or dresses—has made him a boundary-breaking figure in an industry that often clings to safe images. In 2020, he became the first solo male artist to appear on the cover of Vogue, sparking both praise and debate for his gender-fluid fashion sense.

Styles has also pursued acting, expanding his creative repertoire into film. He made his feature film debut in Christopher Nolan’s Dunkirk (2017), portraying a British soldier during World War II. His performance received favorable reviews and showed that his screen presence translated beyond the stage. In 2022, he starred in two major films: Don’t Worry Darling, directed by Olivia Wilde, and My Policeman, where he played a closeted gay police officer in 1950s England. These roles demonstrated his willingness to take on complex characters and challenge expectations of pop stars transitioning to acting.

Outside of music and film, Styles has made his mark through philanthropy and activism. He has supported a range of causes, including mental health awareness, LGBTQ+ rights, and anti-racism initiatives. On tour, he frequently uses his platform to promote kindness, inclusivity, and self-expression, often reinforcing these messages through his stage banter, merchandise, and charitable donations. His “Treat People With Kindness” slogan has become more than just a catchphrase—it’s a guiding principle of his public persona.

Styles launched his own beauty brand, Pleasing, in 2021, offering nail polishes, skincare products, and apparel that promote gender-neutral beauty standards. The brand reflects his long-standing interest in fashion and identity, and it serves as a creative outlet that aligns with his values of self-expression and inclusivity. Through Pleasing, he’s become part of a new wave of artists who are blurring the lines between music, fashion, and lifestyle.

Throughout his career, Styles has been a fixture on global stages, performing in sold-out arenas and headlining major festivals. His Love On Tour, which spanned from 2021 to 2023, became one of the highest-grossing tours of all time, with millions attending across continents. His ability to maintain an intimate connection with fans—even in stadium settings—underscores why he continues to be so beloved in the music world. He’s managed to evolve his sound and aesthetic without losing the core of what made audiences fall in love with him from the start: honesty, charisma, and a deep connection to storytelling through song.

Styles’ evolution has not been without its critics, but what separates him is his unwavering commitment to authenticity. He’s not afraid to change, take risks, or challenge norms—and that fearless approach is what has earned him the respect of peers and industry veterans alike. While his roots may lie in the assembly-line pop of a reality TV group, his solo path has been anything but manufactured. Each record has peeled back more layers, revealing an artist determined to grow, explore, and break free from the mold.

As of 2025, with three critically acclaimed solo albums, multiple award wins, record-breaking tours, and a growing filmography, Harry Styles has created a career that transcends genres and formats. His artistry blends accessibility with complexity, and his work continues to spark conversation—whether about music, identity, or the evolving definition of masculinity in pop culture. He has built a legacy rooted not in nostalgia for his boy band past, but in his bold redefinition of what a modern pop artist can be.

Complete List Of Harry Styles Songs From A to Z

1. Adore You – Fine Line – 2019
2. As It Was – Harry’s House – 2022
3. Boyfriends – Harry’s House – 2022
4. Canyon Moon – Fine Line – 2019
5. Carolina – Harry Styles – 2017
6. Cherry – Fine Line – 2019
7. Cinema – Harry’s House – 2022
8. Daydreaming – Harry’s House – 2022
9. Daylight – Harry’s House – 2022
10. Ever Since New York – Harry Styles – 2017
11. Falling – Fine Line – 2019
12. Fine Line – Fine Line – 2019
13. From the Dining Table – Harry Styles – 2017
14. Golden – Fine Line – 2019
15. Grapejuice – Harry’s House – 2022
16. Keep Driving – Harry’s House – 2022
17. Kiwi – Harry Styles – 2017
18. Late Night Talking – Harry’s House – 2022
19. Lights Up – Fine Line – 2019
20. Little Freak – Harry’s House – 2022
21. Love of My Life – Harry’s House – 2022
22. Matilda – Harry’s House – 2022
23. Meet Me in the Hallway – Harry Styles – 2017
24. Music for a Sushi Restaurant – Harry’s House – 2022
25. Only Angel – Harry Styles – 2017
26. Satellite – Harry’s House – 2022
27. She – Fine Line – 2019
28. Sign of the Times – Harry Styles – 2017
29. Sunflower, Vol. 6 – Fine Line – 2019
30. Sweet Creature – Harry Styles – 2017
31. To Be So Lonely – Fine Line – 2019
32. Treat People with Kindness – Fine Line – 2019
33. Two Ghosts – Harry Styles – 2017
34. Watermelon Sugar – Fine Line – 2019
35. Woman – Harry Styles – 2017

Albums

Harry Styles (2017): 10 songs

Fine Line (2019): 12 songs

Harry’s House (2022): 13 songs

Check out our fantastic and entertaining Harry Styles articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Ultimate Harry Styles Page

Top 10 Harry Styles Love Songs

Real Meanings Behind The Songs On Harry Styles Fine Line Album

Real Meanings Behind The Songs On Harry Styles Debut Album

Complete List Of Harry Styles Albums And Discography

Top 10 Harry Styles Songs

Harry Style’s ‘Harrys’ House’ Album Song Meanings

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Harry Styles Songs From A to Z article published on ClassicRockHistory.com© 2025

Conceptual prog metallers Coheed And Cambria have announced a Welcome To Forever tour for Europe and the UK for October.

The tour, in support of the US quartet’s latest album, The Father Of Make Believe, features five UK dates in Birmingham, Cardiff, Manchester, London and Nottingham, at which UK prog rockers Haken will support the band, who announced earlier today they were “thrilled” at the prospect.

Coheed released The Father Of Make Believe earlier this year, which sees the band nearing the end of their epic, 12-album Amory Wars concept.

“We’re now at the third part of this five-part thing, and I can almost see the end,” mainman Claudio Sanchez told Prog at the time. “But what will my life be like without it?”

Support for the other European dates has yet to be announced. Tickets go on sale this Friday at 10am. There will be a VIP pre-order tomorrow at 10am.

Tickets will be available here. You can see the full list of dates below.

Coheed And Cambria Welcome To Forever Europe and UK tour dates

Oct 7: SPA Madrid Wagon
Oct 8: SPA Barcelona Apolo
Oct 10: FRA Paris Alhambra
Oct 11: GER Cologne Stollwerck
Oct 13: GER Berling Festaal Kreuzberg
Oct 14: GER Hamburg Gruenspan
Oct 15: NED Nijmberg Doornroosje
Oct 17: UK Birmingham O2 Academy
Oct 18: UK Cardiff University Great Hall
Oct 19: UK Manchester Academy
Oct 20: UK London O2 Brixton Academy
Oct 21: UK Nottingham Rock City

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

Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.

The Chainsmokers formed in New York City in 2012 as a DJ and production duo consisting of Alexander “Alex” Pall and Andrew “Drew” Taggart. Initially founded by Pall and former member Rhett Bixler, the group truly began to take shape after Taggart joined later that year. Their early attention came from remixing tracks by indie artists, a tactic that helped them build credibility within electronic music circles and attract the attention of major labels and fans online. Their viral breakthrough came in 2014 with the release of the single “#Selfie,” a satirical track that exploded on social media and peaked at number sixteen on the Billboard Hot 100.

Following the surprise success of “#Selfie,” The Chainsmokers signed with Disruptor Records, a label imprint under Columbia Records and Sony Music Entertainment. With their debut EP Bouquet in 2015, they shifted focus from comedic tracks to more emotionally grounded songwriting. The single “Roses,” featuring Rozes, became a commercial hit, reaching the top ten on the Billboard Hot 100 and earning multi-platinum certifications. The follow-up single “Don’t Let Me Down” featuring Daya was released in 2016 and became their first top five hit in the U.S. The song earned them a Grammy Award for Best Dance Recording.

The duo’s next release, “Closer” featuring Halsey, was a career-defining moment. Released in July 2016, the song became their first number one hit on the Billboard Hot 100 and stayed at the top spot for twelve consecutive weeks. It became one of the most streamed songs of the year and turned The Chainsmokers into household names. By the end of 2016, they had become the face of a new pop-electronic hybrid, and they released a second EP, Collage, featuring many of their earlier singles.

Their debut full-length studio album, Memories…Do Not Open, was released in April 2017 and debuted at number one on the Billboard 200. It featured two top ten singles: “Paris,” which featured uncredited vocals from Emily Warren, and “Something Just Like This,” a collaboration with Coldplay that became a major global hit. Though the album received mixed critical reviews, it achieved significant commercial success and certified platinum. They toured extensively in support of the album, performing in major arenas across North America and internationally.

Throughout 2018, The Chainsmokers released a series of monthly singles that eventually formed their second studio album, Sick Boy. This album was released in December 2018 and included tracks such as “Sick Boy,” “This Feeling” featuring Kelsea Ballerini, and “Side Effects” with Emily Warren. The approach marked a shift in their creative strategy and showed their commitment to evolving with the streaming era. Lyrically, the album leaned into darker and more introspective territory, exploring themes like fame, identity, and public perception.

Their third studio album, World War Joy, arrived in December 2019, built again through a drip-release model of singles over the year. The album featured collaborations with 5 Seconds of Summer (“Who Do You Love”), Bebe Rexha (“Call You Mine”), Kygo, and Blink-182. The sound was more guitar-driven, incorporating elements of rock and alternative pop. Their ability to collaborate with artists from multiple genres allowed them to remain visible and relevant even as EDM’s dominance on the charts started to wane.

After a brief hiatus from releasing music in 2020 and 2021, the duo returned in 2022 with their fourth studio album So Far So Good. It was released independently through Disruptor and Columbia and marked their first album without any featured artists. The album debuted at number one on the Billboard Top Dance/Electronic Albums chart and included singles like “High,” “iPad,” and “Riptide.” It showed a shift toward more personal and introspective songwriting, with the duo focusing on their own vocals and experiences rather than relying on outside collaborations.

In 2023, they released their fifth studio album, Summertime Friends, continuing their strategy of staggered single releases ahead of the full album drop. This album featured tracks such as “Up & Down” with 347aidan, “Self Destruction Mode” with Bludnymph, and “Jungle” with Cheat Codes. The record maintained their signature blend of electronic production and pop hooks but also incorporated elements of punk and alternative rock, signaling yet another stylistic evolution for the group.

Their live performances have remained central to their brand, blending DJ sets with live instrumentation. They headlined massive festivals and launched multiple headlining tours, including Memories…Do Not Open Tour, World War Joy Tour, and So Far So Good Tour. Their energetic performances and wide-ranging collaborations have helped them retain a strong fan base even as musical trends shift.

Throughout their career, The Chainsmokers have won numerous awards. These include one Grammy Award, two American Music Awards, seven Billboard Music Awards, and nine iHeartRadio Music Awards. Their ability to consistently generate streaming and radio hits has made them one of the most successful acts in pop-electronic music in the 2010s and early 2020s.

Outside of music, Pall and Taggart have extended their reach into venture capital. In 2020, they launched Mantis VC, a firm focused on early-stage companies in technology, media, and consumer goods. Their portfolio has included investments in companies like Ember, Liquid Death, and Brightside, reflecting their interest in aligning music-driven celebrity influence with high-growth startups.

They’ve also been involved in philanthropic work, including charitable donations to children’s hospitals and mental health initiatives. During the COVID-19 pandemic, they performed at drive-in concerts to raise funds for healthcare workers. Their combination of business acumen and public giving underscores their position as entrepreneurs as well as entertainers.

Complete List Of The Chainsmokers Songs From A to Z

1. Beach House – Sick Boy – 2018
2. Bloodstream – Memories…Do Not Open – 2017
3. Break Up Every Night – Memories…Do Not Open – 2017
4. Call You Mine (featuring Bebe Rexha) – World War Joy – 2019
5. Celular (Nicky Jam, Maluma & The Chainsmokers) – Summertime Friends – 2023
6. Channel 1 – So Far So Good – 2022
7. Closer (featuring Halsey) – Memories…Do Not Open – 2017
8. Cyanide – So Far So Good – 2022
9. Do You Mean (featuring Ty Dolla Sign and Bülow) – World War Joy – 2019
10. Don’t Let Me Down (featuring Daya) – Memories…Do Not Open – 2017
11. Don’t Say (featuring Emily Warren) – Memories…Do Not Open – 2017
12. Everybody Hates Me – Sick Boy – 2018
13. Family (with Kygo) – World War Joy – 2019
14. High – So Far So Good – 2022
15. Honest – Memories…Do Not Open – 2017
16. Hope (featuring Winona Oak) – Sick Boy – 2018
17. I Hope You Change Your Mind – So Far So Good – 2022
18. I Love U – So Far So Good – 2022
19. If You’re Serious – So Far So Good – 2022
20. In Too Deep – So Far So Good – 2022
21. iPad – So Far So Good – 2022
22. It Won’t Kill Ya (featuring Louane) – Memories…Do Not Open – 2017
23. Jungle (Alok, The Chainsmokers & Mae Stephens) – Summertime Friends – 2023
24. Kills You Slowly – World War Joy – 2019
25. Last Day Alive (featuring Florida Georgia Line) – Memories…Do Not Open – 2017
26. Maradona – So Far So Good – 2022
27. My Bad (with Shenseea) – Summertime Friends – 2023
28. My Type (featuring Emily Warren) – Memories…Do Not Open – 2017
29. Paris – Memories…Do Not Open – 2017
30. P.S. I Hope You’re Happy (featuring Blink-182) – World War Joy – 2019
31. Push My Luck – World War Joy – 2019
32. Riptide – So Far So Good – 2022
33. Roses (featuring Rozes) – Memories…Do Not Open – 2017
34. Save Yourself (with Nghtmre) – Sick Boy – 2018
35. See the Way (featuring Sabrina Claudio) – World War Joy – 2019
36. See You Again (with ILLENIUM & Carlie Hanson) – Summertime Friends – 2023
37. Self Destruction Mode (with bludnymph) – Summertime Friends – 2023
38. Sick Boy – Sick Boy – 2018
39. Side Effects (featuring Emily Warren) – Sick Boy – 2018
40. Siren (with Aazar) – Sick Boy – 2018
41. Somebody (featuring Drew Love) – Sick Boy – 2018
42. Solo Mission – So Far So Good – 2022
43. Something Different – So Far So Good – 2022
44. Something Just Like This (with Coldplay) – Memories…Do Not Open – 2017
45. Summertime Friends – Summertime Friends – 2023
46. Takeaway (with Illenium featuring Lennon Stella) – World War Joy – 2019
47. Testing – So Far So Good – 2022
48. The Fall (with Ship Wrek) – So Far So Good – 2022
49. The One – Memories…Do Not Open – 2017
50. The Reaper (featuring Amy Shark) – World War Joy – 2019
51. Think of Us (with GRACEY) – Summertime Friends – 2023
52. This Feeling (featuring Kelsea Ballerini) – Sick Boy – 2018
53. Time Bomb – So Far So Good – 2022
54. Up & Down (with 347aidan) – Summertime Friends – 2023
55. Wake Up Alone (featuring Jhené Aiko) – Memories…Do Not Open – 2017
56. Who Do You Love (featuring 5 Seconds of Summer) – World War Joy – 2019
57. Why Can’t You Wait (with Bob Moses) – So Far So Good – 2022
58. You Owe Me – Sick Boy – 2018
59. Young – Memories…Do Not Open – 2017

Albums

Memories…Do Not Open (2017): 15 songs

Sick Boy (2018): 10 songs

World War Joy (2019): 10 songs

So Far So Good (2022): 16 songs

Summertime Friends (2023): 8 songs

Check out our fantastic and entertaining The Chainsmokers articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Complete List Of The Chainsmokers Albums And Discography

Top 10 Chainsmokers Songs

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of The Chainsmokers Songs From A to Z article published on ClassicRockHistory.com© 2025

Founded in 1967 in Tulsa, Oklahoma, The Gap Band emerged as one of the most influential funk and R&B groups of the late 1970s and 1980s. The band was formed by three brothers—Charlie, Ronnie, and Robert Wilson—who grew up singing in their father’s Pentecostal church where their mother served as pianist.

The band’s name has a powerful connection to Tulsa’s history, as “GAP” is an acronym for Greenwood, Archer, and Pine—three streets in Tulsa’s historic Greenwood neighborhood, once known as “Black Wall Street” before it was devastated in the 1921 Tulsa Race Massacre.

Their musical journey began in local clubs before getting their first major break backing fellow Oklahoman Leon Russell on his 1974 album “Stop All That Jazz.” That same year, they released their debut album “Magician’s Holiday,” though mainstream success would come later.

After several years of development, The Gap Band achieved their commercial breakthrough with their 1979 self-titled album on Mercury Records. This marked the beginning of their most successful period, producing a string of funk and R&B classics throughout the 1980s.

With their distinctive blend of funk, R&B, and electronic elements, The Gap Band created a signature sound that bridged the gap between Parliament-Funkadelic’s cosmic funk and the more polished R&B productions of the 1980s. Their influence continues to resonate through countless samples in hip-hop and contemporary R&B.

The band released over 15 studio albums during their career, with their most successful period spanning from 1979 to 1986. Though their commercial fortunes waned in later years, they continued to record and perform until Robert Wilson’s death in 2010 effectively ended the original group’s run.

The Gap Band’s legacy lives on not only through their own recordings but through the extensive sampling of their work by later generations of artists. Their iconic hits like “Outstanding” and “You Dropped a Bomb on Me” remain dance floor staples and have been sampled by over 150 artists, ensuring the Wilson brothers’ musical contributions will endure for decades to come.

Charlie Wilson

Born January 29, 1953, in Tulsa, Oklahoma, Charlie Wilson served as the charismatic lead vocalist of The Gap Band. The middle of the three Wilson brothers, Charlie’s distinctive voice—powerful, soulful, and capable of both tender ballads and energetic funk workouts—became one of the group’s most recognizable elements.

Charlie’s musical education began in his father’s Pentecostal church, where he and his brothers performed regularly. This early exposure to gospel music profoundly influenced his vocal style, which combines spiritual fervor with R&B sensuality.

As The Gap Band’s frontman, Charlie wrote or co-wrote many of the group’s biggest hits. His creative partnership with producer Lonnie Simmons helped define the band’s signature sound during their peak commercial years in the early 1980s.

Beyond his work with The Gap Band, Charlie contributed background vocals to other artists’ recordings, most notably Stevie Wonder’s 1980 hit “I Ain’t Gonna Stand for It.” This collaborative spirit would later serve him well in his solo career.

After The Gap Band’s commercial peak, Charlie faced personal challenges, including struggles with addiction and a period of homelessness in the 1990s. However, he successfully rebuilt his life and career, becoming an inspiring story of perseverance and redemption.

In 1992, Charlie launched a solo career that has proven remarkably successful, especially since the early 2000s. Working with manager Michael Paran, he reinvented himself for a new generation while maintaining his distinctive vocal style.

Charlie’s influence extends beyond his own recordings; his vocal approach has been cited as an inspiration for numerous new jack swing and contemporary R&B artists, including Keith Sweat, R. Kelly, and Guy’s Aaron Hall. This influence helped bridge the gap between classic funk and modern R&B.

Today, Charlie Wilson—affectionately known as “Uncle Charlie”—continues to record and perform as a successful solo artist. He has received multiple Grammy nominations and was honored with a BET Lifetime Achievement Award in 2013, cementing his status as an R&B legend.

Ronnie Wilson

Born in 1948 in Tulsa, Oklahoma, Ronnie Wilson was the oldest of the three Wilson brothers and a founding member of The Gap Band. As a multi-instrumentalist who played trumpet, flugelhorn, keyboards, and percussion, Ronnie contributed significantly to the group’s versatile sound.

Ronnie’s musical education, like his brothers’, began in their father’s church. His trumpet playing brought a distinctive brass element to The Gap Band’s sound, helping distinguish their funk style from contemporaries.

Beyond his instrumental contributions, Ronnie was also a songwriter and vocalist who contributed backing harmonies to the group’s recordings. His creative input helped shape the band’s musical direction throughout their career.

As the eldest brother, Ronnie often took on a leadership role within the group. He was instrumental in the band’s formation and early development, helping guide them from local Tulsa performers to international recording artists.

When The Gap Band’s commercial fortunes began to wane in the 1990s, Ronnie continued to perform with various incarnations of the group. In the 2000s, he toured under The Gap Band name, sometimes with brother Robert before his passing.

In his later years, Ronnie focused on his Christian faith, becoming a Minister of Worship at Community Bible Church in San Antonio, Texas. He also recorded and performed gospel music, bringing his musical talents to a different audience.

After suffering a stroke, Ronnie Wilson passed away on November 2, 2021, at the age of 73. His wife Linda Boulware-Wilson announced his passing, praising him as “a genius with creating, producing, and playing” music from childhood to his final years.

Robert Wilson

Born in 1956 in Tulsa, Oklahoma, Robert Wilson was the youngest of the three Wilson brothers who formed The Gap Band. As the group’s bassist and occasional guitarist, Robert provided the rhythmic foundation that anchored their funk grooves.

Often referred to as “The Godfather of Bass Guitar,” Robert’s melodic, funk-influenced bass lines were central to The Gap Band’s sound. His playing style incorporated elements of traditional R&B bass with more contemporary funk techniques.

Like his brothers, Robert began performing in their father’s church, developing his musical skills from an early age. This gospel background informed his approach to rhythm and groove throughout his career.

In addition to bass and guitar, Robert contributed percussion and vocals to The Gap Band’s recordings and performances. His musical versatility was an important component of the group’s rich sound.

Though less often in the spotlight than lead vocalist Charlie, Robert’s steady presence was crucial to The Gap Band’s success. His reliable rhythmic foundation allowed the other elements of their music to shine.

After The Gap Band’s commercial peak, Robert continued to perform with the group through their various reunions and later recordings. He remained an active musician throughout his life.

Tragically, Robert Wilson died of a heart attack at his home in Palmdale, California, on August 15, 2010, at the relatively young age of 53. His passing marked the end of The Gap Band as a performing unit featuring the original Wilson brothers.

The Gap Band Sound

The Gap Band’s musical style evolved significantly throughout their career, beginning with straightforward funk in the early 1970s before developing their more distinctive electronic-infused sound in the late 1970s and 1980s. Their ability to blend funk, soul, R&B, and electronic elements created a unique sonic signature.

Their commercial breakthrough came with their 1979 self-titled album, which featured the hit “I Don’t Believe You Want to Get Up and Dance (Oops Upside Your Head)”—a Parliament-Funkadelic influenced track that became known for its signature dance move at parties and clubs.

The release of “The Gap Band III” in 1980 elevated them to new heights of success. The album topped the R&B charts and featured hits like “Burn Rubber on Me (Why You Wanna Hurt Me)” and “Yearning for Your Love,” showcasing their ability to move seamlessly between energetic funk and soulful ballads.

Their 1982 album “Gap Band IV” produced their most enduring classics, including “Early in the Morning,” “Outstanding,” and “You Dropped a Bomb on Me.” These songs defined their most recognizable sound—synthesizer-heavy funk with memorable hooks and Charlie Wilson’s commanding vocals.

“You Dropped a Bomb on Me” became one of their signature songs, instantly recognizable for its bomb-whistling sound effect and propulsive groove. The song reached #2 on the R&B charts and #31 on the Billboard Hot 100, becoming a club favorite and later a frequently sampled track.

“Outstanding” proved to be another enduring classic that showcased the band’s sophisticated approach to funk. Its irresistible groove and Charlie Wilson’s passionate vocal performance have made it one of the most sampled songs in music history, used by over 150 artists.

Though their commercial success began to wane in the late 1980s, The Gap Band continued releasing music throughout the decade. They found particular success in the UK with the 1986 single “Big Fun,” which reached #4 on the UK Singles Chart.

The Gap Band’s music has been extensively sampled by hip-hop and R&B artists since the 1990s. Artists like Tyler, the Creator, Mary J. Blige, Ice Cube, Nas, Snoop Dogg, and countless others have incorporated elements of Gap Band tracks into their own music, ensuring the group’s sound continues to influence new generations.

Beyond sampling, The Gap Band’s musical approach influenced the vocal styles and production techniques of the new jack swing movement in the late 1980s and early 1990s. Artists like Guy, Keith Sweat, and R. Kelly have acknowledged Charlie Wilson’s vocal influence on their work.

In 2015, The Gap Band received a belated songwriting credit on Mark Ronson and Bruno Mars’ hit “Uptown Funk” due to similarities with their 1979 track “Oops Upside Your Head,” further cementing their legacy and influence on contemporary music.

The Gap Band’s distinctive fusion of funk, soul, and electronic elements created a template that continues to resonate in contemporary music. Their ability to craft songs that were both commercially accessible and musically innovative ensures their place in music history as funk pioneers whose influence extends far beyond their era.

Legacy and Influence

The Gap Band’s impact on music extends far beyond their chart successes in the 1970s and 1980s. Their distinctive blend of funk, R&B, and electronic elements created a template that continues to influence artists across multiple genres.

In 2005, The Gap Band was honored as a BMI Icon at the 57th annual BMI Urban Awards, recognizing their status as creators who have been “a unique and indelible influence on generations of music makers.” This formal acknowledgment confirmed what music fans had long known about their significance.

Perhaps their most tangible legacy is through sampling. “Outstanding” alone has been sampled by over 150 artists, making it one of the most sampled songs in music history. Their grooves have provided the foundation for countless hip-hop and R&B tracks since the 1990s.

Nirvana drummer Dave Grohl has credited The Gap Band for inspiring the drum intro on the grunge anthem “Smells Like Teen Spirit,” demonstrating how their rhythmic innovations transcended genre boundaries to influence even alternative rock.

The vocal style developed by Charlie Wilson during The Gap Band’s heyday has been cited as a key influence on new jack swing vocalists, including Guy’s Aaron Hall, Keith Sweat, and members of Jodeci. This connection helped bridge the gap between 1980s funk and 1990s R&B.

Charlie Wilson’s successful solo career has brought renewed attention to The Gap Band’s catalog, introducing their music to younger generations. His collaborations with contemporary artists like Snoop Dogg, Kanye West, and Tyler, the Creator have maintained the Wilson family’s musical legacy.

The band’s name itself serves as a historical marker, drawing attention to the tragic 1921 Tulsa Race Massacre through its acronym of Greenwood, Archer, and Pine streets. This connection has helped bring wider awareness to this often-overlooked historical event.

Following Ronnie’s death in 2021, Charlie Wilson is now the sole surviving member of The Gap Band. Through his ongoing career, he continues to carry forward the musical legacy established by the three brothers from Tulsa who changed the sound of funk and R&B.

The Gap Band’s music remains a staple at parties, on radio stations, and in DJ sets worldwide. Songs like “Outstanding,” “You Dropped a Bomb on Me,” and “Early in the Morning” continue to fill dance floors decades after their release, testament to their enduring appeal.

As new generations discover funk and soul music, The Gap Band’s catalog remains an essential reference point—influential, innovative, and irresistibly danceable. Their place in music history is secure as pioneers whose sound continues to reverberate through contemporary music.

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

The Gap Band Songs Ranked

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

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

Harry Styles was raised in the village of Holmes Chapel in Cheshire, England, where his natural charisma and early love for music were evident from a young age. As a teenager, he became the lead singer of the band White Eskimo, which gave him foundational experience performing in local venues. His path to stardom took a major turn in 2010 when he auditioned for The X Factor, originally as a solo contestant. Though he didn’t make it past the initial stage individually, he was brought back by the judges to form a group with four other contestants—Niall Horan, Zayn Malik, Liam Payne, and Louis Tomlinson. The result was One Direction, a group that would go on to become one of the biggest pop phenomena of the decade.

During their five-year run, One Direction released five studio albums: Up All Night (2011), Take Me Home (2012), Midnight Memories (2013), Four (2014), and Made in the A.M. (2015). The group sold millions of records worldwide, topping charts in multiple countries and spawning hit singles such as “What Makes You Beautiful,” “Story of My Life,” and “Drag Me Down.” Styles was widely recognized as a key creative contributor to the group’s sound, particularly as they shifted toward a more rock-leaning direction in their later albums. When the group went on hiatus in 2016, Styles transitioned to a solo career, determined to prove his artistic identity beyond the boy band image.

In 2017, he released his self-titled debut album Harry Styles, which showcased a blend of classic rock, folk, and glam influences. The album debuted at number one in several countries, including the U.S. and the U.K., and included the hit single “Sign of the Times,” a sweeping ballad that revealed his ambition to reach beyond radio-ready pop formulas. Critics praised the record for its boldness and sincerity, and it established him as a solo artist with serious intent and range. He followed the album with a sold-out world tour that highlighted his magnetic stage presence and connection with fans.

Styles expanded on that foundation with his second studio album Fine Line in 2019. The album was both a commercial and critical triumph, debuting at number one on the Billboard 200 and becoming one of the best-selling albums of the year. Singles like “Adore You,” “Golden,” “Watermelon Sugar,” and “Falling” balanced sonic experimentation with emotional vulnerability. “Watermelon Sugar” earned Styles his first Grammy Award in 2021 for Best Pop Solo Performance, and the album as a whole was hailed as a defining statement in his post-band evolution. Fine Line cemented his reputation as a bold risk-taker who could blend pop with psychedelia, funk, and classic rock.

In 2022, Styles released his third studio album, Harry’s House, which marked yet another creative shift. Incorporating synth-pop and intimate storytelling, the album debuted at number one in over 25 countries and earned widespread acclaim. The lead single “As It Was” broke multiple records, including a 15-week reign atop the Billboard Hot 100, making it one of the longest-running number one singles in chart history. The track also won the 2023 Grammy Award for Best Pop Solo Performance, and the album received the Grammy for Album of the Year—an acknowledgment of his artistic growth and commercial power.

Over the course of his solo career, Styles has received numerous awards, including multiple Brit Awards, American Music Awards, MTV Video Music Awards, and iHeartRadio Music Awards. His accolades recognize not only his musical achievements but also his influence on culture and fashion. His willingness to defy gender norms—often appearing in lace, pearls, or dresses—has made him a boundary-breaking figure in an industry that often clings to safe images. In 2020, he became the first solo male artist to appear on the cover of Vogue, sparking both praise and debate for his gender-fluid fashion sense.

Styles has also pursued acting, expanding his creative repertoire into film. He made his feature film debut in Christopher Nolan’s Dunkirk (2017), portraying a British soldier during World War II. His performance received favorable reviews and showed that his screen presence translated beyond the stage. In 2022, he starred in two major films: Don’t Worry Darling, directed by Olivia Wilde, and My Policeman, where he played a closeted gay police officer in 1950s England. These roles demonstrated his willingness to take on complex characters and challenge expectations of pop stars transitioning to acting.

Outside of music and film, Styles has made his mark through philanthropy and activism. He has supported a range of causes, including mental health awareness, LGBTQ+ rights, and anti-racism initiatives. On tour, he frequently uses his platform to promote kindness, inclusivity, and self-expression, often reinforcing these messages through his stage banter, merchandise, and charitable donations. His “Treat People With Kindness” slogan has become more than just a catchphrase—it’s a guiding principle of his public persona.

Styles launched his own beauty brand, Pleasing, in 2021, offering nail polishes, skincare products, and apparel that promote gender-neutral beauty standards. The brand reflects his long-standing interest in fashion and identity, and it serves as a creative outlet that aligns with his values of self-expression and inclusivity. Through Pleasing, he’s become part of a new wave of artists who are blurring the lines between music, fashion, and lifestyle.

Throughout his career, Styles has been a fixture on global stages, performing in sold-out arenas and headlining major festivals. His Love On Tour, which spanned from 2021 to 2023, became one of the highest-grossing tours of all time, with millions attending across continents. His ability to maintain an intimate connection with fans—even in stadium settings—underscores why he continues to be so beloved in the music world. He’s managed to evolve his sound and aesthetic without losing the core of what made audiences fall in love with him from the start: honesty, charisma, and a deep connection to storytelling through song.

Styles’ evolution has not been without its critics, but what separates him is his unwavering commitment to authenticity. He’s not afraid to change, take risks, or challenge norms—and that fearless approach is what has earned him the respect of peers and industry veterans alike. While his roots may lie in the assembly-line pop of a reality TV group, his solo path has been anything but manufactured. Each record has peeled back more layers, revealing an artist determined to grow, explore, and break free from the mold.

As of 2025, with three critically acclaimed solo albums, multiple award wins, record-breaking tours, and a growing filmography, Harry Styles has created a career that transcends genres and formats. His artistry blends accessibility with complexity, and his work continues to spark conversation—whether about music, identity, or the evolving definition of masculinity in pop culture. He has built a legacy rooted not in nostalgia for his boy band past, but in his bold redefinition of what a modern pop artist can be.

Complete List Of Harry Styles Songs From A to Z

1. Adore You – Fine Line – 2019
2. As It Was – Harry’s House – 2022
3. Boyfriends – Harry’s House – 2022
4. Canyon Moon – Fine Line – 2019
5. Carolina – Harry Styles – 2017
6. Cherry – Fine Line – 2019
7. Cinema – Harry’s House – 2022
8. Daydreaming – Harry’s House – 2022
9. Daylight – Harry’s House – 2022
10. Ever Since New York – Harry Styles – 2017
11. Falling – Fine Line – 2019
12. Fine Line – Fine Line – 2019
13. From the Dining Table – Harry Styles – 2017
14. Golden – Fine Line – 2019
15. Grapejuice – Harry’s House – 2022
16. Keep Driving – Harry’s House – 2022
17. Kiwi – Harry Styles – 2017
18. Late Night Talking – Harry’s House – 2022
19. Lights Up – Fine Line – 2019
20. Little Freak – Harry’s House – 2022
21. Love of My Life – Harry’s House – 2022
22. Matilda – Harry’s House – 2022
23. Meet Me in the Hallway – Harry Styles – 2017
24. Music for a Sushi Restaurant – Harry’s House – 2022
25. Only Angel – Harry Styles – 2017
26. Satellite – Harry’s House – 2022
27. She – Fine Line – 2019
28. Sign of the Times – Harry Styles – 2017
29. Sunflower, Vol. 6 – Fine Line – 2019
30. Sweet Creature – Harry Styles – 2017
31. To Be So Lonely – Fine Line – 2019
32. Treat People with Kindness – Fine Line – 2019
33. Two Ghosts – Harry Styles – 2017
34. Watermelon Sugar – Fine Line – 2019
35. Woman – Harry Styles – 2017

Albums

Harry Styles (2017): 10 songs

Fine Line (2019): 12 songs

Harry’s House (2022): 13 songs

Check out our fantastic and entertaining Harry Styles articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Ultimate Harry Styles Page

Top 10 Harry Styles Love Songs

Real Meanings Behind The Songs On Harry Styles Fine Line Album

Real Meanings Behind The Songs On Harry Styles Debut Album

Complete List Of Harry Styles Albums And Discography

Top 10 Harry Styles Songs

Harry Style’s ‘Harrys’ House’ Album Song Meanings

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Harry Styles Songs From A to Z article published on ClassicRockHistory.com© 2025

Opeth mainman Mikael Åkerfeldt has revealed why Steven Wilson stopped producing their albums.

Talking exclusively in the new issue of Metal Hammer, the singer/guitarist, who’s been their de facto leader and chief songwriter since the early 90s, looks back on the Swedish progressive death metal band’s 2005 album Ghost Reveries.

The album was Opeth’s first since 1999 to not feature Wilson. The Porcupine Tree frontman co-produced their 2001 breakthrough effort Blackwater Park and its double-disc follow-up Deliverance (2002) and Damnation (2003), but Jens Bogren ended up manning the dials instead.

Though Åkerfeldt admits that Opeth “probably asked Steven” to be involved with Ghost Reveries, he adds that by that point he knew Wilson’s method so well that it wasn’t entirely necessary.

“I’d learned many of his tricks along the way,” Åkerfeldt explains. “I could hear some ideas in my head that I like to think he would have brought up. I was becoming a producer more and more, and by the time we did Ghost Reveries, I could just tell, ‘Yeah, I want this thing to happen, I want this effect or whatever.’”

Bogren – now known for his work with such metal legends as Kreator, Sepultura and Paradise Lost – was an unseasoned prospect at the time, but Åkerfeldt says the two of them effectively steered the Ghost Reveries sessions, due to tensions with then-members Martin Lopez (drums) and Peter Lindgren (guitars).

“It was just chaotic,” Mikael says of Ghost Reveries’ recording. “I felt completely alone and I felt weight on my shoulders, like, ‘If I don’t make this happen, it’s just going to fall to pieces and there won’t be anything coming out.’ Jens saw the shitty dynamic that the band had in many ways and kind of sided with me.”

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

Though Wilson hasn’t produced any of Opeth’s material since 2003, Åkerfeldt still considers the artist to be a “friend” and “mentor”, and they’ve enjoyed other collaborations. The two musicians helmed the project Storm Corrosion in 2012 and Wilson mixed Opeth’s 2014 album, Pale Communion.

Opeth released their latest album, The Last Will And Testament, to critical acclaim in November. Wilson’s new solo album The Overview dropped this year to similar goodwill.

As well as the interview with Åkerfeldt, the new issue of Hammer featured Babymetal on the cover and goes in-depth into new album Metal Forth. There are also interviews with Volbeat, Metallica’s Kirk Hammett and The Yagas (featuring The Conjuring star Vera Farmiga). Order your copy now and have it delivered directly to your door.

Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Metal Hammer and Prog, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, The Independent, NME and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.

The discourse. It’s a nightmare, but I suppose there is a price for success.

I’ve been in the heavy music scene long enough to witness the primordial awakenings of metalcore in the mid-’90s in New Jersey, watching bands like Overcast, Earth Crisis, and Cave In break the mold. I was fortunate to be in God Forbid, a band that helped usher the subgenre into mainstream recognition alongside Killswitch Engage, Shadows Fall, and Lamb of God. We even graced the cover of Decibel Magazine, which proclaimed that our 2005 opus IV: Constitution of Treason was “The End of Metalcore”. Despite our ambitions to intellectualize the core and transcend formula, its imminent demise was misdiagnosed.

Flash forward 20 years, and not only has the metalcore genre thrived, it has become the biggest subgenre in heavy music, expanding its sonic palette to include nu metal, radio rock, hip hop, EDM and, of course, pop. Even pop-country is being employed by one of the hottest bands in the scene, Bilmuri. In recent years a slew of metalcore acts have risen to the ranks of festival headliners, chart toppers, and arena rock – Bring Me The Horizon, Bad Omens, Architects, Falling In Reverse, Spiritbox, Ice Nine Kills, Parkway Drive, I Prevail, and the current king of the hill: Sleep Token.

Their fourth LP, Even In Arcadia, has launched them into the stratosphere. It scored the top spot on the album charts in eight countries, including the US, UK, Canada, and Germany. They sold out an entire US arena tour in a little over a day, and the album broke the record for most streams in a single week for a hard rock album on Spotify. We haven’t seen heavy bands achieving this much mainstream success since the halcyon days of early 00s nu metal and emo.

In spite of, or maybe due to, this commercial triumph, the backlash has been harsh and swift. The metalcore online discourse, as I said, is a nightmare.

My Twitter feed reads like a revolt against Sleep Token. The most common refrain is some version of, “This band should not be allowed to be called metal anymore!” Many find the cult-like devotion of their fans to be repulsive.

Several critics appeared to have disdain for Even In Arcadia as well. Cool kid rag Pitchfork called the album “a vacant wasteland where joy, excitement, and intrigue… go to die.” YouTube’s most prominent music critic, Anthony Fantano, seemed perturbed by being tasked with reviewing the album, exclaiming Even In Arcadia as “annoying music, hideous sound, very bland, boring, uninspired writing…mediocre pop with super, loud Djent guitars”.

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

This isn’t critique – it’s antipathy, revulsion, wholesale rejection. But the subtext gives away the game. Sleep Token’s crime is not their artistic choices; it’s the audacity to become the most popular rock act on earth with those choices.

Sleep Token – Caramel – YouTube

Watch On

My biggest pushback against this line of critique is against the idea that Sleep Token’s lean into pop discredits their metal bona fides, or that they are doing pop poorly. In my estimation, since Bring Me The Horizon released their polarizing album, amo (2019), pop has burrowed its way into metalcore’s DNA – be it Bad Omens delving deep into dark pop or Spiritbox moonlighting with Megan Thee Stallion. Many of the top dogs are already swimming in this pool. But Sleep Token crossed some invisible purity line, breaching the social contract.

Apparently, there’s a sacred equation – etched on some mythical stone tablet – that dictates the exact acceptable amount of distortion, screams and double-bass required to qualify as “club metal.”Of course, this does not apply when legit metal bands decide to go off the reservation – Opeth get a pass for what many consider their best album, Damnation. Or the same elitists will laud the latest mellow but haunting Myrkur release, or Devin Townsend experimental side quest. Because they stay in their lane, know their place. They dare not speak to the normies.

Outside of the trvely devout, battle-vested zealot, most of us metalheads and hardcore kids like pop music. Everyone is happy when Billie Jean comes on or a Bruno Mars banger turns up. We all know the big tunes from The Weeknd or Post Malone. Stop lying to yourself. People have even come around to appreciate late 90s, early 00s pop like Britney Spears and The Backstreet Boys. Why do we have to lie to ourselves and have guilty pleasures?

I fear that we’ve become a society incentivized not to enjoy blatantly enjoyable things. Pop music is not so much a sound as a snapshot of what is popular. Hip hop became pop when it became the most popular genre on earth. Country is making strides in that same direction.

And I reject the notion that Sleep Token is just doing pop poorly. Caramel is a disturbingly excellent pop song. The job of a pop song is to infect you, hit your pleasure centers and make you want to keep listening. It’s more art than science, and if everyone could do it, they would. Most of the biggest metal songs are pop songs with heavier window dressing – Metallica’s Enter Sandman, Iron Maiden’s Wasted Years, or Deftones Diamond Eyes. And hip hop has shown us that you don’t even need melody to make a pop hook.

I very much enjoy Even In Arcadia. Its best songs don’t hit the peaks of The Summoning and Chokehold from Take Me Back To Eden, but I find it a more satisfying listen top-to-bottom. I don’t begrudge anyone who dislikes the album or the band. What bothers me is the coalitions of lynch mobs against popular heavy bands as a trend. It’s knee-jerk contrarianism to dislike what the masses like. I don’t think that’s cool.

But we’ve seen this movie before. Limp Bizkit went from the biggest band in the world in 2002 to persona non grata in a couple of years. I saw them get booed opening for Metallica in 2003. Rage Against The Machine bassist, Tim Commerford, even apologized for Limp Bizkit’s existence. Now, they are getting their flowers for being cool, innovative, and fun. Many old fans remembered how great they were, and a whole new generation appreciate them without the baggage. It was also trendy to hate Metallica for 10 years. Now, people love them again.

I just don’t know why we have to keep repeating the same patterns of tearing down our successful acts. This is “why we can’t have nice things?” in practice. Hating bands as trends is not cool because trying to be cool isn’t cool. It is another form of conformity, elitism. I believe truly being a fan is being a nerd. It’s passionate, obsessive and unabashedly earnest. Unfortunately, we live in a time where earnestness is viewed as cringe.

Sometimes I wonder if the “next Nirvana” could even happen in today’s climate – a band that marries artistic credibility with commercial validation. Reaching the top of the pyramid is anathema. Not to be revered, but proof that the entity is compromised, industry-planted with souls long foreclosed at the Mississippi crossroads.

I don’t want to be the hall monitor scolding the kids to “do better”. I’m sure I’ll be told I’m a moron with bad taste. Like what you like. Hate what you hate. But I think we’d all be healthier if we weren’t so protective and defined by our outspoken contempt. It’s just music. Just because you have a right to be an asshole about this stuff, doesn’t mean you have to be. Be an outsider. Be a nerd. And it’s okay to sometimes be a basic bitch that likes things that make you feel good.

Follow Doc at doccoyle.net and @doccoyle on socials. Listen to the Ex-Man Podcast via your usual podcast platforms. Sleep Token’s latest album Even In Arcadia is out now. They headline Download for the first time this month

Doc Coyle is a guitarist, vocalist, songwriter and podcaster who has had a significant presence on the metal scene for over 25 years. Known predominately for his tenures in God Forbid and Bad Wolves, Doc has also written with the likes of Ice-T, Jamey Jasta and Howard Jones and filled in on guitar and bass for Lamb Of God, Trivium, Ice Nine Kills and more. He has also released his own solo material and presents and produces the Ex-Man Podcast.

Born in Kansas City and based in New Orleans, guitarist and singer Samantha Fish is renowned for her high-octane live performances and soulful songwriting. The latter saw her hit new heights with her 2023 album Death Wish Blues, a collaboration with singer Jesse Dayton that topped the Billboard blues chart and earned a Grammy nomination.

Not one to rest on her laurels, she’s back with her new record, Paper Doll, nine tracks of maximum-energy, soul-soaked blues rock.

The first music I remember hearing

I remember riding in the car with my mom and my Aunt Linda, and hearing how joyful they were singing along to the radio. They were so happy. It was a lot of nineties contemporary stuff, and they listened to a lot of rock’n’roll.

---

The first song I performed live

If It Makes You Happy by Sheryl Crow. That was the first song I ever learned on guitar and sang simultaneously. And that was one of the first songs I performed live, at a party. I was sort of thrown on stage at one point. I never would have gotten up there if I’d had even a second longer to think about it, because I had so much stage fright, and I was really shy.

---

The greatest album of all time

Exile On Main St. The Stones, man, they are the greatest rock band. Exile On Main St is them leaning into their blues stuff; Rocks Off, Shake Your Hips, it’s them being a rock band and a blues band, and those are my favourite things.

---

Aretha Franklin

Aretha Franklin. She’s perfection. Her tone, her range, the emotion, the phrasing… There’s never been anybody who can sing like her. It’s so effortless, and it feels like it’s not even over-the-top. She’s always been so cool, how she delivers. It’s out of this world.

---

The guitar hero

I think what makes a great guitar player is having a voice that’s recognisable. That doesn’t always mean they’re the most technical player, but that they have a unique style. B.B. King was one of those guitar players. He carved out such a unique voice for himself, and he played from the heart. Jimmy Page is another one. And Prince. It’s tough for me to narrow down guitar players, because it’s so subjective.

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

---

The best cover version

Aretha Franklin’s cover of Bridge Over Troubled Water. It’s such a beautiful song anyway, but she’s playing piano and singing and there’s a soul in the pocket of the song. She takes it to a different place and makes it a soul song. You would never guess it’s ever been anything but a soul song.

---

The songwriter

Townes Van Zandt. There’s something so heartbreaking about the way he writes, he’s always really spoken to me. It’s just the way his voice sounds – there’s this sadness, this quality to what he’s writing about. Waitin’ Around To Die is a beautiful song. I’ll Be Here In The Morning is one I’ve covered for years, and I did with Jesse Dayton. He’s got a way of reaching into my soul.

---

The best record I’ve made

The new one [Paper Doll]. As I get older, you get more comfortable, so the newest record is where you feel the most at home. I think when people hear it they’re going to go: “That’s who Samantha is.” It’s between that and Death Wish Blues [2023], because that was a really special record, and I got to work with Jesse Dayton and Jon Spencer, who I’ve admired for years.

Samantha Fish – I’m Done Runnin’ (Live from Esplanade Studios) – YouTube

Watch On

---

The worst record I’ve made

It’s the first record [Live Bait, 2009]. It was self-produced, before I got signed to a record label, and it was just a live album that I recorded at a bar. It was the first time I’d ever heard my voice on a record, and I didn’t sound like the person I heard in my head. I sounded like a little kid. When I first heard that record, I cried. It broke my heart when I saw somebody buy one on eBay for seven hundred dollars.

---

The most underrated band ever

James Booker is a New Orleans piano player, and I wish more people knew about him, because he’s one of those deeply emotional players and singers and has an incredible story. He’s a New Orleans legend.

James Booker – NICE JAZZ FESTIVAL JULY 1978 (Solo & Band) – YouTube

Watch On

---

My Saturday night / party song

RL Burnside is one of my favourite artists, and I always talk about this record, A Ass Pocket Of Whiskey, that he did with Jon Spencer. I love Goin’ Down South. That opening guitar line is so grungy, and then it’s the stomping drums. That has always gotten me fired up.

---

The song that makes me cry

Bob Dylan’s Boots Of Spanish Leather. It’s just so sad. He’s switching between two voices in the song, one is leaving, the other one’s at home. It’s devastating.

---

The song I want played at my funeral

If they don’t just chuck me into a ditch, I really like Junior Kimbrough’s Meet Me In The City. There’s something very dreamy about it. It’s a song that reminds me of getting ready for the next thing. If they play that song at my funeral, it’ll give somebody that same dreamy kind of feeling.

Paper Doll is out now via Rounder

Emma has been writing about music for 25 years, and is a regular contributor to Classic Rock, Metal Hammer, Prog and Louder. During that time her words have also appeared in publications including Kerrang!, Melody Maker, Select, The Blues Magazine and many more. She is also a professional pedant and grammar nerd and has worked as a copy editor on everything from film titles through to high-end property magazines. In her spare time, when not at gigs, you’ll find her at her local stables hanging out with a bunch of extremely characterful horses.

In 2007, as Night Ranger released their ninth studio album Hole in the Sun, the band sat down with Classic Rock to look back over a unique career, in which the power ballad Sister Christian brought them superstardom, before record company demands for “more of the same” brought about their demise.

---

“Sing it,” says Night Ranger’s Kelly Keagy. It’s a tempting invitation, but as Classic Rock demures, the affable drummer/vocalist rips into it for us… “You see?” he says after chirping just the word ‘Motoring!’ “You just sing that one word and you feel good instantly. I think that’s why the song was such a hit.”

We’ve been talking about the enduring, and somewhat perplexing, appeal of Sister Christian, Night Ranger’s mammoth power ballad from 1984. It was a lighter-in-the-air anthem; a zeitgeist moment; the kind of song that can turn a B-level hard rock/hair metal San Francisco band into worldwide headliners.

“Basically, it’s one of those songs you just have to thank God for,” says bassist/singer Jack Blades. “It’s been used at weddings, proms… Every few years it seems to be discovered in some new way.”

The band had hits before it – driving rockers like Don’t Tell Me You Love Me and (You Can Still) Rock In America in the US – but Sister Christian proved an impossible act to follow. “And we didn’t want to have to Xerox it,” says guitarist Brad Gillis. “We weren’t against ballads – every album of ours has had them – but we didn’t want to become known as a ballad band. That’s how you become Air Supply.”

However, it was ballads – or at least songs that duplicated the same multi-format accessibility of Sister Christian – that Night Ranger’s record label clamoured for back then. But in 1989, rather than knocking their heads against the wall the band decided to pack it in.

“It was depressing to let go of something that meant so much to us,” says Gillis. “But we didn’t want to start sucking and hating each other. It was right to just say: ‘Hey, we had a good run.’”

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

Night Ranger – Sister Christian (Official Music Video) – YouTube

Watch On

In the immortal words of John Lennon, the separation was a failure. In 1996 Night Ranger regrouped (Keagy, Blades, Gillis and guitarist Jeff Watson, along with former Great White keyboard player Michael Lardie) and began rebuilding their touring base.

“Little by little, it’s worked,” says Keagy. “We’re hotter than wasabi in Japan; America and England, too. It’s taken us a little over 10 years but it’s been worth it.”

The band are circumspect when considering their present commercial prospects (“It’s anyone’s guess what we can sell these days,” Gillis says), but they’re happily anticipating hitting the road this summer.

“The stage is where we’ve always done our best work,” Blades says. “We love making albums, but Night Ranger is all about playing live.” Jack Blades, Brad Gillis and Kelly Keagy sat down with Classic Rock recently to talk about the band’s history together.

Jay Jay French from Twisted Sister recently said that any band from the 80s, with the exception of U2, that continues to make records in this day and age is crazy. That you only sell 10 per cent of what you used to, the audiences have all moved on, etc.

Jack Blades: Perhaps that theory holds true in Twisted Sister’s case, I wouldn’t know. Hey, we love making records, and I’m not going to stop just because we might not sell as many copies as we did in our heyday. We’re not kidding ourselves, we don’t expect to have a No.1 album and sell 10 million copies. And yeah, we’re not as young as we used to be, so maybe we’re not as sexy to the kids as once upon a time. But we’re not fartin’ dust just yet. There’s still a healthy demand for our music, and we’ll continue making it.

Brad Gillis: If you can still get a record deal then you should go for it. Besides, records give you greater leverage when it comes to touring, which is where we really shine. Sometimes you get some action at radio, sometimes the magazines pick up on your new album – every little bit helps.

Kelly Keagy: The truth is, we got in the music business because we wanted to have fun. Maybe Jay Jay French doesn’t have fun playing music any more, and if that’s the case he should think about something else. But the guys in Night Ranger, we still have a blast. It’s all about creating. As long as we create something, I don’t care if we sell one record.

Oh, come on. I can’t believe that.

Keagy: Well, of course I want to sell records. I was just being dramatic. Let’s just say, I don’t focus on the selling aspect. We’re a band and we make records. Case closed.

What is a night ranger, anyway? A park ranger who works the graveyard shift?

Blades: [laughs] That’s an excellent question! You know, originally we were called Ranger.

Keagy: Yeah, but not like the goofy guy in a forest. We saw a ranger as a cool kind of protector, like a secret agent or superhero street guy. He’s always where the action is, he’s always in the clubs, he’s checkin’ everything out. Superhero Street Guys would have been better: you could have had action figures, lunch boxes – you name it.

Blades: It’s not bad… But we were called Ranger and just as we were set to release our debut album, Dawn Patrol – with something like 10,000 covers printed up with the name Ranger – I spotted an ad in Billboard for a country band called The Rangers. I looked at that and went: “Uh-oh.” So we changed the name to Night Ranger. Which was a song of ours anyway.

Night Ranger – Night Ranger (Live) – YouTube

Watch On

To our ears, with Sister Christian you guys invented the ‘power ballad’. You agree?

Keagy: [Laughs] The big drums, the big chorus… Sure, why not? But is it a genre of music? We don’t sit around going: “Okay, time to write the ‘power ballad’.”

Gillis: I don’t know if we invented the form, but we sure had one of the biggest hits.

Blades: I think Journey were doing songs like that before we were. But, hey, people love Sister Christian all over the world, so why not take credit for inventing the power ballad? We’ll take credit for everything.

Gillis: That song really did it for us, man. It took us from middle act to headliner. I’ll never forget driving up to a 7,000-seat arena in Wisconsin and seeing ‘Night Ranger – Sold Out’. And it was all because of Sister Christian.

So what does “motoring” mean?

Keagy: [laughs] That’s so funny. That phrase meant so much to me when I wrote that song. What had happened was, I had gone home to see my sister, who like, 16, and she was doing what was popular back then, which was driving up and down the streets, cruising around looking for guys. They called it “motoring.”

It was like out of American Graffiti – driving around, hooking up with everybody. It’s that time in your life when you’re not a kid but you’re not fully an adult either.

The band broke up in the early 90s but got back together fairly quickly. What’s your secret to staying together for so long?

Blades: I don’t know if there is a secret. We love what we do; we love playing together. There really isn’t anything else we can do [laughs].

Keagy: We enjoy playing together. Even if we’ve been butting heads and somebody’s mad at somebody else, as soon as we go on stage everything else goes out the window. Give us a stage and a house full of fans and we’re fine.

A couple of tracks on Hole In The Sun – Whatever Happened? and Rock Star – sound like 90s alternative rock.

Gillis: That’s just the way they were written. We didn’t try to make them sound any one way, we just tried to make them cool. But that’s the thing about Night Ranger: we’re always cool because we don’t try to be cool. The cool comes from within.

Keagy: Brad and I are big fans of early-90s music: Soundgarden, Alice in Chains, Nirvana, we love that stuff. I’m sure that’s what we were thinking when we tried to make the stuff more modern, you know?

Gillis: Were we thinking it? I’m not sure.

Blades: Actually, I never even thought about it. We just play what we come up with, you know? To me, Night Ranger has always been a rock-pop band. I don’t think we were influenced by alternative rock. Or if we were if wasn’t talked about.

You have another giant power ballad with There is Life.

Keagy: Yeah, that’s me. It’s so funny, because on my solo records I try to do so many other things, but when I come back to Night Ranger I wind up doing the big ballads. I guess I’ve always been drawn to very dramatic songs. That’s not to say I’m not into the hard rock stuff, because I’m as into that as anybody.

Blades: Kelly rocks way hard, man, but he’s a natural when it comes to singing the ballads. He does them better than anybody.

Keagy: I make no claims to being better than anybody. I do what I do.

Brad: you and Jeff [Watson] are playing old-school twin-lead solos like it’s 1985.

Blades: Brad and Jeff are the best twin lead players on the face of the earth. They’re better than anybody at that kind of thing.

Gillis: Well, while the compliments are being tossed around, Jack’s a damned fine bassist, singer-songwriter… What else does he do?

Lastly: ever been convicted of a felony?

Both: No.

What about those 80s hairdos the band had in the 80s? They were absolutely criminal.

Keagy: [Laughs] You’re right. We should have been convicted!

Gillis: Those haircuts were felonies. But at the time it was all good. I’ve had short hair since 1995, so I can’t remember what it was like to have long hair.

Blades: We had some poofiness going on back in the day. But you know what? I bet the guys in Korn are going to look at pictures of themselves in 20 years and go: “What were we thinking?!”

This interview originally appeared in Classic Rock 106 (June 2007). Night Ranger are currently on tour in the US.

Joe is a freelance journalist who has, over the past few decades, interviewed hundreds of guitarists for Guitar World, Guitar Player, MusicRadar and Classic Rock. He is also a former editor of Guitar World, contributing writer for Guitar Aficionado and VP of A&R for Island Records. He’s an enthusiastic guitarist, but he’s nowhere near the likes of the people he interviews. Surprisingly, his skills are more suited to the drums. If you need a drummer for your Beatles tribute band, look him up.

In 2009, as Genesis re-released their live back catalogue in a box set, Mike Rutherford and Tony Banks recalled their onstage highs and lows, and, 11 years before their final reunion, discussed the prospect as it stood at the time.

---

Genesis have returned to the public eye as they release their new box set, entitled Live 1973-2007. It comprises their recorded live output, lovingly remastered and re-presented in 5.1 surround sound. It’s for good reason.

“Throughout our career we were mainly a touring band,” says Mike Rutherford. “We had hit singles towards the end and radio presence, but really I would say our career was based on our live performances. Live audiences, rather than record sales or how we’re doing in the charts, have always been our strength.”

It’s clear that the band enjoyed hitting the road again with their reunion tour in 2007. “We just thought, let’s enjoy ourselves – which wasn’t very hard,” says Rutherford. Although it was somewhat more taxing for Tony Banks, who took a lead in role in overseeing the rehearsals and musical direction.

“The whole operation took about a year,” says the keyboardist. “With rehearsing, it took a long time to get back into the swing of playing some of that material, especially the earlier and more complex stuff. But a lot of it was also about the instruments – the sounds I was using from the early 90s, we weren’t really using any more, so that tour posed the question: how do you use modern instruments to recreate the old sounds? That was quite fun – the new instruments are really good.”

Genesis I Know What I Like (Live 1973 Shepperton Reworked) – YouTube

Watch On

Of course, it wasn’t always that way. They had to start somewhere, and the pair remember their first gig. “Not counting a friend’s party, it was at Brunel University in London,” says Rutherford. “We’d been rehearsing in a cottage in a circle, so when we got the venue we were like, ‘How do we set up?!’ It hadn’t occurred to us.”

That wasn’t the only problem. “We got onstage and had no idea how to structure a set,” says Banks. “But we did a few songs and an encore and the crowd seemed to like it. It was fun to do, even though we didn’t know what to do at all. It was very nerve-racking at the time.”

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

“It was all our own stuff though,” adds Rutherford. “Songs like Going Out To Get You, which was never recorded [although it has been bootlegged]. I remember the night – but I can’t remember the rest of the set!”

Rutherford does recall his favourite venue – the setting for Live At The Rainbow, 1973, one of the most sought-after elements of the box set. “The Rainbow Theatre in London was a great venue; and it came at the start of two tours. 1973 was the first time we had a big production, and the second, in 1978, was our first gig as a three-piece with Phil up front and Chester Thompson drumming.

If I felt rough, got a cold or wasn’t well, I rose to the occasion at the gig and felt great afterwards

“We really had that special moment then. We were being challenged without Peter, and it’s amazing what change does. It brings energy, sometimes. Obviously we didn’t want Peter to leave – but when he did the band rallied round and found a new strength.”

Banks agrees about the 1973 Rainbow gig. “There was a very visual element to the show. It was all coming together and it took us to another level, I think.” Probably that was something to do with Gabriel’s increasingly self-confident, if eccentric, stage presence and between-song banter.

Genesis – The Carpet Crawlers Live From Los Angeles, CA. January 24, 1975 (2025 Remaster) – YouTube

Watch On

But as we all know, it wasn’t to last. Fans may feel that Genesis lost something on record after Gabriel’s departure, but this Rutherford and Banks are united in naming their favourite live era – and it was long after their original leader had gone.

“I can’t think of anything bad about Invisible Touch,” says Rutherford. “It was one of those enjoyable year-long tours. My family came out to Australia, and there’s something nice about touring the States in the summer. I suppose this applied to our entire live career, but if I felt rough, got a cold or wasn’t well, I rose to the occasion at the gig and felt great afterwards. It’s the reason for being there. I enjoyed the camaraderie too. We had a lot of laughs, always.”

“Domino has always been an exciting song to play live,” Banks adds. “It’s not one of the things you hear on the radio. It’s always been kind of a live classic and lends itself to a lot of visual interpretation. We’ve always done a big number on that with screens and lights. It always tends to come near the end of the show when everyone’s gathered momentum, so you can relax a little bit. The complicated stuff like Afterglow and In The Cage is out of the way.

We played a lot of stadiums the clubs… that’s when you know you have to get things right

“Although it’s quite exciting playing the complex stuff, there have always been lots of keyboard bits that were tough to play. It was exciting to get through it all, but sometimes you don’t know whether you’re going to get through it. We’re a live group – the only tapes we use are rhythm machines. Everything else is played live.I think it’s fun to see people actually doing the job.”

It was a long slog to reach the scale of Invisible Touch style tours, especially in the face of the punk scene in the late 70s. But some countries were always good to Genesis. “In the early days Italy was the only country that liked us!” says Banks. “Germany has been very strong for us and the States always make a lot of noise. One of my own favourites was the Montreal Forum, where the noise was so loud you couldn’t hear yourself playing.

“We played a lot of stadiums over the years, but we also played the Marquee, Montreux jazz clubs… that’s when you know you have to get things right and be spot on – and to get it right is really nice.”

It didn’t always go according to plan: “My worst gig was at Drury Lane in 1974,” Banks continues. “We were doing five nights or something like that, and I needed a grand piano really, but I only had an electric piano on stage. It didn’t have as many octaves on it, so I had to adapt. One night it was going along quite well; I’m thinking, ‘I’m quite enjoying this’ – but I forgot to drop the octave, so my hand was off the keyboard and I had no sound at all!

“I thought, ‘Shit!’ and ground to a halt, threw my hands in the hair, and everyone looked at me. But Phil counted ‘three… four.…’ and we went into the song proper. My father was in the audience and had earplugs in; he thought I was taking a bow and was very proud!”

Even now, Banks struggles to describe what makes the perfect gig; you sense that the perfectionist in him makes him feel that he he’s never played the perfect gig. “Often the combination of playing well onstage and getting a reaction from the crowd don’t come together,” he says. “You’ve got to appreciate that when an audience comes to see a show, they’re probably already converted – they probably know quite a bit of the music, want to see the group, and want to have a good time. If there are a few gaps in the performance, they can probably fill those in.”

We were prudent on the road from the start but it still took at least 10 years to break even

These days, downloads and CD sales generare very little income for musicians, while live gigs can rake in a fortune. “Gigs weren’t a way to make money, not for us,” says Rutherford. “We tended to do big, hopefully incredibly interesting stage productions, which cost a lot of money. When we did a tour we simply didn’t want to get the figures wrong.

“But ticket prices were nothing, really, whereas nowadays they’re huge. I like the genuine reaction from an audience, when between the band and the crowd there’s a real contact. It’s really not about cash.”

Banks agrees: “Live shows were a promotional tool in the earlier days. We were losing money on tour. When the live shows got massive they did make a profit – although we lost money on the Calling All Stations tour in 1997. We were prudent on the road from the start but it still took at least 10 years to break even. The records were what financed the whole operation, so they brought in the money.

“With our last tour the aim was that we didn’t lose money, really. Our brief to the manager was that we wanted to do it and we wanted to make a bit of money. Originally we didn’t think we were going to do big shows at all – we thought we’d play Earl’s Court size places.”

Genesis almost certainly don’t need the money but it’s understandable they didn’t want to tarnish their legacy. The 5.1 box set is a series of snapshots that capture a live band at work. “I think if you have the right set-up, surround sound certainly helps recreate the live ambience,” Banks says. “In the studio you can be a little more gimmicky, move the vocals around, whereas live you tend to keep things a little straighter. But 5.1 becomes a more natural way of hearing it.”

Unlike so many bands, we never fell out – we just stopped doing it

That said, Banks agrees that no amount of technology can make up for actually being there. “I think the albums are the only legacy you have. With the live concerts, nothing can capture the performance. Anyone who’s seen us at any gig will have their own opinion about that. Although it was exciting on stage, I was always into the actual composition, which is best represented on the studio albums.”

So let’s return to where we came in – the albums, and The Lamb Lies Down On Broadway in particular. The rumour has been that the classic line-up – Banks and Rutherford plus Collins, Steve Hackett and, dare we whisper it, Gabriel – could reunite to perform the progressive masterpiece in its entirety. But Banks says: “There’s very little likelihood of any Genesis reunion happening in the near future. Don’t hold your breath.”

Rutherford is more optimistic: “I’d definitely tour again. There’s nothing planned at the moment. Phil is at home bringing up his kids; Peter is busy. But unlike so many bands, we never fell out – we just stopped doing it. I think we’re a good live band. And what fun we’ve had doing it!”