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Producer / Songwriter RICK BEATO Discusses The Death Of Music Genres – “What Musical Era Are We In Today?” (Video)

Posted on by Logan Rocker

December 21, 2024, 2 hours ago

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Producer / Songwriter RICK BEATO Discusses The Death Of Music Genres -

Producer / songwriter / educator Rick Beato has shared a new video trying to answer the question, “What musical era are we in today?”

Beato recently shared a new interview video along with the following introduction:

“I said it wouldn’t happen, but I was wrong! In this interview, David Gilmour discusses his latest solo album, Luck And Strange, sharing insights into its creation and the stories behind the music. Dive into the iconic guitarist’s creative process, his legendary tone, and the evolution of his sound and singing from Pink Floyd to the present.”


“We drank a lot because of the blow and we got blown a lot because we drank a lot”: The wired story of Aerosmith’s drug-fuelled classic Rocks

Posted on by Logan Rocker
Aerosmith posing for a photograph in the mid-70s

(Image credit: Fin Costello/Redferns)

Their third album, Toys In The Attic, had changed everything for Aerosmith in 1975, going Gold and rising to No. 11 in the Billboard chart. In 1976, with the follow-up, Rocks, the band would take things to yet another level.

While the Toys… album has subsequently outsold it two to one, notching up eight million sales thanks in a large part to it containing Sweet Emotion and Walk This Way, Rocks actually charted higher, peaking at No.3, and highlighted a year when the band had five hit singles.

With hindsight, the albums used the same template and play like twins. Rocks, though, is the lyrically darker and musically heavier. Its songs chronicle the band’s growing stature as a touring act as well as an unhealthy level of drug abuse.

After years when critics regularly lambasted the Boston five-piece as the poor man’s Rolling Stones, influential US music magazines Rolling Stone and Creem finally began showering Aerosmith with compliments. The audiences (dubbed The Blue Army by the band due to the prevalence of denim in the arenas they were playing) grew exponentially and started behaving almost as outrageously as their heroes – boozing, popping pills and throwing firecrackers.

Aerosmith had always liked but to drink but, during the nine-month, 99-date Toys In The Attic tour (which never left the North American continent), cocaine was everywhere – thanks often to a crew who were as keen on it as the band.

“We drank a lot because of the blow and we got blown a lot because we drank a lot,” shrugged singer Steven Tyler. The backstage term “production meeting” was slang for going somewhere to do a load of lines. Come the sessions for Rocks, as their buddies The Faces had observed a year earlier, what were once vices were now habits.

Guitarist Joe Perry told me in 2014: “The main influence that the drugs will have had was that we were partying too much and didn’t notice the kind of money we were spending or take care of the decisions we were making – I don’t think we could have spent that much on drugs…”

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They didn’t, of course, as Perry’s fellow guitarist Brad Whitford recalled.

“My back account started to grow and I felt very wealthy all of a sudden,” Whitford later said of the sudden upswing in the band’s income. “I wasn’t, but $10,000 felt like a million. I was 22. I thought, ‘Man, I can buy the kind of car I’ve always dreamed about. That’s when I got my first Porsche. I think that’s when we all got our first Porsches.”

Aerosmith posing for a photograph in the mid-70s

Aerosmith in 1975: (from left) Joe Perry, Steven Tyler, Tom Hamilton, Brad Whitford, Joey Kramer (Image credit: David Tan/Shinko Music/Getty Images)

On December 30, 1975, after the third of three shows at the 14,000-capacity San Diego Sports Arena, Aerosmith finally drew breath. At the suggestion of co-manager David Krebs of the band’s management company Leber-Krebs Inc, Columbia had re-released Dream On, the power ballad from their self-titled 1973 debut that had always been a hit with audiences on tour. Three years earlier it peaked at No.59 on the Billboard chart. This time, it sailed to No.6 following its release in January 1976.

Basking in this glory Aerosmith took January off and investigated their new “clubhouse”, purchased for them in the autumn of ’75 while they pinballed around North America. It was sourced for them by Ray Tabano, the guitarist who co-founded the band with Tyler and Perry before being replaced by Whitford in 1971. Since then, Tabano had run the fan club and done anything else management asked of him.

One such task was identifying premises that could serve the band as a lock-up, offices and rehearsal space. Up a cul-de-sac on an unassuming residential street in Waltham – a city suburb about 10 miles east of the band’s apartment in Beacon Street in the centre of Boston – Tabano found it.

Krebs checked over the empty corrugated-iron clad warehouse, designated 55 Pond Street, and agreed a $40,000 deal. That investment saw the upstairs space converted into a lounge and offices, from where Tabano ran the lucrative merchandising business, installation of some state-of-the-art wiring and the construction of a stage.

The band christened the building, big enough for them to park their flash new cars in, the Wherehouse. They hung drapes from the high ceiling to improve acoustics and ambience, and adorned the walls with heroes – a huge montage of Mick’n’Keef images, alongside Chuck Berry, Rod Stewart and more. When Aerosmith weren’t in residence, fellow Leber-Krebs outfits Ted Nugent and Mahogany Rush would also use the space. It also provided a launchpad for up-and-coming local band Boston – the future AOR superstars played a showcase there that got them their deal.

Aerosmith – Back In The Saddle (Live At The Summit, Houston, TX, June 25, 1977) – YouTube Aerosmith - Back In The Saddle (Live At The Summit, Houston, TX, June 25, 1977) - YouTube

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In February, the Record Plant’s mobile unit backed into the Wherehouse and when the door closed behind it, work on Rocks began in earnest. Jack Douglas – who had co-produced Aerosmith’s second album Get Your Wings and was at the helm for Toys In The Attic – unsurprisingly got the job again, although this time the band took a co-production credit.

Whitford explained why their working relationship with Douglas proved so fruitful. “The thing about Jack was he was there living with us in Boston, working, playing drums, a little pot/blow/beer,” said the guitarist “He‘d try anything, and it inspired us. He was a mad genius but so solid.”

Douglas was also a joker, as drummer Joey Kramer recalled: “Jack convinced me that if ate nothing but greens for two weeks I’d smell like a freshly cut lawn. This went great until I got really constipated, then Jack had me drink a quart of prune juice to push it all through. He hid a prototype sound-activated tape recorder in the bathroom. When he rewound the tape there was a full day of horrible gas and flushing toilets…”

Whitford: “When you’re in the studio with Jack you laugh, roar, do silly shit – it’s loose. I’d throw ideas back and forth with him and leave it up to Steven to come up with a great lick and a vocal.”

On Rocks the lyrics, almost exclusively written by Tyler, came last and usually infuriatingly late. All the band knew, though, that the singer made Aerosmith unique and that came at price. Bassist Tom Hamilton told me of his respect for the singer’s wide range of input.

Steven, musically, has so much knowledge,” said Hamilton. “Not schoolbook knowledge just built-in knowledge from growing up with his father being a classical pianist…”

Douglas, meanwhile, saw the strengths of the others and encouraged them to write. On Toys In The Attic that encouragement prompted Tom Hamilton to deliver Sweet Emotion and Uncle Salty, while Whitford chipped in with Round And Round. For Rocks the pair stepped up to the plate again.

Aerosmith posing for a photograph in the mid-70s

Aerosmith’s Steven Tyler onstage at RFK Stadium in Washington DC, May 30, 1976 (Image credit: Fin Costello/Redferns)

In the Wherehouse, as the band tracked through February and into March, the character of the two guitarists was highlighted on their respective songs. Jack Douglas has subsequently described Joe Perry as a great improvisor; Whitford more a technician, methodical and dedicated – recording take after take if needed.

On Rocks the pair of them got to shine, although predictably, Perry’s contributions were the flashier. Joe conceived Rats In The Cellar as a counterpart to Toys In The Attic’s title-track, as he would later quip: “We were getting lower down and dirty. So the cellar seemed like a good place to go.”

Tyler’s lyrics were clearly about the influx and impact of drugs on Aerosmith: “Things were coming apart, sanity was scurrying south…” When he sang about “losing my connection” in the third line of the song he was referring to a dealer who supplied top-purity heroin to Perry – until the dealer was killed in nefarious circumstances.

In his 2014 autobiography Rocks: My Life In And Out Of Aerosmith, Perry paid the dealer some kind of complement when he recalled the genesis of Back In The Saddle.

“I was in my bedroom, flat on my back, fucked up on heroin, playing my six-string bass,” he recalled. “The music flew out of me – all the parts, all the riffs. It came in one special-delivery package. I was still in the stage when drugs were opening doors to my imagination…”

Two of Perry’s other songs – Lick And A Promise (about the band’s efforts at winning an audience) and Get The Lead Out (Tyler’s exhortation for them to get up and dance) – were both brutal and fast-paced, the products of a restless mind as well as his habit. “In some sense all these songs were about movement,” the guitarist later reflected.

Aerosmith – Rats In The Cellar (Live Texxas Jam ’78) – YouTube Aerosmith - Rats In The Cellar (Live Texxas Jam '78) - YouTube

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His fifth, Combination, written alone, nails the band’s health and wealth in the lines: “Walkin’ on Gucci, wearin’ Yves Saint-Laurent, Barely stay on ’cause I’m so Goddamn gaunt.”

Whitford, meanwhile, conceived the funky Last Child – the album’s first and biggest selling single, complete with folk musician Paul Prestopino on banjo – and Nobody’s Fault. The latter starts with the sound of Perry and Whitford’s guitars playing odd chords loud and in-synch – Tyler’s idea as the song didn’t have an intro. Seventeen seconds in the vocal mic picks up the noise of a door opened by the union “engineer” Columbia Records insisted was present at all sessions – Tyler’s idea to leave it in as he doubted he’d better his take. That kind of loose flexibility was common.

Perry recalled Tom Hamilton writing Sick As A Dog on guitar, “so when we recorded it he played it on guitar with Brad. I’m in the control room playing bass listening to what I was doing. Then it needed a solo so I gave the bass to Steven and went back into the studio to play guitar. So the end is three guitars and Steven playing bass…”

Long before he ever wrote a finished lyric, Tyler’s fingerprints were over every song. Eventually they had an album almost complete, but relocated to Manhattan’s Record Plant studios to finish. There – as he had done on the previous three albums – Tyler came up with a piano-led power ballad, this one called Home Tonight. Better loved, though, was opener Back In The Saddle, the singer’s “nostalgic harkening to every Spaghetti Western I ever saw”.

It was a big production number full of sound effects: coconut shells as horses hooves; a whip effect produced by Tyler whirling a guitar chord overhead close to strategically placed mics; and multi-tracked foot-stomps for which he wore an old pair of boots he’d had in high school boosted by a tambourine gaffer-taped to them by David Johansen, who dropped by, the New York Dolls having befriended Aerosmith earlier in the year.

Aerosmith backstage at Madison Square Garden in 1976

Aerosmith’s Joe Perry, Tom Hamilton and Joey Kramer backstage at Madison Square Garden in 1976 (Image credit: Fin Costello/Redferns)

Rocks – a title Perry had originally proposed for Toys in The Attic – was released on in May 1976, after the band had already been touring the US for a month. Its black sleeve featured a band logo and five diamonds perched on a mirror, representing both the five members and the cocaine slang of the title. It pretty much set the tone for hedonism that would follow.

Tyler: “The stadiums we played were getting bigger. Backstage set-ups became more elaborate. When we performed at the Cow Palace in San Francisco, there were pinball machines and ridiculously slammin’ naked mannequins that lined the hallways from the stage to our dressing rooms…”

Back at the hotels, Tyler’s room was party central. “We threw the TVs out of the window into the pool,” he wrote in his autobiography, Does The Noise In My Head Bother You? “If you kept the extension chords on the TVs, when they hit the water they exploded like depth charges.”

The singer was arrested more times than he can remember. He was incarcerated in Memphis after “repeated profanities” on stage, in Lincoln, Nebraska for setting off firecrackers in a Holiday Inn, and in Germany with new girlfriend Bebe Buell for blowing hash in the face of a customs officer at the airport.

The whole touring party’s reliance on drugs made crossing international borders a high-risk enterprise. For Rocks, in addition to 74 dates in the States – including their first big outdoor headliner to 80,000 at Michigan’s Pontiac Stadium in June – they played 14 shows in Europe (four of those in the UK) and seven in Japan. But brushes with the law like the one in Germany meant that apart from two dates in 1977, including the Reading Festival, Aerosmith wouldn’t need a passport again until touring Pump in 1989. The album though, knew no barriers.

The last word goes to Joe Perry. “I have a theory that with any kind of art you go through phases, periods of creativity – then periods where you have to work at it,” he said. “Sometimes you just wake up and explode, others you have to make yourself do it. There’s an ebb and a flow – especially in a band where not everyone is going to be in the same place at the same time.

“In the ’70s, when we were learning how to be recording artists, Rocks was arguably the peak, when everybody was firing on all cylinders. We were in a really creative space and everybody was in that space at the same time. That’s why it worked.”

Freelance contributor to Classic Rock and several of its offshoots since 2006. In the 1980s he began a 15-year spell working for Kerrang! intially as a cub reviewer and later as Geoff Barton’s deputy and then pouring precious metal into test tubes as editor of its Special Projects division. Has spent quality time with Robert Plant, Keith Richards, Ritchie Blackmore, Rory Gallagher and Gary Moore – and also spent time in a maximum security prison alongside Love/Hate. Loves Rush, Aerosmith and beer. Will work for food.

10 Most Rocking Joan Jett Songs

Posted on by u0zp4y

Most Rocking Joan Jett Songs

Feature Photo: Randy Miramontez / Shutterstock.com

Joan Jett, a trailblazer in rock and roll, was born Joan Marie Larkin on September 22, 1958, in Wynnewood, Pennsylvania, and raised in Rockville, Maryland. Her journey to becoming one of the most celebrated female rock artists of all time began in earnest when her family moved to Southern California, where she picked up a guitar at age 13 and immersed herself in the burgeoning punk and glam rock scenes. By her teenage years, Jett was co-founding The Runaways, an all-female rock band that defied stereotypes and carved their place in music history with their rebellious spirit and hard-hitting tracks like “Cherry Bomb.” However, when The Runaways disbanded in 1979, Jett embarked on a solo career that would cement her legacy as a rock and roll icon.

With unwavering determination and the help of longtime collaborator Kenny Laguna, Jett released Bad Reputation, a gritty declaration of independence that set the tone for her career. From there, she formed Joan Jett and the Blackhearts and skyrocketed to fame with smash hits like “I Love Rock ‘n Roll,” which topped the charts and became one of the most enduring anthems of all time. Jett’s ability to pair raw, punk-inspired energy with unforgettable hooks allowed her to dominate the rock scene, scoring a string of hits and earning widespread respect for her uncompromising authenticity and class. Throughout her career, she has proven that rock music knows no gender, delivering electrifying performances with her signature leather-clad swagger and anthems that resonate across generations.

This article celebrates Jett’s unparalleled legacy by revisiting 10 of her most rocking songs. While nearly all of her catalog could be considered rock and roll, we’ve handpicked tracks that showcase the energy, passion, and attitude that make Joan Jett a true legend. From chart-topping classics to hidden gems and even some of her newer material, this list is a tribute to a career defined by unapologetic confidence and timeless rock and roll spirit. Whether you’re a lifelong fan or just discovering her music, these tracks capture the essence of Joan Jett—raw, powerful, and forever iconic.

# 10 –  If You’re Blue – Mindsets

Why not start out this list with some relatively new Joan Jett rock and roll music?” If You’re Blue,” one of the highlights from Joan Jett and the Blackhearts’ 2023 digital EP Mindsets, reaffirms Jett’s ability to deliver raw, authentic rock and roll with a contemporary edge. Recorded during sessions that took place earlier in 2023, the song captures the essence of Jett’s punk-inspired ethos while embracing an unmistakable modern production style. Produced by Jett alongside long-time collaborator Kenny Laguna, Mindsets features Jett on vocals and guitar, Dougie Needles on lead guitar, Hal B. Selzer on bass, and Michael McDermott on drums, forming a tight-knit lineup that delivers the track’s unrelenting energy.

Musically, “If You’re Blue” blends gritty guitar riffs with an anthemic rhythm that feels both urgent and relatable. The production emphasizes a raw yet polished sound, allowing Jett’s iconic voice to cut through with its trademark authority. The lyrics offer a message of empowerment and solidarity, addressing feelings of isolation while encouraging resilience. Lines like “Don’t let it take you down / You’ve got a fire, it’s worth the fight” resonate as both personal and universal, showcasing Jett’s knack for delivering meaningful messages without losing the rebellious spirit that defines her music.

# 9 – Cherry Bomb – Glorious Results of a Misspent Youth

Originally recorded by The Runaways in 1976, “Cherry Bomb” became one of the most iconic tracks of Joan Jett’s early career, embodying the rebellious and unapologetic spirit that would define her musical legacy. In 1984, Jett revisited this anthem on her album Glorious Results of a Misspent Youth, injecting it with a fresh energy that resonated with a new generation of listeners. Recorded in New York City, the sessions for this album saw Jett teaming up with her long-time collaborator and producer Kenny Laguna, alongside the Blackhearts, including Dougie Needles on guitar, Gary Ryan on bass, and Lee Crystal on drums. The reinvention of “Cherry Bomb” on this record highlights Jett’s ability to reclaim and reimagine her past work while staying true to her raw, rock-and-roll ethos.

Musically, “Cherry Bomb” retains its signature blend of punk and glam rock, with sharp guitar riffs and a driving beat that perfectly complement Jett’s gritty, confident vocals. The updated production on the Glorious Results of a Misspent Youth version lends the track a more polished yet still ferocious edge, bringing its rebellious spirit into the ’80s rock scene. The lyrics, famously defiant with lines like “Hello, world, I’m your wild girl,” celebrate female empowerment and individuality, themes that have always been central to Jett’s artistic identity. This version amplifies the attitude of the original while showcasing the evolution of Jett as both a performer and cultural icon.

Critics and fans alike have lauded “Cherry Bomb” as one of Joan Jett’s definitive tracks, a song that bridges her groundbreaking beginnings with The Runaways and her continued success as a solo artist. Its inclusion on Glorious Results of a Misspent Youth not only reaffirms its status as a rock anthem but also reintroduces it with a maturity and focus that speaks to Jett’s enduring relevance. In the context of this list, “Cherry Bomb” is a testament to how Jett’s music transcends generations, standing shoulder to shoulder with other electrifying tracks like “I Hate Myself for Loving You” in capturing the unrelenting spirit of rock and roll.

As “Cherry Bomb” explodes through the speakers, it reminds us why Joan Jett remains a powerhouse in rock music. This track, with its infectious energy and iconic attitude, is a celebration of rebellion and authenticity, making it a perfect addition to this list of her most rocking songs.

# 8 – I Love Playing With Fire

Joan Jett’s “I Love Playing With Fire” blazes with the raw energy and unapologetic edge that has defined her career. Featured on her 1983 release Album, the song offers a hard-hitting glimpse into Jett’s rebellious spirit and commitment to authentic rock-and-roll. Produced by Jett herself alongside her longtime collaborator Kenny Laguna, Album was recorded in a variety of studios in the New York area, further cementing Jett’s DIY ethos and her ability to craft a sound that remains true to her roots. With Dougie Needles on guitar, Gary Ryan on bass, and Lee Crystal on drums, “I Love Playing With Fire” crackles with a chemistry that brings the track’s searing energy to life.

Musically, the song rides on a relentless guitar riff that underscores its theme of danger and allure. Jett’s gritty vocals deliver lines like “I love playing with fire, and I don’t think I’ll ever learn” with a mix of defiance and self-awareness, capturing the essence of living on the edge. The track showcases her signature fusion of punk aggression and rock swagger, creating a soundscape that is as fiery as the lyrics suggest. The driving rhythm section propels the track forward, while the incendiary guitar work adds a layer of intensity that keeps the listener hooked from start to finish.

Critically, “I Love Playing With Fire” has been celebrated as a quintessential Joan Jett track, embodying her ability to channel vulnerability and strength into a singular sound. In the context of this list, it stands alongside anthems like “Cherry Bomb” and “I Hate Myself for Loving You,” highlighting the versatility and depth of Jett’s rock catalog. Its themes of danger, passion, and unyielding independence resonate as deeply today as they did at its release, reminding us why Joan Jett continues to be a trailblazer in the world of rock music.

# 7 – Crimson And Clover – I Love Rock ‘n Roll

Joan Jett’s rendition of “Crimson and Clover” reimagines the Tommy James & the Shondells classic with her signature rock edge and raw emotional delivery. Featured on her 1981 album I Love Rock ‘n Roll, this cover became one of her most recognizable hits, demonstrating her uncanny ability to infuse old favorites with a fresh, rebellious spirit. Produced by Jett and Kenny Laguna, the recording was a standout track on an album that not only defined her career but also solidified her status as a rock icon.

The track retains the dreamy, psychedelic atmosphere of the original while injecting it with a grittier, punk-inflected energy. Jett’s raspy vocals add a sense of vulnerability and defiance as she sings lines like, “Now I don’t hardly know her, but I think I could love her.” The song’s tempo shifts and dynamic structure remain faithful to Tommy James’ version, but the addition of Jett’s guitar-driven arrangements gives the track a visceral intensity. Dougie Needles on guitar, Gary Ryan on bass, and Lee Crystal on drums deliver a cohesive and electrifying performance that complements Jett’s vocal stylings.

“Crimson and Clover” achieved commercial success, climbing to No. 7 on the Billboard Hot 100 in 1982 and earning widespread acclaim for its bold reinterpretation. Critics praised Jett’s ability to balance homage with innovation, bringing new life to a beloved classic. In the context of this list, the song stands out for its ability to bridge genres and generations, offering a glimpse into Jett’s deep respect for her musical influences while showcasing her unmistakable artistry.

This track is more than a cover—it’s a declaration of Joan Jett’s power to take a song and make it entirely her own. With “Crimson and Clover,” she proved that even a well-trodden classic could be reimagined as a rock anthem, leaving a lasting mark on both her career and the wider musical landscape.

# 6 – A.C.D.C. – Varnished

Joan Jett’s cover of the Sweet’s risqué glam-rock anthem “A.C.D.C.” is a perfect showcase of her ability to infuse unapologetic attitude and swagger into her music. Originally written by Nicky Chinn and Mike Chapman for the Sweet’s 1974 album Sweet Fanny Adams, Jett revived the track for her 2006 album Sinner. The song’s playful, provocative lyrics and high-energy arrangement made it an ideal fit for Jett, who elevated it with her signature rock ‘n’ roll flair.

Produced by Kenny Laguna, Sinner was recorded across multiple locations, including Los Angeles and New York, and featured a lineup of musicians that underscored Jett’s versatility. The track boasts a gritty guitar riff and pulsating rhythm section that keep the energy relentless. Jett’s vocal delivery captures the tongue-in-cheek humor of the lyrics, which recount the story of a flirtatious, enigmatic lover: “She’s got girls, girls all over the world / She got men every now and then.”

While the Sweet’s original version leaned heavily into glam theatrics, Jett’s rendition strips it down to a rawer, punk-driven core, aligning perfectly with the ethos of Sinner. The album as a whole addressed themes of rebellion, identity, and empowerment, and “A.C.D.C.” fit seamlessly within this context. Jett’s version resonates with her audience as a celebration of sexual freedom and individuality, showing her knack for reclaiming and transforming songs into bold personal statements.

Critically, “A.C.D.C.” was lauded for its playful yet empowering tone, with reviewers appreciating Jett’s ability to modernize a glam-rock classic while staying true to her uncompromising style. On a list of her most rocking songs, this track stands out as an electrifying example of how Jett bridges the past and present, proving that her influence spans genres and decades. It’s a reminder that Joan Jett remains one of rock’s most enduring and dynamic voices.

# 5 – I Love Rock ‘n Roll – I Love Rock ‘n Roll

Few songs in rock history embody an artist’s identity as fully as Joan Jett and the Blackhearts’ iconic “I Love Rock ‘n Roll.” Originally written by Alan Merrill and Jake Hooker of The Arrows, Jett discovered the track while touring in England and immediately saw its potential. After recording an early version in 1979 with Steve Jones and Paul Cook of the Sex Pistols, Jett reimagined the song with the Blackhearts for her 1981 album I Love Rock ‘n Roll, and the result was nothing short of transformative.

The recording sessions for the track took place in New York City under the guidance of producers Kenny Laguna and Ritchie Cordell. Featuring Joan Jett on lead vocals and rhythm guitar, Rick Byrd on lead guitar, Gary Ryan on bass, and Lee Crystal on drums, the Blackhearts brought a muscular energy to the song’s now-famous riff and anthemic chorus. From the opening notes, Jett’s growling vocals and defiant attitude captured the spirit of rebellion, making it an instant classic.

“I Love Rock ‘n Roll” topped the Billboard Hot 100 for seven weeks in 1982, cementing Joan Jett’s status as a rock legend. The song’s simple yet infectious lyrics, “I love rock ‘n roll / So put another dime in the jukebox, baby,” resonated across generations, embodying the raw power and simplicity of rock music. Its success was amplified by a memorable music video that aired heavily on MTV, featuring Jett’s leather-clad presence and signature sneer.

Critics praised the song’s timeless appeal, with its blend of gritty punk energy and mainstream rock sensibility. Comparisons can be drawn between its no-frills structure and the attitude showcased in other songs on this list, underscoring Jett’s ability to take straightforward rock compositions and imbue them with her singular intensity. “I Love Rock ‘n Roll” remains an enduring anthem of individuality and defiance, solidifying its place as one of the most iconic songs in rock history.

# 4 – Do You Wanna Touch Me – Bad Reputation

Joan Jett’s fearless reinterpretation of “Do You Wanna Touch Me (Oh Yeah)” brought fresh life to Gary Glitter’s 1973 glam rock hit. Featured on her 1981 debut album, Bad Reputation, Jett’s version strips the song of its original campy overtones, replacing them with her signature punk-infused edge and unrelenting energy. The track became one of her most memorable anthems, resonating with audiences as a declaration of confidence and raw rock and roll spirit.

Produced by Kenny Laguna, the track was recorded during sessions for Bad Reputation. Jett’s driving guitar and unmistakable rasp transformed the song into a gritty, no-nonsense statement, while her band delivered a streamlined and hard-hitting performance. The recording was emblematic of her ability to reinterpret existing material, adding her own bold authenticity to create something entirely new. The track benefited from Jett’s commanding stage presence, both in its studio energy and the accompanying music video, which showcased her magnetic punk persona.

Critics lauded Jett’s ability to reimagine the song, highlighting her powerful delivery and the way she infused the track with her rebellious ethos. The song was not only a commercial success but also an emblem of Jett’s broader mission to challenge norms and redefine what a rock star could be. In comparison to other tracks on Bad Reputation, “Do You Wanna Touch Me (Oh Yeah)” stands out as a vivid demonstration of Jett’s ability to blend glam rock’s theatricality with punk’s raw defiance.

As part of this list, the song complements Jett’s mastery of reinvention, much like “I Love Rock ‘n Roll” and “Crimson and Clover.” Each of these tracks highlights her unparalleled ability to transform existing works into rock landmarks that carry her unmistakable stamp. In “Do You Wanna Touch Me (Oh Yeah),” Jett not only commands attention but also reclaims the song as her own, making it a staple of her storied career.

# 3 – I Hate Myself For Loving You – Up Your Alley

Released in 1988 as the lead single from Joan Jett and the Blackhearts’ album Up Your Alley, “I Hate Myself for Loving You” marked a dynamic return to the charts for the rock icon. The track showcases Jett’s fiery vocals and driving guitar riffs, cementing her reputation as a commanding force in rock music. Written by Jett and her longtime collaborator Desmond Child, the song exemplifies a perfect blend of raw emotion and hard-hitting rock energy, creating an anthem of conflicted passion and regret.

Recorded at The Hit Factory in New York City, the track was produced by Desmond Child, whose expertise in crafting chart-topping hits is evident throughout. Mick Taylor, legendary guitarist of the Rolling Stones, contributed the searing guitar solo, adding an additional layer of rock authenticity. The pulsating rhythm section, combined with Jett’s gritty delivery, created a sound that was both contemporary and timeless, perfectly capturing the angst and defiance of the lyrics.

The song achieved significant commercial success, peaking at No. 8 on the Billboard Hot 100 and earning Jett her first Top 10 hit since “I Love Rock ‘n Roll.” Critics praised its infectious energy and Jett’s powerhouse performance, with many highlighting its anthemic quality. Lyrically, the track delves into themes of betrayal and self-loathing, with lines like “I hate myself for loving you / Can’t break free from the things that you do” perfectly encapsulating the torment of being drawn to someone who has caused pain.

# 2 – Light Of Day

Joan Jett’s rendition of “Light of Day,” originally written by Bruce Springsteen, shines as a powerhouse performance that perfectly matches her raw rock ethos. Recorded for the 1987 film Light of Day, in which Jett co-starred alongside Michael J. Fox, the song became a signature track in her catalog. Its fiery energy and rebellious spirit made it a standout moment both on the soundtrack and in her live performances.

Springsteen originally penned “Light of Day” for The Barbusters, the fictional band featured in the film, but Jett’s electrifying delivery gave the track a life beyond the screen. Her gritty vocals paired with a driving guitar riff transformed the song into an anthem for those grappling with the struggles of working-class life. Jett’s authenticity in delivering lyrics like “I’ve been working real hard, trying to get my hands clean” resonated with audiences, solidifying her reputation as the voice of resilience and determination.

While the track itself did not become a major chart hit, it earned critical acclaim for its vibrant energy and for Jett’s compelling performance. The production, helmed by Kenny Laguna, maintained a gritty rock-and-roll feel that aligned with Jett’s signature style. The combination of Jett’s vocal intensity and the pulsating rhythm section created a song that was as emotionally impactful as it was musically robust.

“Light of Day” finds a perfect place among Jett’s most rocking songs, alongside hits like “I Hate Myself for Loving You” and “I Love Rock ‘n Roll.” Its message of perseverance and defiance against life’s challenges aligns with the themes often explored in her music. Whether played live or revisited through the film, “Light of Day” continues to hold its place as a fiery reminder of Jett’s unparalleled ability to turn heartfelt struggles into electrifying rock anthems.

# 1 – Bad Reputation – Bad Reputation

Closing out this list with a track as iconic as “Bad Reputation” feels like the only fitting way to celebrate Joan Jett’s most rocking moments. Released as the title track of her 1981 debut solo album Bad Reputation, the song encapsulates Jett’s fearless attitude and refusal to conform to industry expectations. Written by Jett alongside her longtime collaborator Kenny Laguna, “Bad Reputation” is a defiant anthem that has transcended decades to become synonymous with the rebellious spirit of rock and roll.

The song was recorded during the sessions for Bad Reputation, which took place in 1980 and were largely funded by Jett and Laguna after numerous labels initially passed on the album. The raw production style emphasizes Jett’s snarling vocals and punchy guitar riffs, channeling the punk energy that defined her earlier work with The Runaways. Musicians including Steve Jones and Paul Cook of the Sex Pistols contributed to the album, adding an extra layer of punk credibility to the track’s biting delivery.

Critically, “Bad Reputation” has been celebrated as a statement of self-empowerment, with lyrics like “I don’t give a damn about my bad reputation” capturing the essence of Jett’s unapologetic approach to life and music. The track didn’t chart upon its initial release, but its enduring popularity in films, commercials, and television—most notably in Freaks and Geeks—has cemented it as one of her signature songs. Its resurgence over the years showcases its timeless appeal and its ability to inspire new generations of rock fans.

As the final entry on this list, “Bad Reputation” perfectly encapsulates everything that makes Joan Jett a true rock icon. Its defiant energy, unrelenting attitude, and infectious melody serve as a reminder of Jett’s groundbreaking contributions to rock music. Ending the list on such a high-octane note reinforces Jett’s legacy as an artist who continues to break boundaries and inspire others to live unapologetically.

Check out our other entertaining ad informative Joan Jett articles, detailing in-depth her  albums, songs, band members, and more…all on ClassicRockHistory.com

Joan Jett To Release Her First Acoustic Album

Our 10 Favorite Joan Jett Songs

Top 10 Joan Jett Albums

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

10 Most Rocking Joan Jett Songs article published on Classic RockHistory.com© 2024

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Ringo Starr Joins Paul McCartney for a Live Celebration of Beatles Classics

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Ringo Starr Joins Paul McCartney for a Live Celebration of Beatles Classics

Feature Photo: Mazur Travel / Shutterstock.com

Paul McCartney delighted fans at the final stop of his Got Back Tour with a surprise reunion with his former Beatles bandmate Ringo Starr at London’s O2 Arena. In a heartwarming moment, the legendary drummer joined McCartney on stage for a performance of Beatles classics “Helter Skelter” and “Sgt. Pepper’s Lonely Hearts Club Band.” The crowd erupted in cheers as the two living Beatles performed together, showcasing their enduring chemistry.It had been five years since the two have performed together.

“Should we rock?” McCartney asked Starr, encouraging him to “get on your kit” before launching into their set. Starr later addressed the audience, saying, “I’ve had a great night. I love you all,” as he flashed his signature peace signs before leaving the stage. McCartney bid him farewell with a heartfelt, “Goodbye Ringo, I will see you soon.”

The same evening, McCartney also brought out Rolling Stones guitarist Ronnie Wood for a separate segment of the show, further thrilling the audience with another legendary collaboration. Although the three did not perform together, their individual contributions made the concert an unforgettable experience.

A Brief History of Paul McCartney and Ringo Starr’s Partnership

The bond between McCartney and Starr dates back to 1962, when Starr joined The Beatles as their drummer, completing the quartet that would revolutionize music history. Starr’s steady rhythm and McCartney’s melodic basslines formed a solid foundation for iconic tracks like “Come Together” and “Something.” During their time with The Beatles, Starr and McCartney developed a brotherly friendship, which continued after the band’s breakup in 1970.

Following The Beatles’ split, McCartney and Starr pursued successful solo careers. McCartney formed Wings, releasing chart-topping albums like Band on the Run and Venus and Mars, while Starr earned solo hits with songs such as “It Don’t Come Easy” and “Photograph.” Despite their individual successes, the two have reunited on various occasions. Starr contributed drums to McCartney’s Tug of War album, and McCartney appeared on Starr’s solo projects, including Give More Love in 2017.

In interviews, Starr has described McCartney as “the brother I never had,” a sentiment that reflects their deep connection. Their reunion at the O2 Arena is another example of the enduring legacy of The Beatles and the lasting friendship between its two surviving members.

Paul McCartney and Ringo Starr’s recent reunion adds to the wave of Beatles-related content that has captivated fans in recent years, particularly around the Thanksgiving season. In 2021, Disney+ released The Beatles: Get Back, an extraordinary three-part documentary directed by Peter Jackson. The series offered an unprecedented look into the band’s creative process during the making of their Let It Be album, using restored footage from the 1969 recording sessions. It was widely praised for its intimate portrayal of the band, revealing moments of camaraderie, tension, and their unparalleled musical synergy. More recently, Beatles ’64, a Disney+ special released during Thanksgiving weekend, delves into the band’s meteoric rise with rare footage from a 1964 documentary and fresh interviews with McCartney and Starr.

Check out our other Paul McCartney and Ringo Starr related articles on our site ClassicRockHistory.com

Paul McCartney

Top 10 Paul McCartney Solo Songs
Top 10 Paul McCartney & Wings Songs
32 Underrated And Obscure Paul McCartney Songs
Top 10 Paul McCartney Albums
McCartney III Album Review
The Rolling Stones And Paul McCartney In The Studio Together
McGear: The Forgotten Paul McCartney And Wings Album
Springsteen Jams With Paul McCartney Last Night At Metlife Stadium
Paul McCartney To Headline Glastonbury Festival 2022
Paul McCartney Announces 2022 Got Back Tour
Why Paul McCartney Is The Greatest Musical Artist Of All Time
Paul McCartney MetLife Stadium 8-7-16: Concert Review
Why Paul McCartney’s Egypt Station Album Is One Of His Best Ever
The night Paul McCartney joined Bruce Springsteen to sing, I Saw Her Standing There
Bruno Mars Passes Paul McCartney in Singles Sales in the U.K.
Desert Trip Concert – Stones, The Who, Waters, Dylan, McCartney, Young, Concert of the Century

Ringo Starr

10 Most Rocking Ringo Starr Songs
Complete List Of Ringo Starr & His All-Starr Band Members
Complete List Of Ringo Starr Albums And Discography
Ringo Starr’s Ringo! Album Turns 50
Top 10 Ringo Starr Songs
Long Lost Ringo Starr & George Harrison Recording Found
10 Musicians We Would Love To See In Ringo Starr’s All Starr Band

The Beatles

Complete Beatles Songs List And Albums Discography
Top 10 Beatles Songs of 1963
Top 10 Beatles Songs of 1964
Top 10 Beatles Songs of 1965-1966
Top 10 Beatles Songs of 1967-1968
Top 10 Beatles Songs of 1969-1970
Top 10 Beatles Love Songs
Top 100 Beatles Songs
Top 10 Beatles Albums
Top 10 Beatles Album Covers
Best Beatles Box Sets
Why The Beatles Should Have Never Broken Up
Why The Beatles A Hard Day’s Night Album Was So Special
Beatles Live At The Hollywood Bowl Defines The Band In The Beatles
50 Years Ago Today The Beatles Last Played Shea
Beatles New Let It Be Film In The Making
The Beatles White Album Deluxe 50th Anniversary Edition
A Heartfelt Retrospective Of The Beatles Solo Albums Of 1970
Beatles ‘Get Back’ Debuts Today On Disney + And It’s Stunning
Beatles Get Back Documentary Will Inspire A New Wave of Artists
Top 10 Non-Beatle Characters In Beatles Movies
Why 1974 Was Such A Busy Year For The Beatles
Best Solos Performed On Beatles Solo Records
Beatles Albums In Order Of Original UK And US Studio Issues

Ringo Starr Joins Paul McCartney for a Live Celebration of Beatles Classics article published on Classic RockHistory.com© 2024

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About The Author

Brian Kachejian

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Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

ZAKK WYLDE On Friendship With MEGADETH’s DAVE MUSTAINE – “No, We Did Not Pray Together; We Spoke About Another Religion, The Religion Of JIMMY PAGE!”

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ZAKK WYLDE On Friendship With MEGADETH’s DAVE MUSTAINE - “No, We Did Not Pray Together; We Spoke About Another Religion, The Religion Of JIMMY PAGE!”

In a new interview with Dave Evereley from Metal Hammer, Zakk Wylde talks about Ozzy’s band as “The House That Randy Built”, his love of Elton John and his Black Label Society family.

“We don’t have fans, we have fams – as in families,” he says in an excerpt. “It’s like The Grateful Dead on steroids. If you see some guy with the colours on in a pub, you start talking to him and the next thing you know you’re best man at this guy’s wedding.”

Metal Hammer: Why is that? Is it the music? Is it the Cult Of Zakk?

Wylde: “I don’t know, man. It’s a religion. A religion of confusion! Everyone’s, like, ‘What the fuck’s goin’ on?’ But everyone’s happy, and that’s what matters.”

Metal Hammer: It’s telling that he describes BLS as a ‘religion’. Zakk has made no secret of his beliefs. Born and raised a Catholic, he describes himself only half-jokingly as “a soldier of Christ”. How often does he go to church?

Wylde: “I go to church every Sunday when I’m home,” he says. “Especially now I’ve replaced the booze with glue.”

Metal Hammer: You’re friends with Dave Mustaine. Do you ever pray together?

Wylde: “Dave and us were on the road. He’s a good dude. I’ve known him for a while…”

Metal Hammer: So when you were on the road, did you pray together?

Wylde: “[Seriously] No, we did not pray together. [Long pause] We spoke about another religion. [Another long pause, then much laughter] The religion of Jimmy Page! The religion of awesomeness!”

Read more at Metal Hammer.


SAVATAGE / TRANS-SIBERIAN ORCHESTRA Guitarist CHRIS CAFFERY Planning To Release New Solo Single Featuring JEFF SCOTT SOTO And DEREK SHERINIAN

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SAVATAGE / TRANS-SIBERIAN ORCHESTRA Guitarist CHRIS CAFFERY Planning To Release New Solo Single Featuring JEFF SCOTT SOTO And DEREK SHERINIAN

Currently on the road in the US with the Trans-Siberian Orchestra, Savatage guitarist Chris Caffery has shared the photo above along with the following message:

“I’ve been wanting to post this first photo since we left rehearsals! Our tour policy is to keep the rehearsals offline and not post from the venue. I wrote and recorded a new single before we left for the tour. I was writing about the song here; it is called ‘Do You See What I See Now?’ The song features yours truly on guitar and vocals, but it also features Jeff Scott Soto as a guest vocalist doing the part of the Devil in the song! Sean McNabb played bass. It also includes Brian Tichy on drums and Derek Sherinian on keyboards. Derek battles me in the solo section. It’s a really cool song that I plan on releasing with a 20th anniversary release of my first two solo records in some form. I may record new vocals for a ‘Pisses Me Off 2025’!  was really honored and excited to have JSS do this song with me!”

Stay tuned for updates. 

The legendary Savatage (Johnny Lee Middleton – bass, Chris Caffery – guitars, Al Pitrelli – guitars, Jeff Plate – drums, and Zak Stevens – vocals) have announced tour dates across Europe for summer 2025, with a mix of festival appearances and headline shows.

For details, including ticket/festival links, head to savatage.com. Find a video trailer below.

South American dates:

April
19 – São Paulo, Brazil – Monsters Of Rock
21 – São Paulo, Brazil – Espaço Unimed (Headline Date)
23 – Santiago, Chile – Masters Of Rock

European dates:

June
13 – Leeuwarden, Netherlands – Into The Grave
14 – Oberhausen, Germany – Turbinenhalle (Headline Date)
16 – London, UK – Shepherds Bush Empire (Headline Date)
18 – Zurich, Switzerland – Komplex 457 (Headline Date)
19 – Munich, Germany – Tonhalle (Headline Date)
22 – Dessel, Belgium – Grapop Metal Meeting
24 – Milan, Italy – Alcatraz (Headline Date)
26 – Barcelona, Spain – Rock Fest
28 – Thessaloniki, Greece – Rockwave


Today In Metal History 🤘 December 21st, 2024🤘 FRANK ZAPPA, INTO ETERNITY, FLOTSAM AND JETSAM, THE WHO

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December 21, 2024, an hour ago

news rarities frank zappa into eternity flotsam and jetsam the who

Today In Metal History 🤘 December 21st, 2024🤘 FRANK ZAPPA, INTO ETERNITY, FLOTSAM AND JETSAM, THE WHO

TALENT WE LOST

R.I.P. FRANK Vincent ZAPPA: December 21st, 1940 – December 4th, 1993 (aged 52)

R.I.P. Robert “Rob” Doherty (INTO ETERNITY, FINAL DARKNESS) – December 21st, 1970 – May 4th, 2012 (aged 41)

HEAVY BIRTHDAYS

Happy 53rd
Brett Allen Scallions (FUEL, WORLD FIRE BRIGADE) – December 21st, 1971

HEAVY RELEASES

Happy 15th
THE WHO’s Greatest Hits – December 21st, 2009
MUDVAYNE’s Mudvayne – December 21st, 2009

Happy 12th
FLOTSAM & JETSAM’s Ugly Noise – December 21st, 2012
THE UNGUIDED’s InvaZion – December 21st, 2012

Happy 13th 
STEPHAN FORTE’s The Shadows Compendium – December 21st, 2011

Happy 6th
BLOOD FEAST – Chopped, Sliced and Diced – December 21st, 2018
JON SCHAFFER’S PURGATORY – Purgatory – December 21st, 2018


BravePicks 2024 – NILE’s The Underworld Awaits Us All #10

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BravePicks 2024 - NILE's The Underworld Awaits Us All #10

In 1994, BraveWords & Bloody Knuckles magazine was born and here we stand 30 years later celebrating the past 12 months of music on our anniversary! What an incredible ride it has been and it’s far from over! And during the past three decades, we’ve literally seen/heard thousands of releases and this is the time of the season when we crown the finest! The BraveWords scribes have spoken, so join us each day this month as we count down to the BravePick of 2024!

Remember, everybody has an opinion and it’s time for ours! Stay tuned at the end of December for BraveWords’ writers’ individual Top 20s (new studio albums ONLY), Top 5 Brave Embarrassments (a fan favorite!), What/Who Needs To Stop In 2024? and Metal Predictions For 2025. 

BravePicks 2024

10) NILE – The Underworld Awaits Us All (Napalm)

 

Beginning our top 10 are death metal legionnaires Nile. Brutal, fierce, and manic, The Underworld Awaits Us All is a reminder why they are kings of technical, brutal death metal. With the exotic drumming of George Kollias and Karl Sanders’ bruising guitar work, this is a mind-bending album that remains in constant energy for 52 minutes.

The Underworld does indeed await as Nile runs to #10.

Scribe Greg Pratt scored the album a 9.0, an excerpt of his review:

…opener “Stelae Of Vultures” sounding like a total wall of noise, the band actually sounding more alive than they have in a while here, the song just a steamroller of technicality and forward momentum.

Follow-up (deep breath) “Chapter For Not Being Hung Upside Down On A Stake In The Underworld And Made To Eat Feces By The Four Apes” continues the vibe but streamlines it down to 3:50 compared to the opener’s 6:20 (which, I must say, races past); we’re going back to Nephren-Ka here in that these songs aren’t oppressive and overwhelming, they’re full of energy.

And so is George Kollias’ drumming, the man on an absolute tear here, mastermind Karl Sanders looking on with a sagely nod before laying down absurd riff after absurd riff, “Naqada II Enter The Golden Age” being almost catchy, “Under The Curse Of The One God” featuring riffs flying faster than they should at this point in Nile’s career, “True Gods Of The Desert” absolutely destroying with a pair of Crowbar-worthy sludge/death opening riffs.

BravePicks 2024 Top 30

10) NILE – The Underworld Awaits Us All
11) EVERGREY – Theories Of Emptiness (Napalm)
12) THE CROWN – Crown Of Thorns (Metal Blade)
13) NECROPHOBIC – In The Twilight Grey (Century Media)
14) DJEVEL – Natt Til Ende (Aftermath)
15) INTRANCED – Muerte y Metal (High Roller)
16) KITTIE – Fire (Sumerian)
17) BLACKTOP MOJO – Pollen (Cuhmon Music Group)
18) BLOOD RED THRONE – Nonagon (Soulseller)
19) RIOT V – Mean Streets
20) PORTRAIT – The Host 
21) ROTTING CHRIST – Pro Xristou (Season Of Mist)
22)SAXON – Hell, Fire And Damnation (Silver Lining)
23) ULCERATE – Cutting The Throat Of God (Debemur Morti Productions)
24) POWERWOLF – Wake Up The Wicked (Napalm)
25) ENSIFERUM – Winter Storm (Metal Blade)
26) OPETH – The Last Will And Testament (Reigning Phoenix Music)
27) DARK TRANQUILLITY – Endtime Signals (Century Media)
28) MORGUL BLADE – Heavy Metal Wraiths (No Remorse)
29) THE DEAD DAISIES – Light ‘Em Up (Independent)
30) MÖRK GRYNING – Fasornas Tid (Season Of Mist)

TAILGUNNER Release Under The Gun Mini-Documentary (Video)

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TAILGUNNER Release Under The Gun Mini-Documentary (Video)

UK heavy metal shooting stars, Tailgunner, have shared a mini-documentary on the band titled Under The Gun. Check it out below.

In July 2023, Tailgunner released their debut studio album, Guns For Hire, which landed on the UK independent album charts at #50.

Guns For Hire is available on three different vinyl (royal blue, crystal clear and as a picture disc) limited to 500 copies each, as well as on CD digipak (Europe only) and a CD Jewelcase (US only) and digital. At the Atomic Fire Records Webshop you can order any format along with an exclusive bundle shirt. Order here.

The band comments: “Our debut album Guns For Hire is the result of not only the time we have spent together as a band, but a decade of Blood, Sweat, Tears, Beers, Fights N’ Endless nights – All lit by a burning love for Heavy Metal. Now, Children of the Night, Marauders of Earth N’ Hells Vagabonds on July 14 we invite you to live it with us, told by the tale of these ten songs. heavy metal is the undying beast, it cannot be killed, it cannot be stopped, it soldiers on no matter what. Our friend the Warhead, brought to life on our debut album by the incredible Sadist Art Design in a cocktail of 50’s Horror N’ 80’s B Movie posters, is the personification of this music we are so proud to carry the torch for. Are you ready to carry it with us?”

Tracklisting:

“Shadows Of War”
“Guns For Hire”
“White Death”
“Revolution Scream”
“Futures Lost”
“New Horizons”
“Warhead”
“Crashdive”
“Blood For Blood”
“Rebirth”

“New Horizons” video:

“Crashdive” video:


“I go to church every Sunday when I’m home. Especially now I’ve replaced the booze with glue”: From GN’R and Pantera to Ozzy Osbourne and God, Zakk Wylde is the most connected man in rock

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“I go to church every Sunday when I’m home. Especially now I’ve replaced the booze with glue”: From GN’R and Pantera to Ozzy Osbourne and God, Zakk Wylde is the most connected man in rock

Zakk Wylde posing for a photograph with a guitar

(Image credit: Eleanor Jane Parsons_Guitarist)

Black Label Society and Ozzy Osbourne guitarist Zakk Wylde wasn’t always the bearded Viking berserker he is today – he was once a fresh-faced, clean-shaven kid from New Jersey. In 2014, as BLS prepared to release their ninth studio album, Catacombs Of The Black Vatican, he sat down with Metal Hammer to talk embarrassing old photos, trying to reunite Guns N’ Roses and praying with Dave Mustaine.

The last time Zakk Wylde looked at a photo of himself as a 21-year-old, he pissed himself laughing. In fact, every time he looks at a photo of himself as a 21-year-old, he pisses himself laughing.

Back then, in 1988, he was still a kid. The year before, he’d been plain ol’ Jeffrey Phillip Wielandt, raised in the blue-collar town of Jackson, New Jersey, where he worshipped at the altars of Jimmy Page, Jimi Hendrix and Randy Rhoads. All that changed when he was plucked from obscurity to play guitar in Ozzy Osbourne’s band, replacing Jake E Lee, who himself had replaced the godlike Randy Rhoads. He was hardly a greenhorn, but his experience stretched no further than such dead-end local bands as Zyris and Stone Henge.

Joining Ozzy’s band would turn the boy into a man. But first, a couple of things needed sorting. Firstly, the name: rock stars aren’t called Jeffrey. Ozzy and his wife Sharon decreed that their newest recruit would henceforth be called Zakk Wylde. Then there was the image. The North New Jersey uniform of tattered denim ’n’ scraggy leather wouldn’t cut it in the MTV era. A veritable phalanx of stylists, hairdressers and wardrobe assistants were called in to turn the newly christened Zakk into a tight-trousered, bouffant-permed, dimple-chinned 80s rock god. If they’d made a TV show of his transformation, it would’ve been called ‘Pimp My Guitarist’.

Today, more than a quarter of a century and a thicket of facial hair down the line, Zakk Wylde laughs once again at the thought of it.

“Brother, what you gonna do about it?” says the man who is more Viking marauder than pretty-boy pin-up these days. “Some guys, they see an old picture of themselves and go, ‘I can’t sign that. I can’t even look at it!’ For me, it’s like looking at yearbook photos – you take the piss out of it. I take the piss out of myself, and the rest of the guys in the band take the piss out of me. Any of that stuff you read on the internet is fuckin’ tame compared to the stuff we say about each other.”

And with the benefit of hindsight, would he have chosen a name that might, 25 years on, make him sound less like an aging porn star?

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“Oh man, that’s nothing,” he says. “I was originally Shirley Temple.”

And he roars with laughter once more.

Zakk Wylde and Ozzy Osbourne posing for a photograph in 1989

Zakk Wylde and Ozzy Osbourne in 1989 (Image credit: Eleanor Jane Parsons_Guitarist)

Talking to Zakk is like having a conversation with an especially garrulous taxi driver. One who spends his time twisted round to face the back seat, letting rip with his views on everything and anything that crosses his mind, while not really giving much of a shit about what’s going on the road in front of him. And, bizarrely, just like a taxi driver, he’ll bang on about football given half a chance.

The cover of Metal Hammer issue 256 featuring Steel Panther

This feature originally appeared in Metal Hammer issue 256 (March 2014) (Image credit: Future)

“I always call Ozzy’s band The House That Randy Built,” he says in a gruff but friendly Noo Joisey accent that’s only slightly diluted by years of living in California. “It all started with Randy. It’s like if you’re talking about Manchester United players, you’re gonna start with Georgie Best and then you end up getting to David Beckham.”

Unexpected ‘soccer’ references aside, the image of Black Label Society’s leader as a beer-snortin’, bear-wrestling 21st-century Viking marauder is as enshrined in the public consciousness as his bullseye guitar. But it’s also not quite the full measure of the man. For starters, as many folks know, he hasn’t drunk alcohol for five years. Where once he’d go to bed at 6am after hours of partying in the remote, 10-acre San Fernando Valley compound he calls home, that’s when he gets up these days. This morning, he fired up a cup of his own-brand Valhalla Java coffee, drove his kids to school and spent a few hours learning scales and practising. Later today, he’ll hit the gym for what he calls some “iron therapy” in readiness for his band’s upcoming “Canadian Crusade” (a ‘tour’, to you and me).

Making a BLS album sober is, he says, no easier or harder than it is drunk. His wife, Barbaranne (“the Immortal Beloved”, in Zakk-speak) gives him a schedule, and he goes to work. “She goes, ‘You’ve got 25 days’,” he says with a shrug. “So I spend 25 days writing a record.”

It’s an MO that works, if BLS’s ninth album, Catacombs Of The Black Vatican (named after his home studio-cum-mancave), is anything to go by. More focused than many of the band’s recent records, it touches on all the regular reference points: Sabbath, Zeppelin, Alice In Chains. But as always with BLS, it’s the songs that deviate most from the template that are most revealing: here, it’s Scars and Angel Of Mercy that stand out from the thud and blunder. They’re low-key, intro- spective tracks that find this bearded behemoth tapping into his inner Elton John, something which he did for the first time with his Pride And Glory side-project, whose ’94 release remains a cult classic.

Black Label Society – My Dying Time – YouTube Black Label Society - My Dying Time - YouTube

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“It’s funny you mention Elton!” he erupts. “He was my first guy. Before Sabbath, Zeppelin and all that, I remember seeing him doin’ Lucy In The Sky With Diamonds on The Sonny & Cher Show. I got chills as a kid seeing that, and I went out and got as many Elton John records as I could.”

That apparent dichotomy between the big guy banging out biker anthems and the sensitive dude paying tribute to a dead friend on Scars isn’t actually seen as such to the man himself. And here Zakk Wylde outs himself as an unlikely feminist. Of sorts.

“The whole Black Label mindset is about strength, about being who you really are. About rolling up your sleeves, hiking up your skirt and letting your vagina hang down.”

Pardon?

“Brother, the vagina is tough. [Late Golden Girls actress] Betty White said it best: ‘Why does everyone say: grow a set of balls? Balls aren’t tough. You hit a guy in the balls, he falls down. The vagina, it can take a beating like nobody’s business, between kids coming out of it and everything else going in it. It should be rephrased, ‘If you want to be tough, grow a vagina.’”

For all the hearty, hoist-yer-tankards-high bluster, Zakk is a natural-born diplomat who just wants everyone to be friends. If the UN are really looking for someone to resolve the problems in Syria, they could do worse than send him in.

Case in point #1: he’s possibly the only man on Earth who can hang out with Axl and Slash without pissing the other one off. His friendship with both stems from the 90s, when he came within a whisker of joining GN’R.

“I was friends with Slash, and I knew the other guys just from seeing them around,” he recalls. “Axl called me up, and I went down to just jam some riffs, have a blast. The band would have been Axl, Slash, me, Duff, Matt Sorum and Dizzy Reed. It could have been great, but it just never materialised. I’m buds with Axl and the guys in the band, I’m buds with Slash and his band. I’m like Sweden – I’m buddies with everybody.”

Zakk Wylde posing for a photograph with a guitar

(Image credit: Press)

Case in point #2: he’s also possibly the only man who could engineer some sort of rapprochement between the two halves of Pantera. Though even he knows the enormity of that task.

“That’s up to Vinnie , Rex and Philip,” he says cautiously. “But if they ever wanted to do it, and said, ‘Zakk, we want you to honour Dime’s legacy and play his stuff on tour’, of course I’d do it.”

Could you help make it happen?

“Sure! Between getting the original GN’R and Led Zeppelin back together, splitting the atom, finding a cure for cancer, coming up with world peace and mopping the fuckin’ kitchen floor!”

His innate diplomatic skills extend to the wider world of politics. Aside from some pro-war rants in the early 00s (at a time when pretty much every American musician was suggesting the US raze the Middle East) he plays it strictly middle of the road, coming over like your average blue-collar Joe. Dave Mustaine he isn’t.

“I’m friends with Tom Morello, and he’s all about that stuff,” he says. “I just laugh when my friends get pissed off about politics. I go, ‘Look, the only thing people care about is whether they have jobs, whether they can pay their bills and provide for their family, whether they can buy something nice at the end of the day.’ If you’re President, Prime Minister or whatever, and you’re doing that and keeping the country safe, you’re doing your job, man.”

And is your President doing a good job?

“I think he’s doing the best job he can in regards to those things. Things go up a little, then they come down. They go up again, then they go down again. But the Titanic’s not sinking. The world’s a little rough right now, but it’s gonna get smoother.”

BLACK LABEL SOCIETY – ANGEL OF MERCY (Official Music Video) – YouTube BLACK LABEL SOCIETY - ANGEL OF MERCY (Official Music Video) - YouTube

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Zakk Wylde talks a brilliant game, no doubt about it. While his band have might have plateaued in terms of success – let’s face it, they’re never going to headline Download, a fact of which the man himself is utterly accepting (“Maybe we can headline the fuckin’ aftershow party. In the basement.”) – what they do have is a legion of diehard fans who wear their badge like a biker gang wears their colours.

“We don’t have fans, we have fams – as in families. It’s like The Grateful Dead on steroids. If you see some guy with the colours on in a pub, you start talking to him and the next thing you know you’re best man at this guy’s wedding.”

Why is that? Is it the music? Is it the Cult Of Zakk?

“I don’t know, man. It’s a religion. A religion of confusion! Everyone’s, like, ‘What the fuck’s goin’ on?’ But everyone’s happy, and that’s what matters.”

It’s telling that he describes BLS as a ‘religion’. Zakk has made no secret of his beliefs. Born and raised a Catholic, he describes himself only half-jokingly as “a soldier of Christ”. How often does he go to church?

“I go to church every Sunday when I’m home,” he says. “Especially now I’ve replaced the booze with glue.”

You’re friends with Dave Mustaine. Do you ever pray together?

“Dave and us were on the road. He’s a good dude. I’ve known him for a while…”

So when you were on the road, did you pray together?

“[Seriously] No, we did not pray together. [Long pause] We spoke about another religion. [Another long pause, then much laughter] The religion of Jimmy Page! The religion of awesomeness!”

Zakk Wylde performing onstage at Download 2012 festival

Zakk Wlyde onstage at Download 2012 (Image credit: Future)

On the subject of awesomeness, if you had to arrange the guitarists in Ozzy’s solo band in order of greatness, where would you put yourself?

“Oh man, let’s break it down like the Catholic church. Ozzy would have to be God, and Randy would be Jesus Christ, the Messiah. Which means Jake E Lee, Gus G and me, we’re the Pontiffs. We’re the ones who keep spreadin’ the gospel.”

When you joined Ozzy’s band, back when you were starting out, did you aspire to be one of the greats?

“Yeah, sure,” he says, sounding like it’s the dumbest question ever. “Everybody does. That’s the reason why you have posters of Jimmy Page and Randy Rhoads and Frank Marino on the wall. You want to join ’em up there one day.”

And do you think you’ve made it? Do you think you’re one of the greats?

“My whole thing is that it’s a trickle-down effect – the tree of knowledge. If I can inspire a kid to play the way that Randy or Jimmy inspired me, and that kid checks out those guys because of it, then that’s the beautiful thing. You’ve passed down the knowledge. It’s like Georgie Best and David Beckham.”

And with that, everyone’s favourite God-lovin’, Elton John-worshippin’, Manchester United-referencin’ Viking marauder (semi-retired) guffaws to the heavens one more time.

Originally published in Metal Hammer 256, March 2014

Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on Kerrang! and Classic Rock, Associate Editor on Q magazine and staff writer/tea boy on Raw, not necessarily in that order. He has written for Metal Hammer, Louder, Prog, the Observer, Select, Mojo, the Evening Standard and the totally legendary Ultrakill. He is still waiting for Billy Gibbons to send him a bottle of hot sauce he was promised several years ago.