“For me prog starts with Rush, when I was about 17. [Manics bassist] Nicky Wire and his brother were already gigantic fans, and – like a lot of people coming late to them – my in was The Spirit Of Radio, the album Moving Pictures and songs like Limelight, where they were almost at an interface with The Police.
Pink Floyd’s Meddle had a little influence on our 1998 album This Is My Truth Tell Me Yours. I’m a big fan of Russian Circles, Chicago Transit Authority and John McLaughlin – especially on Mahavishnu Orchestra’s The Inner Mounting Flame.
And then there’s Man. I was working as a barman in the Newbridge Miners Institute in the 80s, and a version of Man played there. I remember it being a big deal. I’d bought Rhinos, Winos And Lunatics [1974] and liked some of the songs, but I wasn’t sure.
Then a couple of years later I was flicking through the racks at HMV and saw the cover of The Welsh Connection [1976]. I thought it was maybe a compilation of obscure Welsh bands; then realised it was by Man, so I thought I’d give them another go. I took it home, put it on, and bam!
Man never quite hit the heights; they were almost too versatile
This album’s definitely a slam-dunk lost classic. It was their 11th, so they were way down the line – they were never going to get any bigger at this point in historical terms, and they’d started steering away from the more blues-based stuff.
It was the first record for a new label so there was change in the air. They had John McKenzie on bass, and he and drummer Terry Williams locked into something nimble, nuanced and absolutely gorgeous.
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The title track and Love Can Find A Way had lots of Steely Dan in it, big time, but The Welsh Connection came out a year before Aja, so that’s a bit of a coup for Man! The Ride And The View has more of a groovy, trippy, Little Feat vibe. And Something Is
Happening is so beautiful: at one point it’s like Herbie Hancock, so articulate and dextrous. The whole album was a departure for them. Man never quite hit the heights; I suppose they were almost too versatile. I like a lot of tracks from their other albums, but this is the one I put on and don’t take off.”
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David Lee Roth’s solo career has been fascinating, frustrating, sometimes glorious, occasionally risible but rarely anything other than entertaining. The man with the billion-dollar ego quit Van Halen in 1985 with the intention of becoming the ultimate showbiz juggernaut, a rock’n’roll Frank Sinatra with the high kicks of an Olympic gymnast and the kind of luxuriant chest rug not seen since Allied Carpets went bust.
As the five releases covered in this no-frills, every-expense-spared box set illustrate, he started strong then precipitously tailed off. 1985’s four-track EP Crazy From The Heat, released while he was technically still in Van Halen, was Showbiz Dave in full effect, serving up showboating Beach Boys, Edgar Winter Band and Lovin’ Spoonful covers, plus a none-more-Vegas update of Louis Prima’s Just A Gigolo/I Ain’t Got Nobody medley. The Van Halen brothers reportedly hated it, and Dave was officially out the door a couple of weeks after it was released.
David Lee Roth – Just A Gigolo / I Ain’t Got Nobody (Official Video) [HD] – YouTube
Galvanised by a dream-team band – virtuoso bassist Billy Sheehan, drummer Gregg Bissonette and hotshot guitarist Steve Vai, whose mere presence was Roth’s fuck you to bandmate-turned-nemesis Eddie Van Halen – he hit Peak Dave with his debut full-length album, 1986’s Eat ’Em And Smile.
It holds its own against any Van Halen record – Yankee Rose features a jawdropping ‘talking guitar’ intro from Vai and a charisma-bomb performance from Roth, while Shy Boy and Goin’ Crazy aren’t far behind. 1988’s Skyscraper ramped up the synths, which worked brilliantly on the monumental Just Like Paradise, one of the all-time great pop-rock singles. There was reflection, too, on Damn Good, which sounded suspiciously like DLR being serious. At least for a second.
David Lee Roth – Yankee Rose (Official Video) [HD] – YouTube
It couldn’t get any better than that, and it didn’t. Sheehan and Vai left after Skyscraper, and Roth brought in a bunch of ringers, including guitarist Jason Becker, for 1991’s A Little Ain’t Enough, whose killer title track towered over the rest of an album that was more Blackpool Pleasure Beach than Las Vegas Strip. Diamond Dave had truly lost his dazzle by the time of 1994’s Nile Rodgers-produced Your Filthy Little Mouth, which found our hero trying everything from country music to jazz with all the desperation of a man who would juggle greased ferrets if it meant saving his career.
It didn’t, of course. There were more, increasingly irrelevant, solo albums, before an eventual VH reunion went some way to putting Dave back on his pedestal. But David Lee Roth never did become the Frank Sinatra of rock’n’roll. Hey, that’s showbiz.
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.
Ted Nugent will celebrate the 50th anniversary of his guitar anthem “Stranglehold” with a series of concerts in Michigan and Texas this spring and summer.
You can see Nugent’s current tour schedule below.
The Motor City Madman concluded his Adios Mofos farewell tour in 2023, but told UCR at the time that he would still perform live as long as he could avoid staying in hotels, which he likens to jails.
“My life revolves around my wife, my kids, my grandkids and my dogs,” he explained. “I will never leave home to do a tour now. I can do gigs, if I can hub out of my Michigan cabin, which could include Ohio, Indiana, Pennsylvania, Wisconsin, Minnesota, Illinois, Michigan – and maybe eventually, Ontario again. But I’m never going to go on another ‘tour’ tour.” Nugent also owns a home in Texas, which should help with the April and May dates.
In a 2024 interview, Nugent revealed that his label wanted to keep “Stranglehold” off his 1975 debut album, expressing concern over its eight-minute length and unconventional, guitar solo-heavy structure. “I said, ‘I love you guys, but that’s insane!,” recalled Nugent. “Since when is there a rule: ‘A song has to have a chorus’? It doesn’t have to have a chorus. It’s a movement, it’s a song. …By the way, we have a recording session that starts in one hour. Let’s go to the studio because I have a song to record. The first one’s gonna be fucking ‘Stranglehold.'”
Ted Nugent Launching Online ‘Nuge Vault’ in March 2025
Nugent will launch the online Nuge Vault in March. The subscription-based site will give fans access to previously unreleased concert audio and video. Or as he explains it, “Nearly six decades of never-before-seen and never-before-heard Nugified treasures are finally unlocked!” You can learn more at NugeVault.com.
Ted Nugent 2025 Concert Schedule:
April 5: St Jo, TX – Red River Station,
April 25: Orange Grove, TX – Post OG
April 26: Cristoval, TX – Coopers Live
May 10: Buda TX – Bucks Backyard
May 17: Eldorado AK – TBA
May 24: Salado TX – Johnny’s Place
Aug. 29: Ludinginton, MI – STIX Aug. 30: Paw Paw, MI – Warner Vineyards
Rock’s Funniest Guitar Faces
Rockers truly immerse themselves in the music, and then it gets kinda funny.
Photo: By daigooliva (Flickr) [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons
The story of Aerosmith’s rise and fall and continued rebirth depicts one of the great pages of Rock and Roll history. The “Bad Boys from Boston” have never stopped, never even slowed down, even when things weren’t looking so good. Theirs is a story of perseverance and how perseverance pays off. Their story is rich and complicated, but that goes with the territory. Regardless of all the trials and tribulations the band experienced, once they set foot on the stage, their power was undeniable. Everything that makes rock and roll so special, Aerosmith defined on stage night after night.
In the late 1960s, musicians Steven Tyler and Joe Perry played in bands around the Boston area. Tyler was the drummer and backup singer for a band called The Chain Reaction. Joe Perry was the lead guitarist for The Jam Band, featuring Tom Hamilton on bass and Joey Kramer on drums. In 1970, the two bands performed on the same bill together. The two groups began to entertain the idea of uniting as one. Tyler insisted that he would agree only if allowed to move out from behind the drums and take over the lead singer role. The rest agreed, and the line-up that would endure for most of 45 years was completed. Rhythm guitarist Ray Tabano was added, and the band began its rehearsals.
The name Aerosmith was apparently coined by Joey Kramer, who claims it was a reference to Harry Nilsson’s album Aerial Ballet. However, others have stated it was related to a Sinclair Lewis novel.
Aerosmith’s first official gig was at a high school in Mendon, Massachusetts, on November 6th, 1970. By January of the following year Tabano was out and guitarist Brad Whitford was in. The band was quickly developing a reputation for their hard-rocking, high-energy performances, and it wasn’t long before Clive Davis, President of Columbia Records, came to see them at Max’s Kansas City in NYC. Only there was a problem. Aerosmith wasn’t supposed to play the night Davis was attending. They scraped their money together and managed to pay their way onto the bill that night, surely the best investment of their lives as Davis signed them in 1972 for $125,000.
Their self-titled debut album hit the streets in January of 1973 to minor success. It only reached number 166 on the Billboard charts but the lead single, “Dream On,” crept up to number 59. Their second studio effort, Get Your Wings
, dropped in 1974 and spawned three singles that failed to chart. After extensive touring in support of the release the band went back into the studio to record their third effort, what many believe was their breakout recording.
was released in April of 1975 behind the single “Sweet Emotion,” the band’s first Top 40 hit. Rising to number 11, Toys catapulted the band to national and international status making their touring schedule more hectic and hedonistic. In 1976, Columbia Records re-released “Dream On” as a single, only this time it reached number six. Shortly thereafter, they re-released “Walk This Way,” which climbed to number 10. The remarkable re-release success of the two singles drove their first two records back onto the charts as well. This time around, their debut reached number 11, and Get Your Wingsmade it to number 74.
More touring kept the band from releasing their next record until almost a year later. Rocks
came out in May 1976 and made its way to number 3 behind a top-25 single, “Last Child.”Rocks is considered their most influential album.
, but the wildly successful band was beginning to show signs of the strain. Excessive drinking and drug use, along with the intense touring schedule, were taking their toll, and it was beginning to show in their performances. Joe Perry and Steven Tyler were labeled “The Toxic Twins” for their excessive drug use in and around the shows.
Perry and Tyler made a guest appearance in the film Sgt. Pepper’s Lonely Hearts Club Band featured their cover of The Beatles’ “Come Together.” The song became a Top 40 hit and kept Aerosmith in the limelight, for the time being.
The band began recording their sixth studio project in 1979. During breaks in the recording process they would hit the road for as many dates as possible. The tension simmering below the surface was coming to a head and finally boiled over at a show in July of that year. A backstage altercation between Tyler, Perry, and their wives led to Perry officially quitting the band. He immediately formed the Joe Perry Project and set about recording. Jimmie Crespo was hired as a replacement.
was released in November of that year. While it didn’t generate huge sales, it did reach number 14 on the charts but failed to chart any singles or gain much attention. The band’s popularity was waning and the subsequent tour found them playing in smaller and smaller venues to smaller and smaller crowds. Tyler’s drug use was reaching epic proportions, resulting in missing shows and collapsing onstage in 1980. The band was falling apart in every way.
Aerosmith’s Greatest Hits was released in part to soothe impatient fans who wanted the next studio record. Greatest Hits was a slow build but ended up being their best-selling album, racking up over 11 million sales. Soon after, Steven Tyler was badly injured in a motorcycle accident and found himself in a hospital for over two months.
. After recording the first song, Whitford had had enough and quit, opting to play in the Joe Perry Project. Journeyman Rick Dufay replaced Whitford. The album hit number 32, and the one single, “Lightning Strikes,” reached number 21. Perry’s face began to be seen around the group again, and a reunion seemed to be in the works, but Tyler’s issues continued, and he collapsed on stage again.
On February 14th, 1984, Joe Perry and Brad Whitford officially re-joined the band, and while the ensuing Back In The Saddle Again tour was a financial success, the band was reaching rock bottom. They signed with Geffen Records but failed to produce another record. Meanwhile, their old label, Columbia, released two live records, Classics Live I & II, and another compilation record called Gems.1985 saw their next album, Done With Mirrors, which brought no hits and garnered little attention. The band continued to tour and tour until they found a hit song in the unlikeliest places.
Hip-hop icons Run DMC sampled and covered “Walk This Way” and invited Perry and Tyler to be part of the music video. The song hit number four on the charts, not only affirming that hip-hop was here to stay but also introducing Aerosmith to an entirely new generation of music lovers.
By 1986, the problems peaked, and an intervention was conducted for Steven Tyler. A stint in rehab followed. Manager Tim Collins then challenged the other members, reportedly promising to make them the greatest band in the world if they all got clean and sober. In short order, all members checked themselves into rehab and took on the challenge of reinventing themselves as sober musicians.
Collins must have known what he was doing because a cleaned-up Aerosmith was a massive success. They immediately recorded Permanent Vacation, which hit the stores in September of 1987. Besides being their first sober record, it was also the first record utilizing outside songwriting talent, something the band was reticent to accept. Ultimately, the combination proved powerful as the album produced three Top 20 singles, including “Dude Looks Like A Lady, Rag Doll, and Angel,” which reached number 3. Aerosmith was back and in a big, big way.
After a challenging tour with Guns N’ Roses, the follow-up to Vacation was 1989’s Pump. The Pump album reached number five and dropped three singles: “Jamie’s Got a Gun, Love In An Elevator,” and “What It Takes,” all of which reached the Top 10. The band received their first Grammy and two video music awards. A grueling 12-month tour followed.
Get a Grip was released in 1992. It was the band’s first number one and featured three Top 20 singles and one Top 40. Two years of touring later, another compilation, Big Ones, reached number six.
The next record, Nine Lives, was released in March 1999 amidst a whirlwind of changes: a new manager, a new producer, and injuries to Tyler and Kramer. The list went on and on, but Nine Lives still managed to hit number one.
In 1998, the love theme from the movie Armageddon became the band’s first and only number-one single. “Don’t Wanna Miss A Thing” received massive airplay, and the band rode its success over the next leg of touring.
In March of 2001, Just Push Playwas released and reached number two behind the single “Jaded,” which reached number seven. That same year, the band was the featured performer at the Super Bowl halftime show, being joined onstage by ‘NYSNC, Britney Spears, Mary J Blige, and Nelly. Shortly thereafter, the band was inducted into the Rock and Roll Hall of Fame, receiving the honor of being the only band ever inducted while having a single on the charts.
In 2003, Aerosmith teamed up with Kiss to co-headline the Rocksimus Maximus tour, which played to arenas around the globe. Honkin’ With Bobo, the band’s long-awaited blues album came out in 2004 to little fanfare but still reached number five. A Spring 2006 tour with Cheap Trick was canceled abruptly when it was announced that Steven Tyler was undergoing throat surgery. By August, Tyler was back, and the Route of All Evil Tour was announced, featuring Aerosmith and Motley Crüe. While on tour, another compilation was released, “Devil’s Got a New Disguise,” which featured two new songs and reached number 15.
A 2009 tour with ZZ Top was plagued with injuries and setbacks including Tyler’s broken shoulder after he fell off the stage in Sturgis, South Dakota. The rest of the tour had to be canceled while Tyler recovered from his injuries. By the end of that year, Tyler announced he was pulling out of any subsequent touring to pursue his projects. On December 22nd, it was announced that Tyler would be entering rehab again to deal with a painkiller addiction that resulted from his many injuries.
In January 2010, Joe Perry announced the band would be holding auditions for his replacement, evoking a cease-and-desist letter from Tyler’s legal team. However, it wasn’t long before Tyler was back with the band.
In August of that year, Tyler signed on as a judge for the hit television show American Idol, which angered the rest of the group. However, Tyler assured them he would continue touring and recording with them while working on the show.
In 2012, Music From Another Dimension was released, followed by more touring. This installment was called the Global Warming Tour, and it carried the band into 2014, when yet another tour was announced, this one featuring Slash from Guns N’ Roses. The next in the endless column of tour dates was The Blue Army Tour, which took the band into 2015. With Steven Tyler’s throat issues in 2024, the band’s future status is up in the air.
It would be difficult to find a harder-working, more dedicated band anywhere in the world. Aerosmith has been a major influence on countless artists. They have strong American roots. They’ve had a long life filled with ups and downs and then ups again, but looking back, it’s easy to see why Aerosmith is the Greatest American Rock Band of all time.
It’s also why we’ve written many articles about Aerosmith on this site.
Black Sabbath’s legacy is built not just on its groundbreaking music but on the many musicians who passed through its ranks over the decades. What started in 1968 as a four-piece band in Birmingham, England, became a constantly evolving force in heavy metal, with Tony Iommi as its only consistent member. From the original lineup that pioneered the genre to the many vocalists, drummers, bassists, and keyboardists who shaped different eras of the band, each musician left their mark on Sabbath’s ever-changing history.
This article documents every member who played a role in Black Sabbath, whether for a brief period or across multiple decades. Some were part of the band’s most iconic moments, while others contributed to transitional periods that kept the band moving forward. Each lineup change brought a different sound, from the doom-laden blues of the early years to the melodic metal of the Tony Martin era. By examining each musician’s time in the band, we gain a deeper understanding of how Black Sabbath continuously reinvented itself while remaining a defining force in rock and metal.
Tony Iommi
Tony Iommi has been the driving force behind Black Sabbath since its formation, serving as the band’s only continuous member. His guitar work shaped the foundation of heavy metal, creating a sound that was darker, heavier, and more ominous than anything that had come before. His signature downtuned playing, developed after an industrial accident severed the tips of two of his fingers, gave Black Sabbath its unmistakable heaviness. Iommi’s riff-driven style defined legendary tracks such as Iron Man, Paranoid, and Children of the Grave, setting the standard for generations of metal guitarists to follow. Beyond his guitar work, he also contributed keyboards on select recordings between 1971 and 1976 and provided backing vocals in 1978.
As the band evolved through different lineups, Iommi remained at its core, steering Black Sabbath through the Ozzy Osbourne years, the Ronnie James Dio era, and later, the Tony Martin period. His leadership ensured the band’s survival and evolution, culminating in their final studio album, 13, in 2013. Even after the band’s farewell The End Tour in 2017, Iommi remains synonymous with Black Sabbath. With a 2025 one-off reunion on the horizon, he once again proves that his connection to the band is unbreakable.
Bill Ward
Bill Ward’s drumming played a crucial role in shaping Black Sabbath’s early sound, blending power, jazz influences, and unpredictable fills that gave their music an unmistakable groove. His thunderous playing drove classics like War Pigs, Fairies Wear Boots, and Hand of Doom, delivering both precision and raw energy. Beyond drumming, Ward occasionally contributed lead vocals, most notably on It’s Alright from Technical Ecstasy and Swinging the Chain from Never Say Die! His distinctive playing style helped Black Sabbath stand apart from their peers, as his ability to shift between dynamic restraint and explosive intensity brought a unique feel to the band’s sound.
Despite his integral role, Ward’s time in the band was marked by departures and returns. He initially left in 1980 due to personal struggles but made several comebacks over the years, including stints in 1982, 1984, 1994, and during the 1997 reunion. His absence from Black Sabbath’s final The End Tour in 2017 was controversial, but his legacy as the band’s original drummer remains unquestioned. With a 2025 reunion planned, the possibility of Ward returning to the stage alongside his former bandmates would be a historic moment for Black Sabbath fans.
Geezer Butler
Geezer Butler was the primary lyricist for Black Sabbath, crafting the dark and thought-provoking themes that defined the band’s image and message. His bass playing was equally important, delivering thick, intricate grooves that formed the backbone of Sabbath’s sound. His style, influenced by blues and early rock, was a key ingredient in tracks like N.I.B., Into the Void, and Children of the Grave. Unlike many bassists of his era, Butler often played melodic counterpoints to Iommi’s crushing guitar riffs, giving the music an added layer of depth.
Beyond his role as a bassist, Butler’s lyrical themes of war, social issues, and the occult helped establish the band’s identity. His contributions extended through multiple lineups, including the original era, the Dio-fronted Heaven and Hell, and the later 13 album. Although he officially retired from touring in 2017, his legacy as one of heavy metal’s most influential bassists is cemented. A 2025 reunion would provide an opportunity for fans to see Butler return to the stage, reinforcing his place in the band’s legendary history.
Ozzy Osbourne
Ozzy Osbourne’s unmistakable voice and wild stage presence helped make Black Sabbath one of the most influential rock bands of all time. His eerie, almost trance-like vocal delivery brought an apocalyptic feel to songs like Black Sabbath, Paranoid, and Snowblind. While he was not a primary songwriter, his vocal melodies and performances became an integral part of the band’s identity. Alongside Iommi, Butler, and Ward, Ozzy helped shape the band’s signature sound, creating a blueprint for what would become heavy metal.
His time with Black Sabbath was turbulent, marked by legendary highs and dramatic departures. After being fired in 1979 due to substance abuse issues, Ozzy embarked on a massively successful solo career, becoming one of rock’s biggest icons. However, he reunited with Sabbath multiple times, including the Reunion live album in 1998 and 13 in 2013, which became their final studio release. While health concerns have slowed him down in recent years, a 2025 reunion could offer a historic moment where the Prince of Darkness once again takes his place at the front of Black Sabbath.
Dave Walker
Dave Walker briefly served as Black Sabbath’s lead vocalist between 1977 and 1978, stepping in after Ozzy Osbourne’s departure. Before joining Sabbath, he had fronted bands such as Fleetwood Mac and Savoy Brown, bringing a blues-influenced vocal style that contrasted with the band’s heavier sound. His addition marked an uncertain period for Sabbath as they attempted to move forward without their original frontman.
Although Walker rehearsed with the band and even performed an early version of Junior’s Eyes on BBC’s “Look Hear” program, he never recorded an official release with Black Sabbath. His tenure was short-lived, as Osbourne returned to the band later in 1978, leading to Walker’s departure before the band recorded Never Say Die! Despite not leaving a lasting impact on Sabbath’s discography, his brief time with the band remains a fascinating footnote in their history.
Ronnie James Dio
Ronnie James Dio joined Black Sabbath in 1979, stepping into the lead vocalist role following Ozzy Osbourne’s dismissal. His addition brought a dramatic shift in the band’s sound, as his operatic vocal style and fantasy-driven lyrics steered Sabbath toward a more epic, grandiose approach. The result was Heaven and Hell (1980), an album that rejuvenated the band’s career and introduced classics like Neon Knights and Die Young. Dio’s presence gave Sabbath a new identity, making them one of the defining bands of the early heavy metal movement.
Dio remained with the band through Mob Rules (1981) and Live Evil (1982) before leaving due to tensions with Tony Iommi and Geezer Butler. He returned in 1991 for Dehumanizer, which modernized Sabbath’s sound for a heavier, darker era. In the 2000s, Dio reunited with Iommi, Butler, and Vinny Appice under the name Heaven & Hell, releasing The Devil You Know (2009) before his passing in 2010. His legacy in Sabbath remains one of the most celebrated in the band’s history.
Geoff Nicholls
Geoff Nicholls was Black Sabbath’s longtime keyboardist, contributing to the band from 1979 to 2004. Initially hired to play bass during Geezer Butler’s brief departure, Nicholls transitioned to keyboards when Butler returned, becoming an essential but often unseen part of the band’s sound. His atmospheric keyboard work added depth to Sabbath’s music, particularly on albums like Heaven and Hell, Mob Rules, and Headless Cross.
While he rarely performed on stage with the band, his influence was present across numerous albums, providing orchestral textures and sonic layers that helped define their evolving sound. He remained with the band through multiple lineup changes before departing in 2004. Nicholls passed away in 2017, leaving behind a legacy as one of the most significant behind-the-scenes contributors to Black Sabbath.
Craig Gruber
Craig Gruber was briefly involved with Black Sabbath in 1979 during a transitional period when Geezer Butler had stepped away. Having previously played with Elf alongside Ronnie James Dio, Gruber was brought in for rehearsals as the band worked on material for what would become Heaven and Hell.
Although he played with the band during early writing sessions, Butler returned before the album was recorded, and Gruber did not appear on any official Black Sabbath releases. He later worked with bands like Rainbow and Gary Moore before passing away in 2015.
Vinny Appice
Vinny Appice became Black Sabbath’s drummer in 1980, replacing Bill Ward during the Heaven and Hell tour. His powerful, precise drumming fit seamlessly with the band’s heavier, more polished sound, and he contributed to Mob Rules (1981) and the live album Live Evil (1982). His work in Sabbath helped establish him as one of heavy metal’s premier drummers.
After Dio left Sabbath in 1982, Appice followed him to form the band Dio, where he played on multiple iconic albums. He returned to Black Sabbath in 1992 for Dehumanizer, once again anchoring the rhythm section. In the 2000s, he reunited with Iommi, Butler, and Dio under the Heaven & Hell name, performing with them until Dio’s passing in 2010.
Ian Gillan
Ian Gillan’s tenure as Black Sabbath’s vocalist from 1982 to 1984 remains one of the most unexpected chapters in the band’s history. Best known as the frontman of Deep Purple, Gillan joined Sabbath for Born Again (1983), an album that took a rawer, more aggressive approach. While his bluesy, wailing vocal style differed from his predecessors, he delivered energetic performances on tracks like Trashed and Disturbing the Priest.
Despite the album gaining a cult following, Gillan’s time with the band was short-lived. He left in 1984 to rejoin Deep Purple, making Born Again his only studio recording with Sabbath. His stint with the band remains a fascinating and divisive moment in their history.
Bev Bevan
Bev Bevan, best known as the drummer for Electric Light Orchestra, joined Black Sabbath in 1983, filling in for Bill Ward during the Born Again tour. His style was noticeably different from the band’s usual drummers, leaning more toward rock than heavy metal.
While he primarily served as a touring drummer, he contributed percussion to reissued bonus tracks of Born Again and played on two songs from The Eternal Idol (1987). His time in Sabbath was brief, and he returned to ELO after his tenure with the band.
Ron Keel
Ron Keel was briefly considered as Black Sabbath’s vocalist in 1984, during a period of instability within the band. Having fronted the band Steeler, Keel’s involvement with Sabbath was short-lived, as they ultimately chose Glenn Hughes as their new singer instead.
Keel went on to form his own band, Keel, which found success in the glam metal scene of the 1980s. His connection to Sabbath remains an interesting footnote in the band’s long and complex history.
David Donato
David Donato briefly joined Black Sabbath in 1984, rehearsing with the band and participating in a photo shoot, but he was dismissed before recording any material. His time with the band was fleeting, and he never appeared on an official release. Donato later distanced himself from the music industry and passed away in 2021.
Jeff Fenholt
Jeff Fenholt’s involvement with Black Sabbath has been a topic of debate. He claimed to have worked with Tony Iommi in 1985 on early versions of what would become Seventh Star, but Iommi later denied that Fenholt was ever an official member.
After his alleged time with Sabbath, Fenholt left the rock world and became a Christian evangelist. He passed away in 2019.
Eric Singer
Before gaining fame as the drummer for KISS, Eric Singer played with Black Sabbath from 1985 to 1987. His drumming was featured on Seventh Star (1986) and The Eternal Idol (1987), helping Sabbath transition into a more melodic, polished sound.
Gordon Copley
Gordon Copley briefly played bass for Black Sabbath in 1985, contributing to a single track, No Stranger to Love, on the Seventh Star album. At the time, Seventh Star was intended to be a solo album for Tony Iommi, but the record label insisted on branding it under the Black Sabbath name. Copley’s involvement was minimal, and he did not tour with the band or appear on any other recordings.
Outside of his brief tenure with Sabbath, Copley built a career as a respected session musician, contributing to various rock and pop projects. His time with the band remains a small but notable part of the Seventh Star sessions, marking a transitionary period in Sabbath’s history.
Dave Spitz
Dave Spitz joined Black Sabbath in 1985 and remained with the band through 1987, playing bass on Seventh Star. His style brought a solid, hard-hitting foundation to Sabbath’s evolving sound, fitting well with the more melodic direction the band was exploring at the time. Spitz was part of the touring lineup for Seventh Star, performing alongside Tony Iommi and Glenn Hughes.
After leaving Sabbath, Spitz continued working with various rock and metal acts, including Great White and White Lion. Although he wasn’t part of Sabbath’s classic years, his contributions during this era helped stabilize the band as they experimented with new directions.
Glenn Hughes
Glenn Hughes became Black Sabbath’s lead vocalist in 1985, marking another major shift in the band’s identity. Best known for his work with Deep Purple and Trapeze, Hughes was an unconventional choice for Sabbath, bringing a more soulful and bluesy vocal style to Seventh Star. His powerful voice gave the album a distinct sound, but his tenure with the band was short-lived.
Hughes’ time in Sabbath was troubled, as he struggled with substance abuse during the Seventh Star tour. He was ultimately replaced by Ray Gillen after only a handful of shows. Despite this, Hughes recovered and went on to have a successful solo career, later forming Black Country Communion and continuing to perform as one of rock’s most revered vocalists.
Ray Gillen
Ray Gillen joined Black Sabbath in 1986, replacing Glenn Hughes on vocals after the Seventh Star tour began. Though he never recorded a full studio album with the band, he played a significant role in Sabbath’s live performances during this time. Gillen’s voice was powerful and versatile, making him a strong fit for both the new material and classic Sabbath songs.
He worked with the band on early demos for The Eternal Idol, but before the album was completed, he left to form the band Badlands. Some of his recordings surfaced as bonus tracks on later reissues of The Eternal Idol and Seventh Star. Gillen passed away in 1993, but his brief time with Sabbath remains an interesting chapter in the band’s ever-changing history.
Tony Martin
Tony Martin joined Black Sabbath in 1987 and became the band’s longest-tenured vocalist after Ozzy Osbourne. His debut album, The Eternal Idol, showcased his impressive vocal range and ability to adapt to Sabbath’s evolving sound. Over the next decade, he would record five studio albums with the band, including Headless Cross and Tyr, both of which became fan favorites among those who followed Sabbath’s post-Dio years.
Martin’s era was marked by a more melodic and gothic approach to metal, with his voice lending a dramatic, operatic feel to the music. Although his contributions are often overshadowed by Sabbath’s more famous lineups, he remained a key figure in the band’s later years. He was dismissed in 1991 to make way for the Dio-fronted Dehumanizer, but returned in 1993 for Cross Purposes and stayed until 1997.
Cozy Powell
Cozy Powell became Black Sabbath’s drummer in 1988, bringing his legendary hard-hitting style to the band. A veteran of Rainbow, Whitesnake, and Jeff Beck’s band, Powell’s drumming on Headless Cross and Tyr gave Sabbath a renewed sense of power and precision. His contributions were crucial in shaping the more theatrical and epic sound of this era.
Powell left the band in 1991 but returned in 1994 to record Forbidden. Sadly, he passed away in 1998, but his time in Sabbath remains one of the highlights of his storied career. His influence on the band’s late ‘80s and early ‘90s sound cannot be overstated.
Neil Murray
Neil Murray joined Black Sabbath in 1988 as the band’s bassist, appearing on Tyr and later rejoining in 1994 for Forbidden. His extensive background in rock and metal, including his work with Whitesnake and Gary Moore, made him a strong addition to the band’s rhythm section. His bass work provided a solid foundation for the more melodic and dramatic sound of the Tony Martin era.
Murray’s time with Sabbath may not have been as high-profile as the Geezer Butler years, but he remained an essential part of the band’s late-period lineup, contributing to their touring and recording efforts. He left in 1997 as Sabbath transitioned back toward their original lineup.
Bobby Rondinelli
Bobby Rondinelli took over drumming duties for Black Sabbath in 1993, replacing Cozy Powell. His first major contribution was on Cross Purposes, where his hard-hitting, technical style gave the album a sharper, more aggressive feel. He also played on Cross Purposes Live, showcasing his ability to handle both the new material and classic Sabbath songs.
Rondinelli stayed with the band until 1997 before moving on to other projects, including working with Blue Öyster Cult and Rainbow. His time in Sabbath was relatively brief but played an important role in keeping the band’s momentum going in the mid-1990s.
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(Image credit: Michael Ochs Archives/Getty Images)
Fifty years ago, electronic music got a new beat when Tangerine Dream released Phaedra. The pioneering German group’s fifth studio album saw the Berliners relocate to the English countryside, and its motorik grooves played a key role in what was being defined as krautrock. In early 2024, to celebrate the album’s 50th anniversary, Prog told the story behind one of the greatest experimental electronic albums of all time, its legacy and the synthesiser that informed its sound.
November 1973. Frayed bell-bottoms were the height of fashion; Pink Floyd culminated their Dark Side Of The Moon tour and the Mariner 10 spacecraft blasted off on a mission to send back the first-ever photos of Mercury to an eagerly awaiting Earth. Meanwhile, in the little Oxfordshire village of Shipton-on-Cherwell, three visionary musicians armed with cutting-edge technology were about to alter the musical landscape forever. Edgar Froese, Peter Baumann and Christopher Franke – otherwise known as Tangerine Dream – flew from Berlin in Germany to Richard Branson’s The Manor to record an album that would change their lives and that of the many people who would hear it. It was a record that was to achieve great things, blowing minds with its sheer invention and inspiring decades of electronic music.
For Branson, it was a propitious time. Virgin Records was in the second year of its existence and riding high on the phenomenal success of Mike Oldfield’s Tubular Bells. The label’s mail order service was in full swing, providing fans in England with advance access to the cream of American imports. Never one to rest on his laurels, the entrepreneur had travelled in person to Germany to recruit his latest act.
By the time they signed to Virgin, Tangerine Dream had already released four albums via German experimental label Ohr. They’d also undergone multiple changes in personnel, with founding member Edgar Froese the only constant. For their previous two long-players, however, Zeit (1972) and Atem (1973), they’d settled on what is now considered their classic line-up.
(Image credit: Virgin Records)
Froese was the group’s creative powerhouse and polymath; an instinctive musician who’d also studied painting and sculpture at the Berlin Academy of Arts. On tour in Spain with his first band, The Ones, Froese had performed a special concert for the surrealist painter Salvador Dalí. It was a meeting that infused him with a passion for experimentation. Returning to Germany, he formed Tangerine Dream in 1967 with a long-since forgotten line-up of Lanse Hapshash (drums), Kurt Herkenberg (bass), Volker Hombach (sax, violin, flute) and Charlie Prince on vocals. By the time Christopher Franke joined in 1971, after a stint as drummer for The Agitation – later renamed Agitation Free – Steve Jolliffe, Klaus Schulze and Conrad Schnitzler had all passed through the band’s ranks.
Peter Baumann also came on board that year, at the crucial point when the band were shifting from guitars to electronics. For Baumann, a career in music was never planned.
“Oh, no, not at all,” he admits. “Everything that happens in my life is an accident. And it was a very simple story: I had a buddy in school, and we were just chatting. He said, ‘I’m playing in a band, why don’t you come along and listen?’ So I went. They had a bass player, guitar player, vocalist and drummer, but no keyboard. So I said, ‘Why don’t I go on keyboards and join you?’ And that was it.”
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Primarily a covers band, this was a good experience for Baumann, but not fulfilling. It was another accident of fate, a chance meeting, that initially led to his involvement with Tangerine Dream.
“I was at a concert – Emerson, Lake & Palmer,” he recalls. “They started late, so I began to talk to the folks behind me. There was a guy with long, dark hair named Christopher. We were chatting about what we were doing. He said he played in a band. I said, ‘I do some experiments with music as well.’”
Bonding over a shared love of instrumental records, the two exchanged details and, a week later, Baumann received a note from Franke urging him to get in touch as they were looking for a new keyboard player.
“So I called up,” recalls Baumann, “and about a week later, they invited me to bring my keyboard and meet them at a rehearsal room. The rest is history.”
Over their following two albums, Zeit and Atem, Tangerine Dream set about exploring new sounds.
“The music was evolving, intuitively,” says Baumann. “You’re always trying new things and you say, ‘Hey, that seems to work’, but we never really discussed the music much. It was more like: have a good joint and then start playing.”
(Image credit: Eastgate Music And Arts Archive Berline/Monique Froese)
With Phaedra, however, that changed.
“The major difference was that it was the first record where we had a Moog synthesiser,” remembers Baumann. “That was very unique at the time, and it really set the flavour for the main piece.”
The synthesiser in question came to the group via an unusual path. Sometime in 1969, The Rolling Stones had purchased a complete modular system from Moog, one of the very first commercially available. The Stones’ experiments with the nascent technology ultimately led nowhere. Dissatisfied, they sold their equipment to the Hansa Studio in Berlin, an establishment that would later become famous through its use by David Bowie, Iggy Pop and others. Back in 1973, Hansa accepted an offer for the Stones’ old Moog from Tangerine Dream’s Christopher Franke. A bargain at only $15,000 – an equivalent of about £90,000 in today’s money.
Franke paid for the Moog using the band’s advance from Virgin. Baumann recalls how the group’s contract with Branson’s company came about.
“He [Branson] was looking for bands. And I think it was Simon Draper [Virgin Records co-founder] who told him there were a few bands in Germany – Faust, Can and Tangerine Dream – that he should check out. So he came to Berlin. We got along famously, and he made us an offer.”
Fast-forward to November, 1973 when the group decamped to Oxfordshire and set up home in The Manor.
“We recorded pretty well in Germany,” says Baumann, “but The Manor studio was a whole different ball game. We had a really nice 16-track machine and really good outboard gear. It was a beautiful facility. For three weeks we got in there and recorded Phaedra.”
It was a record that grew organically.
“We never had any clear idea of what we were going to do,” stresses Baumann. “There was one commonality – that is we would start very, very simply and see what happened. Even in live concerts we started from one note and then developed from that one note. That was the only thing that we ever discussed.”
Tangerine Dream’s influences at the time came largely from fellow sonic experimenters.
“We listened to a lot of instrumental music,” recalls Baumann. “Stockhausen and Ligeti – a lot of classical composers who did very experimental things.”
Born in 1928, German composer Karlheinz Stockhausen was an early innovator in electronic music. Nearly 20 years before Phaedra was realised, his pioneering Gesang Der Jünglinge had mixed human voices with electronically generated pulses, tones and white noise. Around the same time, Transylvania-born György Ligeti had begun utilising micropolyphony – dense lines of sound moving at varying tempos and rhythms.
“From the popular bands,” says Baumann, “we listened to Pink Floyd’s Ummagumma and then The Dark Side Of The Moon. The instrumental sections – they were our favourites.”
(Image credit: Eastgate Music And Arts Archive Berline/Monique Froese)
The genius of Froese, Baumann and Franke, based largely on instinct, lay in combining these disparate elements into a wholly original model. Even during recording, they had no idea how Phaedra would sound in its final form.
“We recorded quite a bit,” explains Baumann, “and a lot of it was junk that we threw out. But obviously [the title track] worked very well, and so we refined it a little bit in the studio. It’s not a live situation, so in the studio we could do some overdubs.”
It was a process of going back and forth between the three.
“We never discussed the music; we’d just say, ‘I like it’, or ‘I don’t like that.’ So, you know, it was a collaboration on many different levels, and it was extremely intuitive. There was, especially with Phaedra, never any fighting or disagreements or anything like that. It was really a very instinctual and homogeneous collaboration.”
According to Baumann, the novel environment they found themselves recording in helped to shape the music.
“In hindsight, it was a much better atmosphere. We enjoyed being in the country; The Manor was a great facility and we loved being there. And we’d never before worked three weeks in a row. Although I was, at the time, 19 or 20 years old. I wasn’t paying much attention to the bigger picture.”
Even when things were going well, the band had no sense that the Phaedra project would amount to their largest success to date.
“We just knew that we liked it,” says Baumann. “I mean, there was really no comparison. It was so unique. Nobody else was doing anything like that. We just enjoyed it. And we thought it was cool. Very cool.”
The lengthy sessions were not without their challenges. Speaking in an interview for Mark Prendergast’s comprehensive study of electronic music, The Ambient Century (2000), Edgar Froese confirmed:
“Technically, everything that could go wrong did go wrong. The tape machine broke down, there were repeated mixing console failures, and the speakers were damaged because of the unusually low frequencies of the bass notes.”
Frequent power cuts added to the band’s woes. A miners’ strike was in full swing and commercial users of electricity were prohibited at certain times. To further complicate matters, incessant rain found its way in through the roof of the old building, leading to a mass scramble to protect precious instruments and equipment by binding it in plastic sheeting. A particular low point occurred when Froese witnessed the Manor’s resident Irish wolfhound amble in, raise its leg, and urinate against the band’s Mellotron.
Despite these travails, staff at The Manor did their best to maintain a good atmosphere, and gradually Phaedra took shape. The band worked long days, beginning mid-morning and toiling on into the small hours. With no presets or writeable memory, setting up the Moog alone proved to be time-intensive. The results, though, were worth it. The synthesiser’s driving arpeggiated bass line provided a stunning bedrock for the group to build on, using Mellotron, guitars and electric piano to construct a hypnotic, layered soundscape. A quirk of the new equipment was its extreme sensitivity to heat: when the Moog warmed up, it also went out of tune. The trio used this to their advantage, letting the Moog have its way and incorporating the results into the title track.
(Image credit: Cherry Red)
The finished album was released in the UK on the February, 20 1974 and, to the average listener, Phaedra must have sounded like a broadcast from an alien planet. The title track alone proved a revelation. Occupying the entirety of side one, Phaedra itself builds from an uneasy synth bubbling, gradually coalescing into a hypnotic, polyrhythmic entity, shifting like a kaleidoscope through multicoloured clouds of Mellotron tones. The three tracks comprising side two, Mysterious Semblence At The Strand Of Nightmares, Movements Of A Visionary and Sequent ‘C’ form something of space rock symphony, taking the listener on a beguiling journey to strange, distant galaxies. Phaedra provided music that seeped into the soul. Nothing quite like it had invaded the UK’s airwaves and bedrooms before.
Not surprisingly, some responses from critics were openly hostile, including an infamous diatribe from Melody Maker’s Steve Lake, who described the record as “gutless and spineless, devoid of inspiration” Despite such vitriol and spurred on by exposure from far-sighted radio DJs such as John Peel, Phaedra gradually grew into something of a phenomenon. In a wonderful bit of poetic justice, it broke Melody Maker’s own Top 10. Baumann was as surprised as anyone by the record’s success.
“It was very funny – a week or two after it came out, I was in Italy with a girlfriend and I got a telegram from Richard [Branson] saying, ‘You have to come to London, your record is in the Top 10.’ I thought, what is he talking about? I had no idea, so I called him, and he said, ‘No, no, Peter, it’s in the Melody Maker Top 10.’ And so I went to London to do a ton of interviews.”
It was an astonishing feat for such a radical record.
“We were a totally experimental band,” says Baumann. “We weren’t rock, we weren’t pop, and we played for relatively small audiences in Germany. We didn’t even sell a lot of records in Germany. Atem and Zeit sold maybe a couple of thousands, maybe 10,000 – we never sold much in the beginning. So, I had no expectations. I was totally surprised and, you know, it was a life-changing event.”
Phaedra hit No.15 on the UK album chart, proving the critics wrong and opening the floodgates to a surge of interest in the new music coming from across the English Channel. Kraftwerk’s Autobahn, released in the UK a few months later, reached No.4 on the UK album charts and listeners soon sought out ambitious sounds from other radical German groups such as Faust, Can and Amon Düül II.
Phaedra’s success propelled Tangerine Dream to a new level of celebrity.
“I think we took it pretty much in our stride,” reflects Baumann. “The first time it hit me was when we did a couple of concerts after the album got successful: the first was in London [at Victoria Palace Theatre on June 16, 1974]. There were thousands of people there and that was kind of stunning. It just hit me: oh my God, there are actually people liking it!”
It was the first time that the band encountered their UK fans face to face. They knew that Phaedra was selling well, but experiencing the adoration close up was a shock.
“In a live setting,” says Baumann, “it’s really a completely different ball game. And it really hits you that thousands of people are spending their time and money to come to hear you. That was unique.”
For him, the album was a personal turning point, one where he began to understand that a long-time career in music was possible.
“I didn’t plan anything,” he muses. “I just did what I enjoyed doing and they [Froese and Franke] seemed like a couple of cool people to travel with, hang out with, and make music with. And, you know, there was no way that I could have planned making a living off of it.”
After Phaedra, though, music became a full-time job.
“You settle in,” says Baumann, “and then you do the next record, and you do a tour here and a tour there. Then we went to America and did tons of interviews. It became a lifestyle.”
The three young musicians adapted well, their natural level-headedness a solid anchor against the strains and excesses of the business.
“It wasn’t that difficult,” Baumann recalls. “You know, Tangerine Dream was not about personalities. None of us was a star or a special person. It was always the music that was front and centre. We had some groupies and stuff, but it was never as wild and crazy as with some of the rock bands.”
(Image credit: Virgin Archive)
Phaedra sits proud among the many fine entries in Tangerine Dream’s extensive discography, and its influence has never dimmed.
“I think one of the reasons,” says Baumann, “is that it was one of the first electronic records and it became kind of a landmark for a lot of other folks. The difference with Phaedra is that it’s more like an interior experience rather than an exterior experience, where people jump up and down, screaming, at a rock concert. It has a very different atmosphere that lends itself very well for people to listen at home with headphones.”
It’s an album tied to the uniqueness of the time of its genesis. The newness of the technology and the set-up of the music business created perfect conditions for such an album to seep into the public consciousness.
“Yeah, it’s a very different ball game now,” Baumann reflects, “and also the distribution is very different. Everything is much more fast-paced. If you would release a record like Phaedra today, it would not be noticed, or very little.”
The ubiquitous access to music, he argues, has to some extent lessened its special aura.
“Back then there were no computers and music was a much more important part of people’s lives than today.”
In the 1970s, especially in Germany, experimentation within popular music was rife. Bands were moving away from the ubiquitous three-minute verse-chorus song with a traditional drums, guitar and bass set-up towards a more inward-looking sound.
“I think it’s the German mentality, you know,” Baumann reflects. “Over the years there have been very, very few real rock bands, you know. They had their pop music, but testosterone-driven rock music, that just was not a German thing. You had the Scorpions at the time, and maybe one or two other bands, but I think Germans, they live more in their heads than in their guts.”
Phaedra is a landmark of such cerebral, transformative music and, half a century on, it continues to resonate. And Baumann continues to be surprised by its enduring popularity.
“Here we are 50 years later doing an interview. And yeah, I didn’t think that it would last that long,” he admits.
As with any long-lived band, Tangerine Dream have drifted in and out of prime focus but have never ceased to be relevant.
“There are phases when it’s more noticeable,” he agrees, “and then less – it goes through waves.”
For Baumann, it’s been a long journey with plenty of high points. “Playing the Royal Albert Hall [in April 1975] was obviously something you don’t forget,” he says. “Also Reims Cathedral [France, 1974] and New York City [on several occasions].”
Of playing live, he admits, “It’s like sex. Sometimes it’s the best thing in the world. And sometimes it’s just something that you have to do. But it’s always better doing it than not!”
And was Phaedra the album that started it all?
“I don’t listen to it very often,” he confesses, “but when I do, you know, it’s really timeless. It was always in its own world; it didn’t fit into any category.”
Legions of fans would surely rush to agree.
Chris Wheatley is an author and writer based in Oxford, UK. You can find his writing in Prog magazine, Vintage Rock, Longreads, What Culture, Songlines, Loudwire, London Jazz News and many other websites and publications. He has too many records, too many guitars, and not enough cats.
“Carry on Wayward Son” has been a cornerstone of the Kansas catalog for decades. But it has also found an interesting place in pop culture, including being used as featured music leading up to the newest season of Amazon Prime’s crime thriller Reacher, which premiered this week (Feb. 20).
The ties between Kansas and the program go back to the first season, when chief detective Oscar Finlay pulled out a CD from his collection, while traveling as a passenger with series namesake, Jack Reacher. “Best opening of any rock song ever,” Finlay comments as the famous a capella vocal introduction begins to play through the car stereo. “What are you doing?” Reacher asks Finlay, who air drums as the song continues to build. “I gotta say, my guys don’t get their due. They can rock out,” he replies.
Hear Kansas’ ‘Carry on Wayward Son’ in the ‘Reacher’ Trailer
The a capella vocal intro came about very naturally, Kansas guitarist and co-founder Rich Williams shares in an upcoming interview on the UCR Podcast. “I don’t know whose idea it was, but it was a unanimous decision as we were doing the vocal tracks, ‘This needs to be at the beginning. It just make perfect sense,'” he remembers, adding that they quickly recognized they had something special on their hands. “Listening to the whole album, that’s when it really hit us. ‘This is a game changer, this record.’ It was obvious that ‘Carry on Wayward Son’ was going to be a hit. We were really happy with it. We knew that finally, after three albums, our fourth album, this could make a big difference.”
The Birth of ‘Carry on Wayward Son’
The sessions for Leftoverture, the group’s fourth album, had begun with the band facing a bit of a crisis — they didn’t have songs ready to go because of their constant road work and vocalist Steve Walsh was also dealing with writer’s block. The album got its title from the sprawling epic “Magnum Opus,” which had the working name of “Leftoverture.” It earned that tag, having been assembled from pieces of music the group had come up with at soundchecks as well as some leftover bits from their previous album, Masque.
Guitarist Kerry Livgren ultimately penned five of the eight songs on Leftoverture — with “Carry on Wayward Son” being a last-minute arrival.”We were in rehearsals in Topeka and finishing up working on the material which was going to be on what was to become Leftoverture,” Williams details. “The last song to come in was ‘Wayward Son,’ on the last day. We didn’t really have much of it. We didn’t run through it and it wasn’t arranged in the form that it is now, verse, chorus, etc. It wasn’t until we got into the recording process [that we finally finished it].”
“It was kind of an assembly line. You’re working on getting bass and drum tracks and you go through all of the material,” he continues. “Then, you have keyboard days, guitar days and vocal days, working from song to song. At the end of cutting the basic tracks, we needed to get on with that new song, because we’d finished everything else. That’s when we arranged it, learned it and started rolling tape. Really, that version is probably the first time we played it correctly.”
Reacher is just the latest moment in the spotlight for “Carry on Wayward Son,” which was famously featured previously throughout 15 seasons of the drama Supernatural between 2005 and 2019. The band also performed the song in a scene from the contemporary western crime drama, Walker. The AEW wrestling team, the Elite, used it as their entrance music in recent years — and you can even discover what it might sound like if South Park’s Cartman handled the vocals, thanks to Instagram.
“It’s becoming normalized,” Williams says. “I’ll get a call from Phil, ‘What do you think about it being in this next show?’ It’s like, how many shows is this going to be in? It’s used so frequently! I learned a few months ago that it was going to be part of the season 3 preview for Reacher, but I didn’t watch it. I waited until me and my wife finally finished watching the first two seasons. Then, I watched the trailer and they did such a great job with the way they used it. I’m amazed that a song that is over 40 years old is still so relevant.”
The band finished off their long-running 50th anniversary tour at the end of 2024. Though current vocalist Ronnie Platt recently shared that he’s battling thyroid cancer, he’s keeping a positive outlook and the group is looking forward to getting back on the road. Kansas has concerts scheduled throughout 2025 including a run of summer co-headlining dates with 38 Special.
Watch Kansas Perform ‘Carry on Wayward Son’ Live in 2024
Kansas Albums Ranked
These American progressive rock heroes went on a dramatic career arc.
This list explores ten of the best songs with “do” in the title, each one showcasing the versatility of the word and the energy it brings to rock and roll. The Beatles laid the foundation for this list with “Love Me Do,” a harmonica-driven debut that introduced the world to their signature sound. Peter Frampton turned the phrase into a euphoric, extended jam on “Do You Feel Like We Do,” a live track that captured the essence of ‘70s arena rock. Steely Dan fused jazz sophistication with sharp lyricism on “Do It Again,” crafting a song about self-destruction disguised as a smooth groove. Hall & Oates took a more introspective route with “Do What You Want, Be What You Are,” delivering a soulful meditation on authenticity. The Police injected their signature reggae-infused rock into “De Do Do Do, De Da Da Da,” using nonsense lyrics to critique the manipulation of language.
ABBA’s “I Do, I Do, I Do, I Do, I Do” leaned into old-school romance, channeling the charm of 1950s pop with layered harmonies and sweeping melodies. The Temptations brought effortless soul to “The Way You Do the Things You Do,” using playful metaphors to turn a love song into a masterclass in vocal harmony. Billy J. Kramer put a British Invasion spin on “Do You Want to Know a Secret,” giving a Lennon-McCartney composition a fresh, heartfelt delivery. Led Zeppelin stripped away the bombast for the acoustic-driven “Hey, Hey, What Can I Do,” a rare B-side that told a melancholy tale of love gone wrong. B.T. Express, meanwhile, used funk as a command with “Do It (‘Til You’re Satisfied),” a dancefloor staple that left nothing to the imagination.
# 10 – Do What You Want, Be What You Are – Hall & Oates
Hall & Oates released “Do What You Want, Be What You Are” as the lead single from their fifth studio album, Bigger Than Both of Us, in 1976. The song was recorded at Cherokee Studios in Hollywood, California, with Christopher Bond serving as producer. The album, which arrived in August of that year, would later be best remembered for the duo’s first No. 1 hit, “Rich Girl,” but “Do What You Want, Be What You Are” played a pivotal role in showcasing their evolving sound—a blend of rock, blue-eyed soul, and introspective songwriting.
The Police recorded “De Do Do Do, De Da Da Da” for their third studio album, Zenyatta Mondatta, which was released on October 3, 1980. The track was recorded at Wisseloord Studios in the Netherlands and produced by Nigel Gray alongside the band. Featuring Sting on bass and lead vocals, Andy Summers on guitar, and Stewart Copeland on drums, the song became one of The Police’s most recognizable hits. It was released as the second single from Zenyatta Mondatta and achieved commercial success, reaching No. 10 on the Billboard Hot 100 and No. 5 on the UK Singles Chart.
“Do It (‘Til You’re Satisfied)” is a funk and disco track by B.T. Express, released on August 27, 1974, as the lead single from their debut album of the same name. The song was written by Billy Nichols and produced by Jeff Lane and Trade Martin. It features a distinctive handclap intro and a spoken interlude, contributing to its suggestive theme of indulgence and satisfaction. The track achieved significant commercial success, reaching number one on the U.S. R&B singles chart and number two on the Billboard Hot 100. It also peaked at number eight on the disco/dance charts. The album itself was certified Gold by the RIAA on March 6, 1975, for selling over 500,000 copies in the United States. “Do It (‘Til You’re Satisfied)” has been featured in various media, including the 2006 film “Invincible,” and was sampled in the 2002 song “Addictive” by Truth Hurts featuring Rakim
# 7 – The Way You Do The Things You Do – The Temptations
“The Way You Do the Things You Do” is a 1964 hit single by The Temptations for the Gordy (Motown) label. Written by Miracles members Smokey Robinson and Bobby Rogers, the single was the Temptations’ first charting single on the Billboard Hot 100, peaking in the Top 20 at number eleven; it also went to number one on the Cash Box R&B chart. The song was recorded at Hitsville USA (Studio A) on January 9, 1964, and released on January 23, 1964. It features Eddie Kendricks on lead vocals, with Melvin Franklin, Paul Williams, Otis Williams, and David Ruffin providing background vocals. The instrumental backing was provided by Motown’s house band, The Funk Brothers.
How could we leave this one off the list? It’s five Do’s for the price of one. The track was recorded on February 21, 1975, at Glen Studio in Stockholm. It was written by Benny Andersson, Björn Ulvaeus, and Stig Anderson, with production handled by Andersson and Ulvaeus. The song features Agnetha Fältskog and Anni-Frid Lyngstad on lead vocals, Björn Ulvaeus on guitar and backing vocals, Benny Andersson on keyboards and backing vocals, Lasse Wellander on guitar, Mike Watson on bass, Roger Palm on drums, and Ulf Andersson on saxophone.
Upon its release, “I Do, I Do, I Do, I Do, I Do” achieved significant international success. It topped the charts in Australia, Switzerland, and South Africa, and reached the top five in countries like Norway, Belgium, the Netherlands, and Austria. In the United States, the song peaked at number 15 on the Billboard Hot 100 in early 1976. However, it had a more modest performance in the United Kingdom, reaching only number 38 on the charts. The song’s popularity was notably boosted in Australia due to a promotional music video aired on television, which played a significant role in igniting “ABBA-mania” in the country.
Lyrically, the song revolves around themes of love and commitment, with the repetitive “I do” in the chorus emulating wedding vows. This romantic theme, combined with its upbeat melody, has made it a popular choice at weddings and celebratory events. The song’s enduring appeal is evident, as it was prominently featured in the 1994 film “Muriel’s Wedding,” underscoring its lasting impact on popular culture.
Led Zeppelin recorded “Hey, Hey, What Can I Do” during sessions for Led Zeppelin III in 1970. The song was released on November 5, 1970, as the B-side to “Immigrant Song”, making it the only non-album track the band released during their active years. It was recorded at Headley Grange using the Rolling Stones Mobile Studio and later completed at Olympic Sound Studios in London. While Led Zeppelin III featured a more acoustic, folk-inspired direction compared to their earlier records, “Hey, Hey, What Can I Do” was left off the final album and initially only available as a single in the U.S.
“Do It Again” was released in November 1972 as the lead single from their debut album, Can’t Buy a Thrill. The track was recorded in August 1972 at The Village Recorder in Santa Monica, California. Written by band members Walter Becker and Donald Fagen, and produced by Gary Katz, the song features Donald Fagen on lead vocals and electric piano, Denny Dias on electric sitar, Jeff Baxter on guitar, Walter Becker on bass guitar, Jim Hodder on drums, and Victor Feldman on percussion. Upon its release, “Do It Again” achieved significant commercial success, reaching number 6 on the US Billboard Hot 100 chart in 1973.
“Love Me Do” stands as a significant milestone in The Beatles’ illustrious career, marking their debut single released on October 5, 1962. This track not only introduced the world to the songwriting prowess of John Lennon and Paul McCartney but also set the stage for the band’s meteoric rise in the music industry.
The song’s origins trace back to 1958 when a young Paul McCartney, then around 16, composed it during his school years. John Lennon later contributed to the middle eight section, enriching its harmonic structure. Musically, “Love Me Do” is characterized by its straightforward three-chord progression and the prominent harmonica riff played by Lennon, which became a distinctive feature of the track. The vocal harmonies between Lennon and McCartney, combined with the song’s bluesy undertones, showcased a fresh sound that differed from the mainstream pop tunes of that era.
The recording history of “Love Me Do” is particularly noteworthy due to the involvement of three different drummers. The initial session on June 6, 1962, featured Pete Best on drums; however, this version remained unreleased until it appeared on the “Anthology 1” compilation in 1995. Following Best’s departure from the band, Ringo Starr took over the drums during the September 4, 1962, recording session. Producer George Martin, seeking a more polished sound, enlisted session drummer Andy White for a subsequent session on September 11, 1962, relegating Starr to tambourine duties. The version with Starr on drums was used for the initial UK single release, while the take featuring White was included on the debut album “Please Please Me” and later pressings of the single.
Upon its release, “Love Me Do” achieved modest success in the UK, peaking at number 17 on the charts. Its reception, however, was a catalyst for The Beatles’ burgeoning popularity. When the track was released in the United States in 1964, amidst the height of Beatlemania, it soared to the number one spot on the Billboard Hot 100 chart, underscoring the band’s international appeal.
The song’s enduring legacy is evident, as it has been covered by numerous artists over the decades and remains a staple in The Beatles’ discography. Its raw and authentic sound continues to resonate with audiences, symbolizing the humble beginnings of a band that would go on to revolutionize music.
“Do You Feel Like We Do” comes in at the number one spot on this list. I mean how could it not? The song was originally featured on his 1973 album Frampton’s Camel. The track was co-written by Frampton alongside band members Mick Gallagher, Rick Wills, and John Siomos. While the studio version runs approximately 6 minutes and 44 seconds, it was the live rendition on the 1976 album Frampton Comes Alive! that garnered widespread acclaim, extending over 14 minutes and showcasing Frampton’s innovative use of the talk box effect. This live version became a defining moment in Frampton’s career, contributing significantly to the album’s success.
Turner paid tribute to his former collaborator in a Facebook post. “The passing of Karl Cochran is an unbelievable loss not only to me but to the music world in general,” he wrote. “Karl was an extremely talented guitar player and writer. He collaborated with some of the biggest names in rock.”
He added: “Karl’s passing is our misfortune because he brought technical skill mixed with soulful artistic delivery through his music. Everyone who knew him personally and to anyone who heard his passionate performances, live or on record, can easily recognize greatness and expertise in his playing.”
How Karl Cochran Landed Gigs With Joe Lynn Turner and Kiss
Cochran’s rock ‘n’ roll career took off in 1992, when he met Turner while living and working in Los Angeles. He joined Turner’s band and contributed to several of his solo albums over the years.
Two years later, Cochran auditioned to play bass in Ace Frehley‘s band after much cajoling from friends and musical associates. He got the gig and toured extensively with Frehley from 1994 to 1996. Cochran and Frehley cowrote “Into the Void,” which appeared on Kiss’ 1998 reunion album Psycho Circus.
The Kiss associations didn’t stop there. In the late ’90s, Cochran toured with the Eric Singer Project, which also featured former Kiss guitarist Bruce Kulick and former Motley Crue vocalist John Corabi. He also played on their 1998 classic rock covers album Lost and Spaced. Following his ESP stint, Cochran revived his own band Voodooland, releasing a self-titled EP in 2000 and a full-length album titled Give Me Air in 2004.
Cochran suffered a stroke in 2014 that left him in a coma and affected his mobility and verbal skills, but he stayed active in music as he recovered. Turner noted that Cochran “fought long and hard to improve these afflictions and became a skilled engineer and producer in his home studio. Karl was a fighter and never gave up. He was an example of perseverance, positivity and determination for us all.”
Corabi also paid tribute to his former colleague on Facebook, calling him “an amazing guitar player and singer but most of all one of the truly nice guys!!! Karl you will be missed, and deepest condolences to his family, friends, and fans!!!!”
Every world famous artist had to start somewhere. For Jimi Hendrix, that somewhere was Seattle where he started his six-string journey with an old ukulele.
As the story goes, a teenage Hendrix was helping his father clear out the home of an older woman one day. Among the rubbish was a ukulele with only one string that the woman told Hendrix he could have. One string was evidently all the 15-year-old needed to start learning songs like “Hound Dog” by Elvis Presley by ear.
Roughly a year later, Hendrix finally got his hands on his first real guitar, an acoustic that cost him $5 (about $55 in 2025), the exact make and model of which is unclear. “When I first started playing guitar [was] way up in the Northwest, in Seattle, Washington,” Hendirx said in a 1967 interview, citing people like Muddy Waters, Elmore James and Robert Johnson as influences. “They don’t have too many of the real blues singers up there.”
It was around this time, Feb. 20, 1959 to be exact, that Hendrix made his live debut in the basement of a synagogue, Seattle’s Temple De Hirsch, where he had been invited to audition for a local band. But Hendrix’s style proved too animated for their taste and his audition was over just as quickly as it began — the band thought he was too much of a show off.
Before long, Hendrix formed his own group, the Velvetones, but soon figured out that his acoustic guitar wasn’t going to cut it.
Jimi Hendrix Plugs In
“When I was 17 I formed this group with some other guys, but they drowned me out,” he would say to Guitar Player in 1968 (via The Guardian). “I didn’t know why at first, but after about three months I realized I’d have to get an electric guitar. My first was a Danelectro, which my dad bought for me. Must have busted him for a long time. But I had to show him I could play first.”
Hendrix, of course, wound up doing exactly that.
“Dear Dad, I still have my guitar and amp and as long as I have that, no fool can keep me from living,” he wrote in a letter to his father in 1965. Hendrix was then living in New York City and playing guitar in various bands. “There’s a few record companies I visited that I probably can record for. … I just wanted to let you know I’m still here, trying to make it. Although I don’t eat every day, everything’s going all right for me. It could be worse than this, but I’m going to keep hustling and scuffling until I get things to happening like they’re supposed to for me.”
Hendrix’s collection would expand to include a myriad of guitars, most notably his signature Stratocaster. In 1968, he offered some words of advice to aspiring musicians, guitar players especially: “You have to stick with it. Sometimes you are going to be so frustrated you want to give up the guitar, you’ll hate the guitar. But all of this is just a part of learning, because if you stick with it you’re going to be rewarded.”
Watch Jimi Hendrix Performing in 1965
The Stories Behind All 85 Posthumous Jimi Hendrix Albums
All the official collections of studio outtakes, live records and compilations since the guitar legend’s 1970 death.
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