Web Rock News

10 Classic Rock Covers by Rosanne Cash

Rosanne Cash, a 16-time Grammy nominee, has been around music and musicians her entire life.

The eldest daughter of Johnny Cash, Rosanne Cash started her own musical career when she was still a teenager, dabbling in songwriting and sometimes singing backing vocals for her dad. She released her debut, self-titled album in 1978 and has pretty much not stopped since.

Of course, having a famous parent has its pros and cons, and Johnny Cash is nothing if not a legend in the music industry.

“I tried to avoid it in the early years,” Rosanne Cash said to Billboard in 2010, “because I couldn’t figure out who I was in the glare of that; it was just too enormous. I don’t think it’s that different for any young person, particularly one that enters the same field as their parent. You have to separate to find out who you are. It so happened that my dad cast a very large shadow. I probably pushed away longer than was necessary or gracious. But fortunately, he completely understood that.”

But she’s more than proved herself with four Grammys, 14 albums and multiple charting hits. She’s also well-versed in other artists’ music and has occasionally put her own spin on them. Here are 10 Classic Rock Covers by Rosanne Cash.

1. “Girl From the North Country” by Bob Dylan

Way back in 1969, when Cash was approximately 14 years old, her dad recorded “Girl From the North Country” as a duet with Bob Dylan for the latter’s album Nashville Skyline. Four decades later in 2009, Cash recorded her own version for an album called The List, which also featured guest appearances by Bruce Springsteen, Elvis Costello and Jeff Tweedy. But she was initially hesitant to record the song.

“I told John [Leventhal, The List‘s producer and Cash’s husband] that I can’t do this,” she told Magnet in 2009. “It’s almost sacrilegious. Not only did I have Dad and Bob’s version of it in my head, there’s even TV footage of them doing it, so I had pictures of them doing it, too. So, John said, ‘No, let’s listen to Bob’s original version and approach it that way.’ And Bob’s original version is a classic folk song in the Elizabethan tradition. Also I loved doing it in the folk tradition of the woman singing about another woman. It’s great because it expands the repertoire. I could be singing about my daughter or my sister or my mother. It adds mystery to it, too.”

2. “Hometown Blues” by Tom Petty and the Heartbreakers

In 1996, Johnny Cash released Unchained, the second album in his American Recordings series with Rick Rubin serving as producer. On that album, he was backed mainly by Tom Petty and the Heartbreakers. But many years before that, Rosanne Cash put her spin on a Heartbreakers song called “Hometown Blues” which originally appeared on their debut album in 1976. Cash’s version was placed on 1981’s Seven Year Ache, an album that went to No. 1 on the Billboard country album chart.

BONUS: Cash also recorded a Heartbreakers song called “Never Be You,” which she put on her 1985 album Rhythm & Romance. The Heartbreakers’ own original version would not come out until the 2024 deluxe edition of 1982’s Long After Dark.

3. “I’m Only Sleeping” by the Beatles

In 1995, Cash put out a compilation album titled Retrospective, which pulled material from her 16 years of working with Columbia Records. It contained quite a few covers, including one of the Beatles‘ “I’m Only Sleeping.” Like many songwriters of her generation, the Beatles were a key influence on Cash. “I deconstructed how those songs were written,” she explained to The Bitter Southerner in 2024, “in both rhyme schemes and the way the choruses and the lyrics were set up, and that was the first imprint.”

4. “Magician” by Lou Reed

Cash was given her choice when it came to what she wanted to contribute to 2024’s The Power of the Heart: A Tribute to Lou Reed. She chose a song from her favorite Reed album, 1992’s Magic and Loss, called “Magician.”

“I thought that record [Magic and Loss] was the most beautiful musical meditation on death I’d heard. I went to see him at Radio City when it came out, and he performed the album in sequence. I wept. It was spectacular,” Cash recalled in 2014 for Talkhouse. “He was always so sweet to me. He couldn’t have been more of a gentleman. I saw the other, difficult side of him in glimpses, but he just seemed like a really sensitive guy who hated pretension and who found it intolerable to compromise on anything that was important to him, whether it was the sound of his monitors or the meal he had ordered. I’ll always respect him.”

5. “The Weight” by the Band

In the spring of 2011, a laundry list of acclaimed musicians gathered at Levon Helm‘s studio in Woodstock, New York to record a charity single called “Toast to Freedom.” Cash was on it, along with Donald Fagen, Carly Simon, Kris Kristofferson and many more, plus Helm himself. But that wasn’t the only time Cash and Helm worked together. Below you’ll see them performing the Band‘s “The Weight” along with Larry Campbell, Helm’s daughter Amy, Benmont Tench of the Heartbreakers and others.

6. “This Train Don’t Stop There Anymore” by Elton John

Back in 2016, Cash posted a photo of herself, her husband and oft collaborator John Leventhal and Elton John, writing that she and John had written two songs that day. What became of those songs, we do not know. What we do know is that Cash has been a longtime admirer of John’s, has performed at several of his AIDS Foundation galas and also covered his song “This Train Don’t Stop There Anymore” as a duet with Emmylou Harris.

7. “You Ain’t Goin’ Nowhere” by Bob Dylan and the Band

Both Johnny Cash and Rosanne Cash performed at Dylan’s 30th anniversary concert in New York City in 1992. The former performed “It Ain’t Me Babe” with his wife June Carter Cash, while the latter did a rendition of Dylan and the Band’s “You Ain’t Going Nowhere” as a trio with Mary Chapin Carpenter and Shawn Colvin.

8. “Time” by Tom Waits

In 2019, Cash contributed to the album Come on up to the House: Women Sing Waits, a tribute LP to Tom Waits that featured, along with Cash, Aimee Mann, Patty Griffin, Phoebe Bridgers and more. “What an honor to sing a song like ‘Time,'” Cash said of her cover. “Many years ago, I recorded it just for myself, for the pleasure of singing those words. Maybe I seeded the notion in the deepest part of the creative ether, the place from where these songs travel through Tom. For whatever reason and from whatever source, I’m just thrilled to be a part of this album. There is no other songwriter in the world, past or future, like Tom Waits.”

9. “Things We Said Today” by the Beatles

Here Cash and Joan Osborne offer a beautiful version of the Beatles’ “Things We Said Today.” “I’m still well aware and in touch with the feeling that the Beatles had on me at 10 years old,” Cash said in 2021. “That’s, you know, that doesn’t go away.”

10. “Hello in There” by John Prine

John Prine was a friend to both Cash and her dad. “My dad instantly recognized what a tremendous songwriter John was, but I never saw John get starstruck,” Cash said for Vulture in 2020. “I saw admiration, and I don’t think he lived in that world where he thought about fame or hierarchy. It wasn’t about that — it was about artistry. With my own songwriting, I sometimes think, ‘Would John think this is a good line?’ If it feels self-conscious or pretentious, then my inner Prine meter goes off.”

44 Famous Records You Probably Didn’t Realize Were Covers

Bet you didn’t know somebody else recorded these songs before they got popular.

Gallery Credit: Dave Lifton

How Bad Company Kick-Started Cyndi Lauper’s Career

How Bad Company Kick-Started Cyndi Lauper’s Career
Michael Putland / Kerry Marshall, Getty Images

Cyndi Lauper recalled how Bad Company had a massive effect on her singing career – although the British band may not know it.

Both artists are among the Rock & Roll Hall of Fame’s class of 2025. But as Lauper told Rolling Stone in a recent interview, the musical connection stretches back to when she was getting started.

“My first gig as a lead singer, not a background singer, was singing one of their songs,” she explained. “I always wanted to be a background singer, like Merry Clayton. I just loved Merry Clayton growing up.

READ MORE: Cyndi Lauper on ‘Girls Just Want to Have Fun’ Movie: ‘It Sucked’

“I started to feel like background singers had more freedom than lead singers because you could get to really sing high. It was cool in the background.”

She continued: “I wasn’t good at dancing in platforms, and I used to fall a lot… that helped me learn how to talk to the audience, because if you fall, you gotta say something.

“I got the job to be the lead singer because the manager said, ‘Look, you see that girl in the back who can’t dance, but sings really good? Just make her the lead singer.’”

Remembering the moment, Lauper went on: “I sang a Free song and a Bad Company song… It was at the Boardy Barn in front of 5,000 nickel beer-drinking folks in the Hamptons. I remember being terrified. But as soon as I started swinging that tambourine to the rhythm and singing, that was it. I stepped off the platform, and I was the lead singer.”

Cyndi Lauper Hints at Rock Hall Ceremony Plans

She reported that she had an idea about who might induct her at the Rock Hall ceremony in November, but didn’t offer any details, saying she wasn’t allowed to. Asked which three songs she might perform on the night, she confirmed at least one of her biggest hits would be heard.

“I want to have a super girl band backing me for ‘Girls Just Want to Have Fun.’” she said. “And I don’t mean just singing girls, but a band of motherfuckin’ players who could kick ass. That will be so awesome.”

135 Artists Not in the Rock and Roll Hall of Fame

Many have shared their thoughts on possible induction.

Gallery Credit: Ultimate Classic Rock Staff

More From Ultimate Classic Rock

Complete List Of Poison Songs From A to Z

Complete List Of Poison Songs From A to Z

Feature Photo: : Brandon Nagy / Shutterstock.com

The story of Poison begins in Mechanicsburg, Pennsylvania, where Bret Michaels, Bobby Dall, and Rikki Rockett came together in 1983 under the name Paris. The band’s earliest years were marked by ambition and a raw commitment to the hard rock lifestyle that would define them. After guitarist Matt Smith left the band in 1985, the remaining members relocated to Los Angeles in pursuit of a major record deal and a more vibrant rock scene. It was in California that they completed their classic lineup with the addition of guitarist C.C. DeVille. The group changed their name to Poison, and within a few years, they transformed from small club regulars to MTV mainstays.

Their debut album, Look What the Cat Dragged In, arrived in 1986 and proved to be a surprise commercial success. Initially overlooked by critics, the album’s combination of pop hooks, glam-metal image, and raw energy caught on with a young audience. Songs like “Talk Dirty to Me,” “I Want Action,” and “I Won’t Forget You” helped push the album to triple platinum status. Poison’s image — big hair, makeup, and flamboyant clothes — made them instant icons of the 1980s glam metal movement, whether loved or loathed.

The band followed up their debut with Open Up and Say… Ahh! in 1988, a record that cemented their status as a chart-topping act. The album peaked at number two on the Billboard 200 and delivered their only number one single, “Every Rose Has Its Thorn.” Other hits such as “Nothin’ But a Good Time” and “Fallen Angel” reinforced their popularity. Despite protests over the album’s original artwork, the record’s success continued to grow, eventually reaching five-times platinum status in the United States.

Poison’s third studio album, Flesh & Blood, released in 1990, marked a slight shift in their style, incorporating more serious and reflective lyrics alongside their party anthems. The album featured hit singles like “Unskinny Bop” and “Something to Believe In.” It debuted at number two on the Billboard 200 and sold over three million copies in the U.S., reinforcing their staying power at a time when glam metal was beginning to fall out of mainstream favor. The album showcased a band striving for maturity without abandoning the swagger that made them stars.

By the early 1990s, internal tensions and changing musical trends began to take a toll on the band. C.C. DeVille was fired after a chaotic performance at the 1991 MTV Video Music Awards, and he was replaced by Richie Kotzen for the 1993 album Native Tongue. The record, though musically ambitious and featuring more blues-influenced guitar work, did not match the commercial heights of its predecessors. Kotzen’s tenure was cut short when he was fired for personal reasons and was replaced by Blues Saraceno.

In 1996, Poison reunited with C.C. DeVille and released Crack a Smile… and More!, an album that included recordings with Saraceno and previously unreleased material. The band’s next major commercial move came in the form of a greatest hits package — Poison’s Greatest Hits: 1986–1996 — which re-ignited interest in their catalog and went double platinum. This collection became a staple of their live shows and underscored just how many successful singles they had amassed in a relatively short time.

As the late 1990s gave way to the 2000s, Poison capitalized on a wave of nostalgia. Their 1999 reunion tour was a commercial success, and the band became a regular fixture on summer touring circuits. They released Power to the People in 2000, a combination of five new studio tracks and live cuts from their recent tour. Though it did not chart significantly, it demonstrated the band’s resilience and dedication to creating new music while honoring their past.

Their 2002 studio album, Hollyweird, saw the classic lineup return with a more contemporary take on their sound. The album included the single “Squeeze Box,” a cover of the classic by The Who, and while reviews were mixed, it was clear that Poison remained committed to maintaining their presence in rock music. They followed it with The Best of Ballads & Blues and continued to release compilations and live recordings throughout the decade.

In 2006, Poison celebrated their 20th anniversary with a major tour and the release of The Best of Poison: 20 Years of Rock, which entered the Billboard 200 at number 17 and was certified gold. The album included a new cover of Grand Funk Railroad’s “We’re an American Band,” further expanding their connection to the classic rock world. Poison’s place as a live act remained strong, and their touring schedule continued into the late 2000s with co-headlining tours alongside acts like Def Leppard and Mötley Crüe.

Their seventh and most recent studio album, Poison’d!, was released in 2007 and featured covers of classic rock songs by artists such as David Bowie, Alice Cooper, and Tom Petty. The album was a commercial modest success and marked the band’s last full-length studio release to date. Poison’s ongoing popularity on the road continued to make up the core of their business, and they maintained a steady fanbase through constant touring and a willingness to embrace their legacy.

Over the course of their career, Poison has sold more than 16 million albums in the United States and over 50 million worldwide. Their ability to endure — through changing lineups, shifting musical climates, and decades of touring — speaks to the strength of their early work and the loyalty of their audience. Songs like “Every Rose Has Its Thorn” have become part of the larger rock canon, often referenced in pop culture and covered by a wide range of artists.

Beyond music, frontman Bret Michaels has kept the band in the public eye through solo projects, reality TV appearances, and his work as a philanthropist. His win on Celebrity Apprentice and continued visibility in media have helped introduce Poison’s music to new generations, even as the band itself has largely focused on live performances rather than studio work in recent years.

Poison’s story is not just one of success but of reinvention and survival. They are a band that embraced their image without apology, delivered hooks that defined an era, and weathered storms both internal and external. More than four decades after forming, they continue to tour with their original lineup, offering fans a chance to relive the energy and excess of the glam metal era — with the same passion they had when it all began.

Complete List Of Poison Songs From A to Z

  1. Ain’t That the TruthNative Tongue – 1993
  2. Baby Gets Around a BitCrack a Smile… and More! – 2000
  3. Back to the Rocking HorseOpen Up and Say… Ahh! – 1988
  4. Bad to Be GoodOpen Up and Say… Ahh! – 1988
  5. Ball and ChainFlesh & Blood – 1990
  6. Bastard Son of a Thousand BluesNative Tongue – 1993
  7. Be the OneCrack a Smile… and More! – 2000
  8. Best Thing You Ever HadCrack a Smile… and More! – 2000
  9. Blame It on YouLook What the Cat Dragged In – 1986
  10. Blind FaithNative Tongue – 1993
  11. Body TalkNative Tongue – 1993
  12. Bring It HomeNative Tongue – 1993
  13. Can’t You SeePoison’d! – 2007
  14. Come Hell or High WaterFlesh & Blood – 1990
  15. Cover of the Rolling StoneCrack a Smile… and More! – 2000
  16. Crack a SmileCrack a Smile… and More! – 2000
  17. Cry ToughLook What the Cat Dragged In – 1986
  18. Dead FlowersPoison’d! – 2007
  19. Devil WomanHollyweird – 2002
  20. Doin’ as I Seen on My TVCrack a Smile… and More! – 2000
  21. Don’t Give Up an InchFlesh & Blood – 1990
  22. Emperor’s New ClothesHollyweird – 2002
  23. Every Rose Has Its ThornOpen Up and Say… Ahh! – 1988
  24. Every Rose Has Its ThornCrack a Smile… and More! – 2000
  25. Face the HangmanCrack a Smile… and More! – 2000
  26. Fallen AngelOpen Up and Say… Ahh! – 1988
  27. (Flesh & Blood) SacrificeFlesh & Blood – 1990
  28. Get ‘Ya SomeHollyweird – 2002
  29. God Save the QueenFlesh & Blood – 1990
  30. Good LoveOpen Up and Say… Ahh! – 1988
  31. HollyweirdHollyweird – 2002
  32. HomeHollyweird – 2002
  33. HomeHollyweird – 2002
  34. I Need to KnowPoison’d! – 2007
  35. I Never CryPoison’d! – 2007
  36. I Want ActionLook What the Cat Dragged In – 1986
  37. I Won’t Forget YouLook What the Cat Dragged In – 1986
  38. Just What I NeededPoison’d! – 2007
  39. Lay Your Body DownCrack a Smile… and More! – 2000
  40. Let It PlayLook What the Cat Dragged In – 1986
  41. Let It PlayFlesh & Blood – 1990
  42. Life Goes OnFlesh & Blood – 1990
  43. Life Loves a TragedyFlesh & Blood – 1990
  44. Little WillyPoison’d! – 2007
  45. Livin’ for the MinuteOpen Up and Say… Ahh! – 1988
  46. Livin’ in the NowHollyweird – 2002
  47. Look But You Can’t TouchOpen Up and Say… Ahh! – 1988
  48. Look What the Cat Dragged InLook What the Cat Dragged In – 1986
  49. Love on the RocksOpen Up and Say… Ahh! – 1988
  50. Mr. SmileyCrack a Smile… and More! – 2000
  51. Native TongueNative Tongue – 1993
  52. No Ring, No GetsCrack a Smile… and More! – 2000
  53. Nothin’ But a Good TimeOpen Up and Say… Ahh! – 1988
  54. #1 Bad BoyLook What the Cat Dragged In – 1986
  55. One More for the BoneCrack a Smile… and More! – 2000
  56. Play DirtyLook What the Cat Dragged In – 1986
  57. Poor Boy BluesFlesh & Blood – 1990
  58. Richie’s Acoustic ThangNative Tongue – 1993
  59. Ride Child RideNative Tongue – 1993
  60. Ride the WindFlesh & Blood – 1990
  61. Rock and Roll All NitePoison’d! – 2007
  62. RockstarHollyweird – 2002
  63. Set You FreeCrack a Smile… and More! – 2000
  64. 7 Days over YouNative Tongue – 1993
  65. Sexual ThingCrack a Smile… and More! – 2000
  66. SexyBackPoison’d! – 2007
  67. Shooting StarHollyweird – 2002
  68. Shut Up, Make LoveCrack a Smile… and More! – 2000
  69. Something to Believe InFlesh & Blood – 1990
  70. Something to Believe InFlesh & Blood – 1990
  71. Squeeze BoxHollyweird – 2002
  72. Squeeze BoxPoison’d! – 2007
  73. StandNative Tongue – 1993
  74. Stay AliveNative Tongue – 1993
  75. Strange Days of Uncle JackFlesh & Blood – 1990
  76. Strike Up the BandNative Tongue – 1993
  77. Stupid, Stoned & DumbHollyweird – 2002
  78. Suffragette CityPoison’d! – 2007
  79. Swampjuice (Soul-O)Flesh & Blood – 1990
  80. Talk Dirty to MeLook What the Cat Dragged In – 1986
  81. Talk Dirty to MeCrack a Smile… and More! – 2000
  82. Tearin’ Down the WallsOpen Up and Say… Ahh! – 1988
  83. That’s the Way I Like ItCrack a Smile… and More! – 2000
  84. The ScreamNative Tongue – 1993
  85. Theatre of the SoulNative Tongue – 1993
  86. Tragically UnhipCrack a Smile… and More! – 2000
  87. Unskinny BopFlesh & Blood – 1990
  88. Unskinny BopCrack a Smile… and More! – 2000
  89. Until You Suffer Some (Fire and Ice)Native Tongue – 1993
  90. Valley of Lost SoulsFlesh & Blood – 1990
  91. Want Some, Need SomeLook What the Cat Dragged In – 1986
  92. WastelandHollyweird – 2002
  93. We’re an American BandPoison’d! – 2007
  94. What I Like About YouPoison’d! – 2007
  95. Wishful Thinkin’Hollyweird – 2002
  96. You Don’t Mess Around with JimPoison’d! – 2007
  97. Your Mama Don’t DanceOpen Up and Say… Ahh! – 1988
  98. Your Mama Don’t DanceCrack a Smile… and More! – 2000
  99. Your Mama Don’t DancePoison’d! – 2007

Albums

Look What the Cat Dragged In (1986): 10 songs

Open Up and Say… Ahh! (1988): 11 songs

Flesh & Blood (1990): 16 songs

Native Tongue (1993): 15 songs

Crack a Smile… and More! (2000): 20 songs

Hollyweird (2002): 13 songs

Poison’d! (2007): 14 songs

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

Complete List Of Poison Band Members

Top 10 Poison Songs And Album Discography

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

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

DMCA.com Protection Status

“It genuinely changed my brain chemistry.” Turnstile’s new guitarist Meg Mills explains how Freaky Friday inspired her to pick up a guitar

Meg Mills playing with Turnstile 2024
(Image credit: Per Ole Hagen/Redferns via Getty)

Turnstile guitarist Meg Mills revealed she was inspired to pick up a guitar by 00s Jamie Lee Curtis/Lindsay Lohan movie Freaky Friday.

Speaking to Knotfest’s Tori Kravitz for She’s With The Band – a series celebrating women and femme people in the music industry – in September 2024, Mills discussed her journey through music, and why she started learning guitar in the first place.

“I genuinely think [Freaky Friday] changed my brain chemistry when I saw it aged ten or eleven,” she says. “I thought it was the coolest thing ever. That scene where they’re practicing in the basement… that’s how I wanted to be.”

Mills officially joined Turnstile earlier this year, after being recruited as a touring member in 2023. Prior to joining Turnstile, Mills played in UK hardcore bands including Big Cheese and Chubby And The Gang.

Speaking to Kravitz, Mills recalls her first show with Turnstile was a baptism by fire – at the 20,000 plus capacity Xcel Energy Center in Minnesota. “We hadn’t had a full practice with lighting and everything yet,” she recalls. “We walk up, it’s dark and the lights come on, they were the brightest thing I’ve ever seen in my life, pointed directly into our faces. I couldn’t see a thing, I was trying to play, doing my best, and it was like, ‘This is insane!’

“I’d catch glimpses of the crowd like, ‘What on earth is going on?’ It was the most overstimulating, overwhelming thing that I’ve ever experienced.”

She goes on to say she felt like she might just have to get used to experiences like that… only for her bandmates to also flag they were blinded by the lights.

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

“It turned out the lights were on full, maximum brightness,” she reveals. “Everyone on stage had been struggling, like, ‘What is going on?'”

Mills will make her official recording debut with Turnstile on the band’s forthcoming fourth album Never Enough, due for release on June 6. The following week, the band will perform at the UK’s Outbreak Festival alongside Knocked Loose, before later making their debut at Glastonbury.

Watch the full interview with Mills below.

SHE’S WITH THE BAND Episode 58: Meg Mills (TURNSTILE, BIG CHEESE) – YouTube SHE'S WITH THE BAND Episode 58: Meg Mills (TURNSTILE, BIG CHEESE) - YouTube

Watch On

Staff writer for Metal Hammer, Rich has never met a feature he didn’t fancy, which is just as well when it comes to covering everything rock, punk and metal for both print and online, be it legendary events like Rock In Rio or Clash Of The Titans or seeking out exciting new bands like Nine Treasures, Jinjer and Sleep Token. 

Nightwish offshoot Auri to return with third album III – Candles And Beginnings in August

Auri
(Image credit: Pete Voutilainen)

Auri, the prog/folk Nightwish offshoot featuring Troy Donockley, Tuomas Holopainen and Holopainen’s wife Johanna Kurkela, will return with their third album III – Candles And Beginnings through Nuclear Blast on August 15.

The trio have also shared a video for the first single to be taken from the upcoming album, Shieldmaiden.

“Our new album Auri lll is waiting to be released, and one of its songs, Shieldmaiden, has already escaped,” laughs multi-instrumentalist Donockley. “It’s a mysterious song, obscured by its own slow rising power. Auri thrives on mystery and ambiguity so all is well…”

At the same time, the band have announced their first ever tour – something of a relief to many Nightwish fans following the band’s decision to take a break from touring following the release of Yesterwynde last year. The band will perform throughout Europe during August, September and October, including dates in London, Manchester and Edinburgh. You can see the full list of dates below.

III – Candles And Beginnings will be available as 2 LP gold, 16-page booklet, 2 LP green/white/dark green splatter, 16-page booklet, a limited edition CD earbook with 36-page booklet and a CD Jjewelcase with 20-page booklet.

Pre-order III – Candles And Beginnings.

AURI – Shieldmaiden (Official Music Video) – YouTube AURI - Shieldmaiden (Official Music Video) - YouTube

Watch On

Auri

(Image credit: Nuclear Blast)

Auri – A Trail Of Candles & Beginnings tour dates

Aug 13: FIN Kitee, Kiteesali
Aug 14: FIN Kitee, Kiteesali
Aug 16: FIN Tampere, Tampere-talo
Aug 20: FIN Oulu, Madetojan Sali
Aug 22: FIN Vaasa, Ritz
Aug 23: FIN Helsinki, Helsinki Festival / Huvilateltta (+ Eye Of Melian)
Sep 12: UK Manchester, RNCM Theatre
Sep 13: UK Edinburgh, Queen’s Hall
Sep 15: UK London, Union Chapel
Sep 16: BEL Gent, Theaterzaal Vooruit
Sep 17: FRA Paris, La Cigale (+ Eye Of Melian)
Sep 18: NED Utrecht, Tivoli Vredenburg (+ Eye Of Melian)
Sep 20: SWI Zürich, Volkshaus
Sep 21: GER Stuttgart, Liederhalle
Sep 22: GER Cologne, Theater am Tanzbrunnen (+ Eye Of Melian)
Sep 23: GER Essen, Lichtburg
Sep 25: GER Mannheim, Capitol
Sep 26: GER Munich, St. Matthäuskirche
Sep 27: AUT Vienna, Simm City
Sep 29: HUN Budapest, MOM Kult
Sep 30: CZE Prague, Hybernia
Oct 1: GER Berlin, Passionskirche
Oct 2: GER Leipzig, Kupfersaal
Oct 4: POL Warsaw, Palladium
Oct 6: GER Hamburg, Laeiszhalle
Oct 7: DEN Copenhagen, Amager Bio
Oct 8: SWE Stockholm, Nya Cirkus
Oct 9: NOR Oslo, Sentrum Scene
Oct 10: NOR Bergen, Grieghallen

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

Get tickets.

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

“Their stage aura had me totally captivated.” Genre-smashing sister duo Alt Black Era on how Trent Reznor, The Prodigy, Billie Eilish and more changed their lives

Alt Blk Era Influences Video
(Image credit: Future)

In a new, exclusive video for Metal Hammer, UK rising stars Alt Blk Era discuss the bands that have inspired them most, including Nine Inch Nails, The Prodigy and Billie Eilish.

The duo – sisters Nyrobi and Chaya Becket-Messam – formed the group in 2020 and have quickly risen in acclaim for their unique fusion of styles and sounds, drawing on everything from metal to pop and electronica, landing them amongst the ranks of the genre-splicing stars of nu gen.

“Our first song in 2022 was like, alternative pop, and our last song in 2022 was metal,” explains Nyrobi. “We’ve really been free and allowed ourselves to experiment with genres. It’s really interesting, especially going through 2022 we dropped like nine songs and you can really hear what musical eras we were in, like when I found trap metal around May time and you can really hear the descent into the heavier stuff.”

Watch the full video of Nyrobi and Chaya discussing their influences below.

Alt Blk Era’s biggest influences: Nine Inch Nails, The Prodigy, Billie Eilish and more| Metal Hammer – YouTube Alt Blk Era’s biggest influences: Nine Inch Nails, The Prodigy, Billie Eilish and more| Metal Hammer - YouTube

Watch On


Alt Blk Era released their debut album Rave Immortal in January. In her review, Emily Swingle wrote, “There’s a burning lust for life to Rave Immortal, an exhilarating yell of defiance. It’s the sound of celebration, whether it’s in the moshpit or on the dancefloor, or ideally both. The rip-roaring Run Rabbit plugs into the crossover mayhem of The Prodigy and Pendulum, My Drummer’s Girlfriend leans into devilishly cool electro- rock, and Catch Me If You Can is tinged with a haunting, gloomy hint of symphonic metal.”

In an interview with Metal Hammer earlier this year, Nyrobi explained how she struggles with chronic fatigue syndrome, a condition that leaves her in pain and with brain fog.

“It was important to me, as a person, and for thinking about the future of Alt Blk Era, to prove myself,” she explained. “Because people neglect disabled people – it’s hard to be disabled in every single industry.”

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

“We’re already Black women and we’re already young, and let’s not add disabled to that pile. People have already got enough to say about us in the alternative scene, so I wanted to show that I could do everything that people thought that my disability wouldn’t allow me to.”

Rave Immortal is out now via Earache.

Staff writer for Metal Hammer, Rich has never met a feature he didn’t fancy, which is just as well when it comes to covering everything rock, punk and metal for both print and online, be it legendary events like Rock In Rio or Clash Of The Titans or seeking out exciting new bands like Nine Treasures, Jinjer and Sleep Token. 

“That’s legendary status right there.” Watch Zakk Wylde, Trivium, Within Temptation, Ice-T, Lacuna Coil, Jesse Leach, Hanabie and more celebrate 400 issues of Metal Hammer

“That’s legendary status right there.” Watch Zakk Wylde, Trivium, Within Temptation, Ice-T, Lacuna Coil, Jesse Leach, Hanabie and more celebrate 400 issues of Metal Hammer

Metal Hammer 400 banner - Zakk Wylde, Hanabie, Wednesday 13, Ice-T, Sharon Den Adel
(Image credit: Future)

Metal Hammer magazine has hit 400 issues with its latest, Sleep Token headlined, edition. To celebrate the fact, Hammer hosted a special birthday party at the iconic Black Heart in London with special guest DJ slots from UK metalcore heroes Employed To Serve and rising doom stars Green Lung.

Hammer has also received a video of well wishes from some of the many metal stars featured in its pages over the years, from Zakk Wylde to Ice-T, Jesse Leach, Sharon Den Adel and more.

Guitar legend Zakk Wylde kicks the video off in a typically playful way, introducing himself as “Zakk Wylde here: Black Label [Society], Ozzy, Pantera Celebration, Zakk Sabbath, Experience Hendrix… Dishes, laundry. I just wanna wish everyone out there at Metal Hammer UK happy 400th issue and here’s to a whole tonne more.”

Watch the full video below.

Zakk Wylde, Trivium, Within Temptation, Ice-T & more celebrate 400 issues of Metal Hammer – YouTube Zakk Wylde, Trivium, Within Temptation, Ice-T & more celebrate 400 issues of Metal Hammer - YouTube

Watch On


Metal Hammer issue 400 is on-sale now featuring British metal sensation Sleep Token on the cover to commemorate the release of their latest – and possibly chart-topping – new album Even In Arcadia.

Elsewhere in the mag, we look over some of the cover stars from Hammer‘s history, uncovering what they were like then and how they’ve changed over the years.

There’s also a hometown tour of Oakland from Machine Head‘s Robb Flynn, a deep-dive into the history of symphonic metal giants Within Temptation, the story behind Coheed And Cambria’s The Suffering and Knocked Loose discussing their mission to make pigsqueals mainstream.

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

Only in the new issue of Metal Hammer, on sale now. Order it online and have it delivered straight to your door!

Staff writer for Metal Hammer, Rich has never met a feature he didn’t fancy, which is just as well when it comes to covering everything rock, punk and metal for both print and online, be it legendary events like Rock In Rio or Clash Of The Titans or seeking out exciting new bands like Nine Treasures, Jinjer and Sleep Token. 

Steve Rothery and Thorsten Quaeschning share first new music as Bioscope with new single Kaleidoscope

Biocope, the collaboration between Marillion guitarist Steve Rothery and Tangerine Dream‘s Thorsten Quaeschning have shared their first new music, their brand new single Kaleidoscope.

Last month Prog revealed the pair will release their debut album, Gentō’, through earMusic on August 22, which they describe as “a mesmerising journey through a cinematic landscape of sounds and textures and each of the five tracks takes its inspiration from men’s endearing fascination with the moving image”.

“The project started life in early 2020 and after several five-day trips to Berlin over the years, and a few days in my home studio, it was finally ready to be mixed and mastered! It has taken a little longer than anticipated but it’s really sounding fantastic,” enthuses Rothery.

New single, Kaleidoscope, refers to multiple reflections by two or more reflecting surfaces has been known since the 16th century and was described by Giambattista della Porta in his Magia Naturalis (1558–1589).

Gentō will become available in retail stores as a CD+Blu-ray digipak, including the full album in high-res, Dolby Atmos as well as Dolby 5.1 Surround Mix, and heavyweight black gatefold 2LP gatefold as well as digital audio.

Pre-order Gentō.

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

“It’s time to restore a dynamic vision for the future that’s not just about recycling our garbage and all that”: Disillusioned by the 21st century, Jean-Michel Jarre aims to inspire a new hope

“It’s time to restore a dynamic vision for the future that’s not just about recycling our garbage and all that”: Disillusioned by the 21st century, Jean-Michel Jarre aims to inspire a new hope

Jean Michel Jarre
(Image credit: Getty Images)

From musique concrète to stadium spectacles, Jean-Michel Jarre pioneered futuristic, yet accessible, electronica for decades. On his 2010 tour – when AI-generated art was still a theory – Prog found him paying tribute to visionary writer Arthur C Clarke, and arguing for a reboot of humanity’s future ambitions.


In the realm of electronic prog, no figure looms larger than Jean Michel Jarre. He’s sold 80 million albums, staged some of the most spectacular live events the world has ever seen and almost single-handedly taken the instrumental synthesizer form academia and avant-garde art centres to the masses. And yet, despite everything he’s achieved, it’s often been tempting to write him off as irrelevant.

In the wake of his meteoric rise to fame via 1977 debut Oxygène and 1978 follow-up Équinoxe, a new breed of innovators entered the electronic field. As early as 1979, former punk upstart Gary Numan started a wave of electro-pop which swept the synth stars of the 70s onto the sidelines. The cutting edge had moved, leaving meandering, album-length suites behind.

Other new such as Depeche Mode and New Order soon followed, dominating the charts while the likes of Tangerine Dream, Klaus Schulze and Jarre himself began to lose ground. The 1990s were even tougher, with the dominant dance music culture casting Jarre and his ilk as overblown, outdated anachronisms from a bygone age.

All this despite the enormous influence the pioneers of the 70s had on synth pop, dance, trance, techno, glitch, garage, house and just about every other form of electronic music.

Jean-Michel Jarre – Fourth Rendez-Vous – YouTube Jean-Michel Jarre - Fourth Rendez-Vous - YouTube

Watch On

Jarre, however, has never wavered in his commitment and his profile has remained high. He continues to record and tour regularly – and to his credit, he’s refused to play it safe. While the albums Oxygène 7-13 and Oxygène: New Master Recording have seen him exploiting the legacy that’s rightfully his, he hasn’t relied heavily on nostalgia.

Works such as 2000’s Métamorphoses – the first JMJ album to feature actual songs with lyrics – and 2007’s dance-orientated Téo & Téa have displayed a willingness to stray outside his comfort zone, take risks and even enter territory dominated by younger generations.

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

Whatever the relative merits of his studio output, his live shows have remained popular attractions, and he continues to perform on a scale few can match. Although his ongoing world tour is something of a greatest hits package, it sees Jarre innovating again and setting himself some stiff challenges along the way. Like everything he does, it’s big – but there’s an element of randomness and benign chaos in his current performances that’s very far removed from the choreographed theatrics he’s normally associated with.

“I’ve done my best to make it exciting and visual,” Jarre explains. “I’ve tried very hard to stress the cinematic side of the music for this tour. It’s not respectful to sit behind a laptop for two hours – people are buying tickets, after all. I’m up there on stage with three other guys and it’s totally live.”

What’s particularly striking about Jarre’s 2010 show is just how physical the whole thing is. Making his way to the stage through a gob-smacked audience is just the beginning. He remains animated throughout as his companions twiddle and fiddle with the vast array of vintage synths, jogging about the stage, triggering whooshing and bleeping noises as he passes each instrument, orchestrating bouts of hand-clapping as he goes.

Jean Michel Jarre

(Image credit: Getty Images)

He straps on an accordion for Chronologie 6 before firing up the legendary laser harp for Rendez-Vous. It’s as full- on as it is hands-on; and with everything happening in real time, they’re flying by the seat of their pants. “If you make a mistake on stage, people like that,” Jarre says. “It’s an element of danger. It’s a unique moment and it makes each concert different. Today so much is pre-programmed. I’m trying to make each concert as a unique moment that I can share on that evening with that audience.”

If the road trip has an unofficial theme, it’s the rediscovery of analogue. Jarre openly embraced digital synthesis and sampling when it first emerged – notably on 1981’s Magnetic Fields and 1984’s Zoolook – but time and time again he’s returned to the technology of the past and the mercurial instruments he popularised all those years ago.

The sound being played is as important as the notes being played… and there are things you just can’t do with digital

“We forgot what the analogue era gave us,” Jarre admits, “and we forgot what we owe to the period. Those instruments disappeared during the 80s and didn’t have a chance to grow up – to mature. Today, a violinist dreams about a Stradivarius, an instrument made in the 17th century. A guitar player dreams about a Gibson Les Paul ’58. For me it’s the same with analogue synthesizers.

“In the early days of digital you could play chords and notes, but with preprogrammed sounds. With analogue technology you can control the whole colour and tone of sounds. The sound being played is as important as the notes being played. People want the warmth – and there are things you just can’t do with digital.”

A perception persists that electronic music is generally cold and impersonal. In the 70s that view was rampant, and fed into wider debates about where technology was taking us. Synthesizers were perceived as inherently unmusical – even a threat to music, especially live music – and brought out latent Luddite tendencies spurred on by vague fears of the unknown.

Jean-Michel Jarre – The Time Machine Live (Laser Harp) – YouTube Jean-Michel Jarre - The Time Machine Live (Laser Harp) - YouTube

Watch On

“As part of my early work I was asked to do something for the theatre,” Jarre recalls, “and we had some trouble with the Musicians Union trying to unplug the speakers because they thought our machines would replace them!”

The dystopian nightmares of computer-dominated music never materialised. There has been some extremely austere and alien electronic music created over the years but the notion of technology radically undermining the basics of how music is created and performed has never come to pass. Most experiments with pure computer-generated music have proved to be dismal failures from a human perspective.

Since the 60s, when we talk about music we’re talking about songs. But music, historically, is without words

And therein lies one of the secrets of Jarre’s success: the human dimension. His tonal palette may be ethereal and otherworldly, but he himself remains the focal point and he is a star in the old fashioned sense. Where Tangerine Dream all but disappeared in darkened Gothic cathedrals, and Kraftwerk attempted to engineer themselves out of existence with robotic replacements, Jarre was centre stage, swamped by high-tech paraphernalia, lit up like a Christmas tree and with a million quid’s worth of fireworks exploding overhead.

He’s a celebrity who’s been married three times – twice to actresses – and a TV chat show regular who appears in glossy entertainment weeklies like Hello! How much do you know about Edgar Froese or Ralf Hütter’s private life?

Jean-Michel Jarre – Equinoxe, Pt. 5 (Official Music Video) – YouTube Jean-Michel Jarre - Equinoxe, Pt. 5 (Official Music Video) - YouTube

Watch On

Aside from Jarre presenting a human face, his early compositions had an organic feel which appealed to many who wouldn’t otherwise have considered themselves fans of electronic music. His warm tones, bubbling melodies and subtle French folk music influences created a welcoming, reassuring audio world, even when the mood was melancholy or reflective. Crucially, its instrumental nature meant it could go global, crossing cultural boundaries to become a truly universal language.

“What’s unique in instrumental music is that you’re in the direct narrative process,” says Jarre. “You’re giving a story to someone. Instrumental music is the most interactive way of expression, where you leave the audience free to build their own story, their own scenario or their own movie in their minds.

I always thought it was artificial to call one part Oxygene: Fool On A Hill when I’m not telling the story of a fool on a hill!

“I always felt there was something very special about music without words. Since the 60s, when we talk about music we’re talking about songs. But songs are just a sector of what is music – music, historically, is without words.

“For me, electronic music is like painting: dealing with different textures and colours to create perspectives and soundscapes rather than telling a story. The reason so many of my albums have a part one, part two, three, four, five is I always thought it was artificial to call one part Oxygene: Fool On A Hill when I’m not telling the story of a fool on a hill!”

On first hearing, his music sounded highly futuristic. The clean lines and precise pulse seemed to evoke visions of a wondrous age to come, an era of enlightenment for a united humanity. Jarre’s portrait on the rear of Equinoxe depicts him in a silvery space suit, set against a spacious, spotless cityscape at sunset. It’s an image of man, his urban environment and nature in harmony, a tantalising glimpse into a positive future for humanity set to the soundtrack contained within.

Jean Michel Jarre

(Image credit: Getty Images)

The sense of joy and wonder found in Oxygène and Èquinoxe has never been lost. Mankind may be farther than ever from the utopian future of past promise, but Jarre maintains his positive outlook.

His latest tour is dubbed 2010 for more than the obvious reason. It’s a tribute to Arthur C Clarke, the towering literary and scientific figure who’s been immensely influential in Jarre’s life and work. One might even call him a mentor. As it turned out, the feelings of admiration were mutual, with Clarke writing in his book 2010: Odyssey Two, “I listened to all of Jean Michel Jarre’s albums obsessively, to the point of knowing every note by heart. His music accompanied me as I wrote.”

Our relationship with the future is full of anxiety and guilt… it’s quite arrogant to think we have the future of the planet in our hands

Jarre says: “I couldn’t believe my eyes when I saw that! I’m a fan of 2001, the book and the movie. I was in London in 1982 when the sequel 2010 came out. I got the book and was amazed to see my name in the acknowledgements. So I wrote him a letter and we started a correspondence. He was a very interesting character. So I thought that, starting this really special world tour project in 2010, it would be nice simply calling it 2010 as a tribute to him.”

The pair shared a sense of untapped, unlimited possibility for the future development of the human race. In seeking out new sonic worlds, Jarre continues his lifelong quest to reimagine what music can be, to inspire others to reach beyond their assumed limitations and pursue the impossible.

Jean-Michel Jarre – Oxygene, Pt. 4 – YouTube Jean-Michel Jarre - Oxygene, Pt. 4 - YouTube

Watch On

“We have a dark vision of tomorrow,” he says. “Our relationship with the future is full of anxiety and guilt about pollution, the environment, global warming, how we’re going to survive on the planet and all that. Even if it’s partially true, I think it’s quite arrogant to think we have the future of the planet in our hands.

“There’s a lot of limitation in all this and it’s time to restore a dynamic vision for the future that’s not just linked to recycling our garbage and all those things. People like Arthur C Clarke gave us a very positive vision of the future. It was like after the year 2000 nothing would be the same. We had a lot of hopes and fantasies and dreams about the future.

“In these days, with the year 2000 behind us, it’s a little bit like we’re orphans of our own future. I think we need to recreate a dynamic vision for our future that we’ve lost.”

Bruce Springsteen Decries ‘Treasonous’ Trump at 2025 Tour Launch

Bruce Springsteen had some harsh words for president Donald Trump during his 2025 tour launch in Manchester, England.

“It’s great to be in Manchester and back in the UK. Welcome to the Land of Hope and Dreams Tour,” the Boss declared upon taking the stage. “The mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock and roll in dangerous times. In my home, the America I love, the America I’ve written about, that has been a beacon of hope and liberty for 250 years, is currently in the hands of a corrupt, incompetent and treasonous administration. Tonight, we ask all who believe in democracy and the best of our American experience to rise with us, raise your voices against authoritarianism and let freedom ring.”

Springsteen – who has never been shy about offering his political views – received thunderous applause for his opening remarks. The rocker then proceeded to launch into “Land of Hopes and Dreams,” his first song of the night. Video of the Boss’ speech can be watched below.

READ MORE: The Best Song From Every Bruce Springsteen Album

Later in the set, Springsteen again took the opportunity to rage against the Trump administration. “There’s some very weird, strange, and dangerous shit going on out there,” the rocker said prior to performing “My City of Ruins.” “In America, they are persecuting people for using their right to free speech and voicing their dissent. This is happening now. In America, the richest men are taking satisfaction in abandoning the world’s poorest children to sickness and death. This is happening now.”

“And in my country, they are taking sadistic pleasure in the pain that they inflict on loyal American workers,” Springsteen continued. “They are rolling back historic civil rights legislation that led to a more just and moral society. They are abandoning our great allies and siding with dictators against those struggling for their freedom.”

What Did Bruce Springsteen Play at His First Concert of 2025?

Springsteen’s Manchester performance featured an array of tunes from throughout his iconic career. There were timeless hits – like “Born to Run,” “Darkness of the Edge of Town” and “Thunder Road” – but also an assortment of recent material. Among them, “Rainmaker,” an album cut from 2020’s Letter to You that was performed live for the first time. The Boss closed the night with his cover of Bob Dylan’s “Chimes of Freedom,” performed for the first time since 1988. The full set list from the concert can be found below.

READ MORE: Bruce Springsteen Album Opening Songs Ranked

The gig was Springsteen’s first official show of 2025, though it wasn’t his first performance this year. In March, the Boss appeared at a star-studded celebration of Patti Smith in New York, and last month he delivered three songs at the third annual American Music Honors event in New Jersey.

Springsteen’s European trek will continue with two more performances in Manchester, followed by further shows in France, Spain, the Czech Republic, Germany, Italy and the UK. The tour wraps July 3 in Milan, Italy.

Springsteen has announced that these will be the final performances of his tour that began in 2023. In total, the rocker will have played 130 shows with more than 4 million tickets sold.

Watch Bruce Springsteen Perform ‘Because the Night’ at 2025 Tour Opener 

Watch Bruce Springsteen Perform ‘Born to Run’ at 2025 Tour Opener

Watch Bruce Springsteen Perform ‘Because the Night’ at 2025 Tour Opener 

Bruce Springsteen and the E Street Band, 5/14/25, Manchester, England, Set List:
1. “Land of Hope and Dreams”
2. “Death to My Hometown”
3. “Lonesome Day”
4. “My Love Will Not Let You Down”
5. “Rainmaker”
6. “Darkness on the Edge of Town”
7. “The Promised Land”
8. “Hungry Heart”
9. “My Hometown”
10. “Youngstown”
11. “Murder Incorporated”
12. “Long Walk Home”
13. “House of a Thousand Guitars”
14. “My City of Ruins”
15. “Letter to You”
16. “Because the Night”
17. “Human Touch”
18. “Wrecking Ball”
19. “The Rising”
20. “Badlands”
21. “Thunder Road”
22. “Born in the U.S.A.”
23. “Born to Run”
24. “Bobby Jean”
25. “Dancing in the Dark”
26. “Tenth Avenue Freeze-Out”
27. “Chimes of Freedom”

Bruce Springsteen Albums Ranked

From scrappy Dylan disciple to one of the leading singer-songwriters of his generation, the Boss’ catalog includes both big and small statements of purpose.

Gallery Credit: Michael Gallucci