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Karl Cochran, Joe Lynn Turner Guitarist and Kiss Associate, Dies

Karl Cochran, Joe Lynn Turner Guitarist and Kiss Associate, Dies

Karl Cochran, guitarist and songwriter who worked with Kiss and former Rainbow and Deep Purple singer Joe Lynn Turner, has died.

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.”

READ MORE: Kiss Albums Ranked Worst to Best

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!!!!”

In Memoriam: 2025 Deaths

A look at those we’ve lost.

Gallery Credit: Ultimate Classic Rock Staff

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The Story of Jimi Hendrix’s First Guitar

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.”

READ MORE: 60 Best Jimi Hendrix Songs

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.

Gallery Credit: Dave Lifton

The 15 Best Paul McCartney Songs From the 21st Century

Paul McCartney entered the 21st Century while in his late 50s, an age when most people are coasting toward retirement. The former Beatles star had certainly earned it.

He’d been inducted into the Rock & Roll Hall of Fame with the Beatles more than a decade earlier. He’d just joined them as a solo act, celebrating a blockbuster era that already spanned some 30 years. Wings had been broken up for 20. The legacy was set in stone.

Yet, since 2000, McCartney has issued another seven rock albums – including Electric Arguments, his 2008 collaboration with Martin “Youth” Glover as the Fireman. All but one of his solo records (2001’s patchy Driving Rain) reached the U.S. Top 10.

READ MORE: Top 10 Wings Songs

In 2018, Egypt Station became McCartney’s first Billboard charttopper since the early ’80s. McCartney III just missed at No. 2 in 2020. Both 2005’s Chaos and Creation in the Backyard and 2007’s Memory Almost Full were certified gold. McCartney even scored yet another multi-platinum single a couple of years after 2013’s New with “FourFiveSeconds” alongside Rihanna and Kanye West.

Laurels? What laurels?

Along the way, McCartney added 15 key tracks to a list of keepsake gems that already stretched back several decades. Here’s a list of the best Paul McCartney songs from the 21st Century:

No. 15. “I Can Bet”
From: New (2013)

McCartney makes a very successful pass at Wings’ sound but within a fizzy new musical context: As with most of New, he heavily treats his vocal; there’s also programming and some patched-on loops. In truth, however, McCartney had been appending things to “I Can Bet” for a while. He started with a solo-recorded multi-overdubbed demo, then had touring-band members Rusty Anderson and Wix Wickens contribute guitar and Hammond organ, respectively. But McCartney’s final passes – as he dialed up classic Wurlitzer and a Moog sounds, presumably with producer Giles Martin at Hog Hill Studios – brought this modern construction back around to those mullet-sporting, polyester-wearing days of yore.

No. 14. “Dominoes”
From: Egypt Station (2018)

An endearing career travelogue, “Dominoes” finds McCartney going even further back to reclaim his own considerable legacy in the Beatles. He starts with a lithe acoustic riff that would have been at home on the White Album, then continues to flip through his back pages: There’s the crackling cadence of his ’80s albums, the enveloping background vocal style of his ’70s work, a backward guitar straight out of the ’60s. His lyric, about how one thing can unexpectedly lead to another, underscores this stirring musical journey. “Dominoes” then ends with a delicately conveyed, note-perfect line: “It’s been a blast.

No. 13. “Spinning on an Axis”
From: Driving Rain (2001)

Driving Rain found McCartney struggling to combine two parts of his craft – a natural inclination toward ornate pop and an interest in lengthier forms. McCartney was also trying to balance the loss of wife Linda with the arrival of a new love. He didn’t get there. In fact, “Spinning on an Axis” became the best thing on this strangely inhibited project by attempting to put all of that aside. McCartney shucks his occasional penchant for overthinking, opening with a loose rumination and then catching – and keeping – a plucky little groove. That gives the song a first-take freshness. Unfortunately, that’s not enough to break the logjam on this often-impenetrable LP. It seems there was simply too much going on inside McCartney’s head.

No. 12. “Fine Line”
From: Chaos and Creation in the Backyard (2005)

You get the sense that McCartney could write catchy songs like this in his sleep. (And maybe he does?) But that doesn’t make “Fine Line” any less charming – and there’s a cool little quirk buried beneath its radio-ready hook. But first, the Top 20 U.K. hit opens with a telling lyric: “There’s a fine line between recklessness and courage.” McCartney knew something about that, having thrown out his entire way of working for this aptly named LP. The biggest change was hiring Nigel Godrich, best known for producing Radiohead. He’s the one who encouraged McCartney to continue building “Fine Line” around that wrong bass note.

No. 11. “New”
From New (2013)

Maybe the thing that was newest about New was how comfortable McCartney seemed in his own skin again, after a brief period spent singing the Great American Songbook. There are next-gen flourishes, principally in the production style, but thankfully this title track doesn’t feature anything too outside McCartney’s basic musical framework. Rambling along like a tougher “Penny Lane” or a less refined “Got to Get You into My Life,” “New” doesn’t particularly live up to its name — but that’s better than creating a quickly forgotten modern-day curio.

No. 10. “Deep Down”
From: McCartney III (2020)

McCartney still doesn’t know what “Deep Down” is about. He didn’t have to, not with this title-earning groove. Recorded in the maddening isolation of a pandemic-inspired lockdown, III offers McCartney an opportunity to stay within himself in a way that his most recent albums weren’t always brave enough to attempt. Instead of bringing in hired-gun producers to give things a hip new feel, he just rolled tape. That conjures up the unconscious abandon of deep cuts from the White Album and his first solo record, something an artist of his vintage – after so many PR campaigns, so many A&R meetings, so much BS – usually struggles mightily to achieve. Instead, McCartney just lets “Deep Down” discover its truest, freest place. It’s a wonder to hear.

No. 9. “How Kind of You”
From: Chaos and Creation in the Backyard/em> (2005)

Chaos and Creation in the Backyard started out with the producer from McCartney’s last album and a studio setup involving his touring band, before Nigel Godrich arrived and blew it all up. Good thing. Otherwise, we might never have experienced the gorgeous drone of “How Kind of You.” Largely a studio creation, the track began in typical jangle-pop territory as McCartney offered a starkly vulnerable thank you to those who stuck with him through difficult times. Godrich oversaw its transformation, creating an involving music bed that sounds something like an underwater harmonium.

No. 8. “Queenie Eye”
From: New (2013)

What if the Beatles never broke up? By the ’10s, they might have sounded something like “Queenie Eye.” The ruminative orchestral opening, fizzy wordplay, nervy groove and processed vocal point like a streaking arrow back to late-’60s successes with producer George Martin. Yet the production feels completely of the moment. When “Queenie Eye” comes to a momentary pause, it’s as if the dream-state reverie is complete. Then McCartney does what every Beatles trope says he should do: Start all over again, with a swirling chorus of vocals, a banging piano and a second sudden stop.

No. 7. “Anyway”
From: Chaos and Creation in the Backyard (2005)

There’s a consistency in tone – of quietness, really – about this decidedly serious, mostly solo project that might lead to distraction for those enamored with McCartney’s more obvious quirks. The album-closing ballad “Anyway” solves this issue, ending things on a more expected, orchestral-laden note. Everything feels familiar again, from a refrain that seems to recall the earlier “Little Willow” to a piano signature straight out of “People Get Ready.” That puts a bow on one of the very best McCartney LPs of any era.

No. 6. “Vintage Clothes”
From: Memory Almost Full (2007)

“Vintage Clothes” seemed to tap into the hippie narratives of McCartney’s lengthy first marriage to the late Linda McCartney – and no one could blame him for feeling wistful for that era. Linda died after a cancer battle in the late ’90s, and his next marriage was falling apart by the time McCartney set about completing Memory Almost Full. Certainly, the setup is vintage: McCartney navigates the song’s unusual tempo changes behind a Mellotron, liberated from Abbey Road Studio. In fact, he used the same setting from the “Strawberry Fields Forever” sessions.

No. 5. “Jenny Wren”
From: Chaos and Creation in the Backyard (2005)

This Grammy-nominated track recalls the finger-picking triumphs of “Blackbird” and “Calico Skies,” allowing McCartney to explore his still-strong upper range on a lyric born of nature. Seems he found himself with a guitar overlooking this picturesque canyon scene. McCartney made an interesting sound, then recalled a character from Charles Dickens – one who shared the name of his favorite bird, a tiny, quite shy species – and allowed the instrument to guide him the rest of the way. “Jenny Wren” was completed later with the addition of an Armenian woodwind called a duduk.

No. 4. “Sun Is Shining”
From: The Fireman’s Electric Arguments (2008)

The Fireman records don’t represent McCartney’s first solo forays into experimental pop; it’s just that the others were typically unfocused vanity projects, self-involved noodlings or simply half-finished demos. Electric Arguments boasted a frisky, yet more controlled spontaneity, as if the original “Get Back” idea had been brought into the indie era. Everything – even a song like “Sun Is Shining,” which in many ways is your typical light-filled McCartney song – feels as if it’s been cuffed around some.

No. 3. “See Your Sunshine”
From: Memory Almost Full (2007)

A canny Wings redo, this is the kind of pure pop that McCartney parlayed into a soundtrack for the decade immediately following the Beatles’ breakup. That’s fitting since he was enduring another split, this time from second wife Heather, during the sessions for Memory Almost Full. In truth, “See Your Sunshine” is part of an ardent project known for its striking musical variety. But let’s face it, McCartney is supposed to sound like this song. That he once again meets that standard during a period of crushing adversity is part of his charm. It always has been.

No. 2. “I Don’t Know”
From: Egypt Station (2018)

McCartney’s first No. 1 album since 1982 opens with this looming sense of doubt, a most surprising emotion from the world’s most famous progenitor of silly love songs. You expect him to be glib, but he instead uncovers something far more revealing in the all-too-rare expression of his own thoughts. These verses, perhaps the bleakest McCartney has ever penned, eventually give way to a gorgeous, more typically consoling chorus. His piano figure is there to guide you along, tracing this brilliant juxtaposition perfectly.

No. 1. “Only Mama Knows”
From: Memory Almost Full (2007)

Embroiled in a very public divorce, Paul McCartney might have been expected to do what Paul McCartney does: hide behind a pastiche pop facade and/or a series of homespun character studies. Certainly, that’s what he did in the aftermath of splits with the Beatles and then Wings. Instead, McCartney plugged in for “Only Mama Knows,” simply bulling his way through gauzy nostalgia. This muscular track went on to become a concert staple for McCartney’s long-standing backup band.

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Gallery Credit: Nick DeRiso

Was Paul McCartney’s ‘Broadstreet’ Doomed to Fail?

New John Lennon Documentary Explores Final Chapter of His Life

Unlike previous films about Lennon, Borrowed Time focuses on the critical period after The Beatles, chronicling his personal and professional transformation throughout the 1970s. With a mix of rare archival footage, firsthand accounts, and never-before-seen interviews, the documentary examines Lennon’s struggles with fame, his pursuit of peace, and his retreat from public life before his tragic murder in 1980.

One of the film’s most compelling elements is a fresh take on how John Lennon and Yoko Ono met, revealing previously unknown details about their relationship. The documentary also revisits his abandoned 1981 tour plans, a project that was cut short by his untimely death. Through commentary from musicians, journalists, and those closest to Lennon, the film aims to clarify the myths and truths surrounding his final years.

For director Alan G. Parker, the project is deeply personal. Reflecting on Lennon’s impact, he described the musician as a guiding figure throughout his life, despite never meeting him. His approach in Borrowed Time is not just about retelling history but about understanding Lennon’s state of mind during a decade of artistic reinvention and introspection.

With its theatrical release and extended Director’s Cut, Borrowed Time: Lennon’s Last Decade promises to be an essential watch for Beatles fans and music historians alike. By delving into the last phase of one of rock’s most celebrated figures, the film ensures that Lennon’s legacy continues to be explored, understood, and appreciated by new generations.

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

Complete List Of John Lennon Studio Albums And Songs
John Lennon’s 5 Most Poignant Solo Tracks
John Lennon – Mind Games: Lennon’s Most Conflicted Album
5 Essential John Lennon Albums
Sadly, Remembering The Night John Lennon Was Murdered
Top 10 John Lennon Songs From His Solo Albums

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New John Lennon Documentary Explores Final Chapter of His Life article published on Classic RockHistory.com© 2025

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10 Best Rock Songs About Depression

# 10 -You Don’t Love Me When I Cry – Laura Nyro

The opening song on this list of the 10 Best Rock Songs About Depression is Laura Nyro’s haunting and deeply emotional track, “You Don’t Love Me When I Cry,” from her 1969 album New York Tendaberry. Known for her distinctive, soulful voice and her ability to convey raw emotion through her music, Nyro was one of the most revered songwriters of her era, with other artists like the 5th Dimension and Blood, Sweat & Tears covering her songs. This track, though, is intensely personal and dives deep into the feelings of heartbreak, abandonment, and the isolating weight of depression, themes that Nyro explores with brutal honesty throughout the album.

Recorded at Columbia Records in New York with Roy Halee as producer and engineer, the song features Nyro’s striking piano and her anguished vocals, which fluctuate between tender whispers and impassioned wails. The starkness of the production heightens the emotional intensity, making the listener feel as though they are inside Nyro’s most vulnerable moments. New York Tendaberry marked the peak of Nyro’s creative and commercial success, and this song, in particular, stands as a powerful expression of the inner turmoil that can accompany both love and loss.

The lyrics to “You Don’t Love Me When I Cry” encapsulate the pain of unreciprocated love and the feelings of worthlessness that can come with depression. Nyro sings of being rejected at her lowest, with the line “You don’t love me when I cry” becoming a piercing refrain. The bluesy undertones of the song are laced with grief, as Nyro explores how love promised and love lost intertwine, leaving her in emotional ruin. Her use of vivid imagery—“rubies and smoke rings” and the cry “I want to die”—connects directly to the overwhelming sense of despair often associated with depression.

As the first song on this list, “You Don’t Love Me When I Cry” sets the stage for an exploration of how rock music can give voice to the most painful human emotions. With its poignant mix of vulnerability and stark musicality, this song exemplifies how depression often comes with feelings of abandonment, loneliness, and the desire for escape—recurring themes that will resonate throughout the rest of the tracks in this collection.

Read More: Top 10 Laura Nyro Songs

# 9 – Runaway Train – Soul Asylum

“Runaway Train” by Soul Asylum is an emotionally charged track that vividly captures the helplessness and confusion that often accompany depression. Released in June 1993, this power ballad from the Grave Dancers Union album became one of the band’s biggest hits, peaking at number five on the Billboard Hot 100 and earning the band a Grammy Award for Best Rock Song in 1994. The song resonated with audiences worldwide due to its raw portrayal of depression, a theme that struck a universal chord.

Recorded with producer Michael Beinhorn and featuring Booker T. on keyboards, the song’s powerful instrumentation elevates the despair in Dave Pirner’s lyrics. The recording process was grueling, with Pirner stating that Beinhorn had him record the vocals numerous times to capture the right emotional depth. Drummer Sterling Campbell replaced Grant Young during the session, and his tight drumming punctuates the song’s melancholic atmosphere. The song’s haunting lyrics, such as “So tired that I couldn’t even sleep, so many secrets I couldn’t keep,” echo the relentless struggle of feeling trapped by depression. The metaphor of the runaway train illustrates how life spirals out of control, which is something that Pirner himself had struggled with during his battle with a nervous breakdown.

Thematically, this song shares a connection with You Don’t Love Me When I Cry by Laura Nyro, which also grapples with overwhelming emotional pain. Both songs explore the depths of despair, with Nyro’s track focusing on the feelings of rejection and sorrow when love and support are absent, while Soul Asylum delves into the internal chaos of depression. The isolation and helplessness Pirner conveys are reminiscent of Nyro’s portrayal of emotional turmoil, making these two songs fitting companions in this exploration of the darker side of human emotion.

The accompanying music video for “Runaway Train” is also notable, as it prominently features images of missing children, giving the song an additional layer of emotional weight and connecting its metaphor of being lost to real-life tragedies. While Nyro’s song is more introspective, Pirner’s lyrics express a desire for escape—“Runaway train never going back, wrong way on a one-way track”—showing how both artists used music to process and express their internal struggles with mental health and the human condition.

In comparing these two songs, Runaway Train continues the exploration of deep emotional pain set by You Don’t Love Me When I Cry, giving the list a cohesive thread that ties together the experiences of feeling abandoned, lost, and struggling with depression.

Read More: Top 10 Soul Asylum Songs

# 8 – Lonesome Town – Ricky Nelson

Released in 1958, Lonesome Town is a haunting ballad by Ricky Nelson, written by Baker Knight. It became a major hit in the United States, reaching number seven on the Billboard Hot 100 and number 15 on the R&B chart. Featured on his 1959 album Ricky Sings Again, the song showcases Nelson’s smooth vocals, accompanied by the renowned vocal quartet The Jordanaires, who added a rich depth to the melancholy track. The song was recorded at United Western Recorders in Hollywood, California, with producers Jimmie Haskell and Ozzie Nelson, Ricky’s father, overseeing the production.

Thematically, Lonesome Town delves into the despair and heartache of broken relationships. Nelson croons about a metaphorical town where people go to grieve lost love, hoping to escape the pain and loneliness that has taken over their lives. The lyrics, such as “In the town of broken dreams, the streets are filled with regret,” evoke a vivid image of emotional desolation, making this song an early example of the dark, reflective style that would later define many rock ballads about depression. The simple arrangement, combined with Nelson’s soft and vulnerable delivery, makes it a timeless and relatable exploration of heartache.

Compared to other songs on this list, such as Runaway Train by Soul Asylum, which portrays depression as an uncontrollable force pulling the protagonist off course, Lonesome Town takes a more introspective approach, presenting heartbreak and sorrow as a place of self-exile where the brokenhearted go to process their pain. Both songs convey deep emotional struggles, but while Runaway Train leans heavily on metaphors of losing control, Lonesome Town suggests a more passive acceptance of sorrow. The subtle instrumentation and Nelson’s gentle voice give the song a softer, more nostalgic feel, making it a contrasting yet complementary addition to the list of rock songs about depression.

Read More: Top 10 Ricky Nelson Songs

# 7 – From The Edge Of The Deep Green Sea – The Cure

From The Edge of the Deep Green Sea is one of the standout tracks from The Cure’s 1992 album Wish, an album that both embraced their gothic rock roots and ventured into broader alternative rock territory. Written by Robert Smith, this track is a sprawling, emotionally charged exploration of unreciprocated love, longing, and despair, themes that resonate strongly with the feelings of depression and helplessness. The song was recorded during sessions for Wish at The Manor and Hook End Studios, with David M. Allen co-producing alongside the band.

Clocking in at over seven minutes, From The Edge of the Deep Green Sea is musically expansive, characterized by swirling guitars and the heavy use of effects like detuning and phasing, which add to the track’s atmospheric and melancholic feel. Perry Bamonte, who played both guitar and keyboards on the track, helped shape its layered sound, while Boris Williams’ drumming gave it a dynamic pulse that added to the emotional urgency of the song. The extensive use of guitar feedback and subliminal overdubs only deepens the sense of emotional tension, making the song feel almost claustrophobic at times.

Lyrically, From The Edge of the Deep Green Sea captures the painful cyclical nature of a toxic relationship, where love seems to be forever slipping away despite the desperate attempts to hold on. The repetition of phrases like “Too many tears, too many times, too many years I’ve cried for you” reflects the sense of futility and exhaustion that often accompanies emotional depression. The song’s imagery—of watching the sun rise while grappling with heartache and the feeling of being miles away from home, both emotionally and physically—creates a haunting depiction of isolation and inner turmoil. As the first song on the list, it sets a powerful tone, drawing listeners into the depths of despair and emotional conflict, much like Lonesome Town by Ricky Nelson does, though in a more atmospheric and modern way.

Read More: 10 Essential Songs By The Cure

# 6 –  Fade To Black – Metallica

“Fade to Black” is one of Metallica’s most iconic songs, recognized as the band’s first power ballad, which marked a significant shift in their musical style. Released as the first promotional single from Ride the Lightning in 1984, the song showcases the band’s ability to merge heavy metal with deeply introspective and emotional themes. The track was recorded at Sweet Silence Studios in Copenhagen, Denmark, under the production of Metallica and Flemming Rasmussen. James Hetfield’s haunting lyrics and Kirk Hammett’s soaring guitar solo have earned the song a place in metal history, even being ranked by Guitar World readers as having the 24th best guitar solo of all time.

Musically, “Fade to Black” begins with an acoustic intro that builds into a crushingly heavy riff, reflecting the song’s themes of despair and hopelessness. Hetfield’s vocals are restrained and somber, mirroring the lyrical content, which deals with the narrator’s contemplation of death and longing for an escape from unbearable emotional pain. The song resonates with themes of isolation and mental torment, much like Runaway Train by Soul Asylum, as both songs deal with the feeling of losing control and searching for a way out of the darkness. However, while “Runaway Train” speaks more to the spiraling nature of depression, “Fade to Black” delves into the numbness and finality that come with contemplating suicide.

Lyrically, the song reflects a deep sense of loss and disconnection from life. Lines such as “I have lost the will to live / Simply nothing more to give” and “Emptiness is filling me / To the point of agony” portray the crushing weight of depression, capturing the feeling of being consumed by darkness. The song’s final verse, where Hetfield sings, “Now I can’t think / Think why I should even try,” evokes the bleakness of depression, where even the idea of hope seems out of reach. Much like From The Edge of the Deep Green Sea by The Cure, the emotional intensity in “Fade to Black” leaves listeners feeling the heaviness of despair and the desire for release from the overwhelming burden of life.

As a pivotal track on Ride the Lightning, “Fade to Black” is not just one of Metallica’s defining songs, but also a powerful statement on the darker aspects of the human experience, making it an essential inclusion on this list of rock songs about depression. The song’s combination of emotional vulnerability and aggressive instrumentation make it a timeless exploration of mental anguish.

Read More: Complete List Of Metallica Albums And Songs Discography

# 5 – Stolen Car – Bruce Springsteen

“Stolen Car” from Bruce Springsteen’s 1980 album The River is a stark meditation on loneliness, identity, and the emotional devastation of a failing marriage. The song’s narrative centers around a man who finds himself disconnected from the life he built. Recorded in January 1980 at The Power Station in New York, the minimal instrumental arrangement of soft piano, synthesizer, and restrained percussion reflects the haunting isolation at the heart of the song. Springsteen’s vocals are subdued, allowing the story’s emotional weight to shine through.

Lyrically, the song opens with the protagonist reflecting on his once hopeful marriage: “We got married and promised never to part / Then little by little we drifted from each other’s hearts.” This sets the stage for the deep sense of despair that follows. The stolen car serves as a metaphor for the protagonist’s internal turmoil—he’s not literally stealing a car, but rather, he’s lost control of his own life, directionless and yearning for something to anchor him. “Now I’m driving a stolen car on a pitch-black night / And I’m doing my best to make it through,” he sings, capturing the feeling of navigating through a life that has lost its meaning.

The second verse further emphasizes this theme of hopelessness, with the protagonist realizing that his attempts to rekindle his marriage were futile. “At first I thought it was just restlessness / That would fade as time went by and our love grew deep / But in the end it was something more, I guess / That tore us apart and made us weep.” This realization is a painful one, reflecting the common experience of depression—where initial optimism fades into deep sorrow and regret. The narrator’s fear of fading away and “disappearing” into the night is echoed throughout the song, especially when he says, “I ride by night and I travel in fear / That in this darkness I might just disappear.”

The final verse paints a poignant image of a man disconnected not only from his wife but from the world itself. “She asked if I remembered the letters I wrote / When our love was young and we were bold / She said last night she read those letters / And they made her feel a hundred years old.” This reference to their past—the time when love felt strong and new—contrasts sharply with their present, where love has become a distant memory. This sense of emotional aging, of love withering away, ties directly into the feelings of regret and helplessness that permeate the song. The lyrics convey a haunting, almost existential crisis, with the stolen car acting as both a literal and symbolic vehicle for the narrator’s inner journey of loss.

In comparison to Runaway Train by Soul Asylum, both songs delve into the concept of being lost, but Stolen Car is more introspective, focusing on emotional disintegration rather than outward chaos. Springsteen’s protagonist seems resigned to his fate, traveling through the night in search of something he knows he may never find—a sense of belonging or salvation. This feeling of fading away, of becoming invisible, makes Stolen Car a powerful reflection of depression, and its inclusion on this list is essential for understanding how rock music has explored these themes.

Read More: Top 10 Bruce Springsteen Albums

# 4 – Mad World – Tears For Fears

“Mad World,” released by Tears for Fears in 1982, is a quintessential song capturing the emotional weight of depression and disillusionment. Written by Roland Orzabal and sung by bassist Curt Smith, the song was the band’s first chart hit, reaching number three on the UK Singles Chart. It quickly became an international success, offering a haunting reflection on the emptiness of modern life and existential dread. Recorded during the sessions for their debut album, The Hurting (1983), “Mad World” was produced by Ross Cullum and Chris Hughes. The song’s combination of new wave instrumentation and Smith’s plaintive vocals helped cement Tears for Fears as pioneers of emotionally driven synth-pop.

Lyrically, “Mad World” presents a vivid portrayal of despair and alienation. The opening lines, “All around me are familiar faces / Worn out places, worn out faces,” set the tone for a world filled with monotony and hopelessness. The imagery of people going through their daily routines “going nowhere” evokes a sense of emotional paralysis. The protagonist’s detachment is palpable, with lines like, “Hide my head I want to drown my sorrow / No tomorrow, no tomorrow,” revealing his deep sadness and inability to escape the cycle of despair. The chorus, with its famous lines, “The dreams in which I’m dying are the best I’ve ever had,” speaks to a desire for release from the overwhelming pain.

Musically, “Mad World” is carried by its minimalist yet powerful arrangement, using sparse synthesizers and a steady beat to emphasize the lyrics’ emotional depth. Smith’s vocal delivery is hauntingly restrained, allowing the listener to connect more deeply with the protagonist’s sense of isolation. The repetitive nature of the music mirrors the “circles” the song describes, as people navigate life feeling stuck and helpless, making it a fitting anthem for those struggling with depression. As the first song on this list, “Mad World” sets a reflective and poignant tone, examining the darker corners of the human experience, similar in emotional weight to songs like “Stolen Car” by Bruce Springsteen but with its own unique take on melancholy and resignation.

Read More: Top 10 Tears For Fears Songs

# 3 – Lithium – Nirvana

Released as the third single from Nirvana’s 1991 album Nevermind, “Lithium” is one of the band’s most poignant songs about depression. Written by Kurt Cobain, the song narrates the experience of a man on the verge of emotional collapse who turns to religion as a last resort to keep himself from succumbing to suicidal thoughts. Cobain’s raw lyricism explores the psychological ups and downs that accompany depression, while the music alternates between soft verses and loud, cathartic choruses, capturing the emotional volatility of the subject.

Recorded at Sound City Studios in Van Nuys, California, under producer Butch Vig, “Lithium” was one of the most challenging tracks for the band to record, largely because of timing issues during initial takes. Drummer Dave Grohl eventually stabilized the recording with a metronome, and the song was completed as one of the most well-structured pieces on the Nevermind album. With its grunge-infused guitar riffs and dynamic shifts between soft and heavy sections, “Lithium” showcases the band’s ability to channel complex emotions through powerful musical arrangements.

The lyrics to “Lithium” present a juxtaposition of conflicting emotions, reflecting the protagonist’s psychological battle. The opening lines, “I’m so happy ’cause today I found my friends / They’re in my head,” immediately suggest a dissociative state where the protagonist’s ‘friends’ are only imagined, a nod to the isolation he feels despite claiming to be happy. This false sense of happiness continues throughout the song as Cobain contrasts feelings of contentment and deep inner turmoil.

The phrase “I’m so ugly, that’s okay, ’cause so are you” presents a stark admission of low self-worth, yet it’s delivered with a resigned acceptance of his situation. The repetition of “Yeah, yeah, yeah” in the chorus adds a sense of detachment, as if the singer is numbly convincing himself that he’s fine, when in reality, he is struggling to cope.

The chorus brings in one of the song’s most impactful lines, “I’m not gonna crack,” which is repeated like a mantra, almost as if the protagonist is trying to will himself to hold on. Yet, the darker undertones of the song reveal the underlying fear of losing control: “I killed you, I’m not gonna crack.” This could be interpreted as a metaphor for the emotional detachment or destruction that often comes with depression—pushing away or even metaphorically ‘killing’ the people closest to him to protect himself from further pain.

Cobain’s lyrics take the listener on a psychological journey of emotional highs and lows, much like the shifting dynamics in the music. The slow, almost calm verses contrast sharply with the explosive energy of the chorus, symbolizing the volatility of living with depression.

Read More: Top 10 Nirvana Songs

# 2 – Maniac Depression – Jimi Hendrix

“Manic Depression” is a track from The Jimi Hendrix Experience’s iconic 1967 debut album, Are You Experienced. Written by Jimi Hendrix, the song is a raw and electrifying portrayal of emotional turbulence. Although the title references a clinical mental disorder, the song’s lyrics reflect more of a romantic frustration and a feeling of emotional chaos rather than a literal interpretation of manic depression. It captures the essence of feeling stuck between highs and lows, both in love and life, through Hendrix’s unique blend of rock, blues, and psychedelic sound.

Recorded in late 1966 at Olympic Studios in London, the song features Jimi Hendrix on guitar and vocals, Mitch Mitchell on drums, and Noel Redding on bass. Produced by Chas Chandler, the track showcases Hendrix’s signature guitar style, full of raw emotion, and Mitchell’s jazz-inspired drumming in a 3/4 time signature, which is an unusual and striking rhythmic choice for rock music. The triple meter of “Manic Depression” adds a swirling, waltz-like feel to the otherwise aggressive rock sound, a testament to Hendrix’s innovative approach to songwriting and arrangement.

The lyrics of “Manic Depression” are a poetic reflection of a deep emotional struggle, as Hendrix sings, “Manic depression is searching my soul / I know what I want, but I just don’t know / How to go about getting it.” This sense of desire coupled with an inability to attain satisfaction permeates the song, capturing the cyclical nature of feeling stuck between hope and frustration. The line “You make love, you break love, it’s all the same” suggests a pattern of failed romantic endeavors, further reinforcing the song’s themes of emotional highs and lows.

Hendrix’s vocals are filled with intensity as he navigates the tension between passion and despair. The repetition of “Music, sweet music / I wish I could caress, caress, caress” highlights how deeply he longs for solace through music, a form of escape and relief from the mess of emotions he experiences. The phrase “Manic depression is a frustrating mess” sums up the turmoil of feeling overwhelmed by conflicting emotions.

“Manic Depression” is widely regarded as one of Hendrix’s more introspective songs, with critics noting its ability to convey emotional chaos through both lyrics and music. The song didn’t chart as a single but has become a staple in Hendrix’s catalog and is featured on many live recordings, including BBC Sessions and Winterland. Hendrix’s guitar work on this track, coupled with Mitchell’s inventive drumming, has been praised for its complexity and creativity, influencing generations of rock musicians.

The song has been covered by artists such as Ace Frehley and King’s X, both of whom brought their own interpretations to Hendrix’s emotional depth. Despite its more personal and reflective nature, “Manic Depression” fits perfectly within the energetic and experimental world of Are You Experienced, standing as a testimony to Hendrix’s ability to blend vulnerability with groundbreaking musicianship.

Read More: Top 10 Jimi Hendrix Songs

# 1 – Behind Blue Eyes – The Who

“Behind Blue Eyes,” written by Pete Townshend and performed by The Who, is one of rock’s most iconic ballads and a fitting conclusion for a list of songs focused on depression. Released as the second single from the band’s Who’s Next album in 1971, the song delves into feelings of alienation, emotional turmoil, and isolation. Originally conceived as part of Townshend’s abandoned Lifehouse project, the song’s lyrics are written from the perspective of the villain Jumbo, giving a deeply personal view of someone who feels misunderstood, burdened by their role as the “bad man.” It blends folk-like softness with a powerful, hard-hitting climax, making it one of the most emotional songs from the album.

Recorded at Olympic Studios in London, Who’s Next was produced by Glyn Johns and features Roger Daltrey on vocals, Pete Townshend on acoustic and electric guitars, John Entwistle on bass, and Keith Moon on drums. The track begins with soft, acoustic guitar arpeggios and builds into a full band crescendo in the second half, adding intensity to the emotions expressed in the lyrics. The studio’s production expertise is evident in the seamless transition from the intimate, melancholic opening to the explosive release of frustration and anger, one of the most memorable contrasts in the band’s catalog.

The lyrics of “Behind Blue Eyes” are a powerful reflection on the internal struggle of someone who is misunderstood and trapped by societal expectations. Townshend’s protagonist confesses, “No one knows what it’s like / To be the bad man / To be the sad man / Behind blue eyes,” offering a glimpse into the isolation of someone who is perceived as villainous but is battling deep emotional scars. The line “My love is vengeance that’s never free” conveys the complexity of his inner world, where love is intertwined with bitterness and vengeance. His dreams and conscience are not aligned, leaving him isolated and lost in a sea of conflicting emotions.

Townshend’s personal connection to the song comes through in the lyrics inspired by his own struggles, particularly after a tour performance when he resisted temptation and chose solitude. The refrain of “When my fist clenches, crack it open / Before I use it and lose my cool” encapsulates the emotional tension, asking for help before anger consumes him. The juxtaposition between inner vulnerability and outward toughness speaks to the protagonist’s struggle to navigate his feelings of anger and sadness.

“Behind Blue Eyes” stands out in The Who’s discography for its emotional depth and the way it grapples with inner conflict, making it one of the band’s most enduring tracks. While its thematic focus on alienation and unresolved feelings of frustration connects it to other rock songs about depression, the song’s soft-to-heavy structure offers a contrast to many songs on this list. The melancholy tone in the first half mirrors the feelings expressed in “Runaway Train” by Soul Asylum, while the explosive release of anger and frustration in the second half provides a catharsis not found in more consistently somber tracks.

The song’s chart success, reaching No. 34 on the US Billboard Hot 100, as well as its numerous cover versions—including a notable rendition by Limp Bizkit—attest to its lasting influence. Its raw portrayal of emotional conflict resonates deeply with listeners, making “Behind Blue Eyes” a powerful closing track for a list of rock songs that explore the darkest corners of human emotion.

Read More: Complete List Of The Who Studio Albums And Songs

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Complete List Of The Cranberries Songs From A to Z

Complete List Of The Cranberries Songs From A to Z

Feature Photo: Poudou99, CC BY 3.0 , via Wikimedia Commons

The Cranberries emerged as a defining voice of 1990s alternative rock, hailing from Limerick, Ireland. The band was originally formed in 1989 by brothers Noel Hogan (guitar) and Mike Hogan (bass), along with drummer Fergal Lawler and vocalist Niall Quinn. However, it was Dolores O’Riordan, who replaced Quinn in 1990, whose distinctive voice and poetic lyricism propelled the group into global prominence. Her raw yet ethereal vocals became the band’s signature sound, intertwining seamlessly with their melodic, guitar-driven compositions.

The Cranberries began their ascent in the early 1990s after signing with Island Records. Their debut album, Everybody Else Is Doing It, So Why Can’t We?, released in 1993, featured the breakout hits “Linger” and “Dreams,” both of which showcased O’Riordan’s emotive vocal delivery and the band’s knack for crafting memorable melodies. The album achieved massive commercial success, reaching multi-platinum status and marking the start of the band’s global impact.

Their second album, No Need to Argue (1994), cemented their place in rock history with the iconic protest anthem “Zombie,” a visceral response to the violence of the Troubles in Northern Ireland. The song’s haunting lyrics and grungy intensity contrasted with their earlier work, demonstrating the band’s versatility. No Need to Argue became their best-selling album, achieving platinum and multi-platinum certifications worldwide.

Over their career, The Cranberries released eight studio albums, including To the Faithful Departed (1996), which explored themes of mortality and social issues, and Bury the Hatchet (1999), which marked a return to their melodic roots after the more experimental tone of its predecessor. Following their hiatus in 2003, the band reunited in 2009 and released additional albums such as Roses (2012) and In the End (2019), the latter serving as a poignant farewell following O’Riordan’s untimely death in 2018.

The Cranberries’ contributions to music were widely celebrated. They received several international accolades, including nominations for MTV Europe Music Awards and recognition for their artistic and cultural impact. Their ability to merge deeply personal themes with universal resonance endeared them to fans worldwide. Tracks like “Ode to My Family,” “When You’re Gone,” and “Animal Instinct” remain beloved for their emotional depth and timeless appeal.

Beyond their music, The Cranberries, particularly Dolores O’Riordan, were active in philanthropy and social causes. O’Riordan often used her platform to advocate for peace and address societal issues, amplifying the band’s influence beyond the charts. Their music became a voice for a generation grappling with political turmoil and personal introspection.

The Cranberries’ legacy is marked by over 50 million records sold worldwide and a discography that continues to inspire new listeners. Their ability to balance introspective ballads with powerful rock anthems ensured their place as one of the most significant bands of their era. Even after O’Riordan’s passing, their music remains a testament to their enduring artistry and the profound emotional connection they forged with audiences.

(A-D)

“7 Years” – CD-R test pressing of Wake Up and Smell the Coffee (2001)
“A Fast One”Water Circle (1990, as The Cranberry Saw Us)
“A Place I Know”In the End (2019)
“All Over Now” † – In the End (2019)
“Always” – Bonus track on the iTunes release of Roses (2012)
“Analyse” † – Wake Up and Smell the Coffee (2001)
“Animal Instinct” † – Bury the Hatchet (1999)
“Astral Projections”Roses (2012)
“Away” – B-side of “Zombie” (1994)
“Baby Blues” – B-side of “Animal Instinct” (1999)
“Bosnia”To the Faithful Departed (1996)
“Cape Town” – Bonus track on Wake Up and Smell the Coffee (2001)
“Carry On”Wake Up and Smell the Coffee (2001)
“Catch Me If You Can”In the End (2019)
“Chocolate Brown”Wake Up and Smell the Coffee (2001)
“Chrome Paint”Water Circle (1990, as The Cranberry Saw Us)
“(They Long to Be) Close to You” (Carpenters cover) – If I Were a Carpenter (1994)
“The Concept”Wake Up and Smell the Coffee (2001)
“Conduct”Roses (2012)
“Copycat” ‡ – Bury the Hatchet (1999)
“Cordell”To the Faithful Departed (1996)
“Crazy Heart”In the End (2019)
“Daffodil Lament”No Need to Argue (1994)
“Delilah”Bury the Hatchet (1999)
“Desperate Andy”Bury the Hatchet (1999)
“Disappointment”No Need to Argue (1994)
“Do You Know”Wake Up and Smell the Coffee (2001)
“Dreaming My Dreams” ‡ – No Need to Argue (1994)
“Dreams” † – Everybody Else Is Doing It, So Why Can’t We? (1992)
“Dying In The Sun”Bury the Hatchet (1999)
“Dying Inside”Wake Up and Smell the Coffee (2001)

(E-H)

“Electric Blue”To the Faithful Departed (1996)
“Empty”No Need to Argue (1994)
“Every Morning”Wake Up and Smell the Coffee (2001)
“Everything I Said”No Need to Argue (1994)
“Fee Fi Fo”Bury the Hatchet (1999)
“Fire & Soul” ‡ – Roses (2012)
“Forever Yellow Skies”To the Faithful Departed (1996)
“Free to Decide” † – To the Faithful Departed (1996)
“The Glory”Something Else (2017)
“Go Your Own Way” (Fleetwood Mac cover) – Legacy: A Tribute to Fleetwood Mac’s Rumours (1998)
“God Be With You”The Devil’s Own (Original Soundtrack) (1997, credited to O’Riordan)
“Good Morning God”Anything (1990, as The Cranberry Saw Us)
“Got It”In the End (2019)
“Hollywood” † – To the Faithful Departed (1996)
“How”Everybody Else Is Doing It, So Why Can’t We? (1993)
“How’s It Going To Bleed”Anything (1990, as The Cranberry Saw Us)

(I-J)

“I Can’t Be with You” † – No Need to Argue (1994)
“I Don’t Need” – B-side of “Zombie” (1994)
“I Just Shot John Lennon”To the Faithful Departed (1996)
“I Really Hope”Wake Up and Smell the Coffee (2001)
“I Still Do”Everybody Else Is Doing It, So Why Can’t We? (1993)
“I Will Always”Everybody Else Is Doing It, So Why Can’t We? (1993)
“The Icicle Melts”No Need to Argue (1994)
“I’m Still Remembering” ‡ – To the Faithful Departed (1996)
“Illusion”In the End (2019)
“In It Together” – Bonus track on Roses (2012)
“In The End”In the End (2019)
“In the Ghetto” (Elvis Presley cover) – Bonus track on Wake Up and Smell the Coffee (2001)
“Intermission”To the Faithful Departed (1996)
“Íosa”Everybody Else Is Doing It, So Why Can’t We? (25th Anniversary Edition) (2018)
“Joe”To the Faithful Departed (1996)
“Just My Imagination” † – Bury the Hatchet (1999)

(L)

“Liar” ‡ – B-side of “Linger” (1993)
“Linger” † – Everybody Else Is Doing It, So Why Can’t We? (1993)
“Losing My Mind”Roses (2012)
“Lost”In the End (2019)
“Loud and Clear”Bury the Hatchet (1999)

(M-N)

“Many Days” – Asian Tour Edition of Wake Up and Smell the Coffee (2001)
“Never Grow Old”Wake Up and Smell the Coffee (2001)
“New New York”Stars: The Best of 1992–2002 (2002)
“No Need to Argue”No Need to Argue (1994)
“Not Sorry”Everybody Else Is Doing It, So Why Can’t We? (1993)
“Nothing Left at All”Uncertain (1991)

(O-P)

“Ode to My Family” † – No Need to Argue (1994)
“Paparazzi on Mopeds” – B-side of “Animal Instinct” (1999)
“Pathetic Senses”Uncertain (1991)
“Perfect World” – Bonus track on Roses (Extended Version) (2012)
“The Picture I View” – B-side of “Free to Decide” (1996)
“Pretty”Everybody Else Is Doing It, So Why Can’t We? (1993)
“Pretty Eyes”Wake Up and Smell the Coffee (2001)
“The Pressure”In the End (2019)
“Promises” † – Bury the Hatchet (1999)
“Put Me Down”Everybody Else Is Doing It, So Why Can’t We? (1993)

(R)

“Raining in My Heart” ‡ – Roses (2012)
“Reason” – B-side of “Linger” (1993)
“The Rebels”To the Faithful Departed (1996)
“Ridiculous Thoughts” † – No Need to Argue (1994)
“Roses”Roses (2012)
“Rupture”Something Else (2017)

(S)

“Salvation” † – To the Faithful Departed (1996)
“Saving Grace”Bury the Hatchet (1999)
“Schizophrenic Playboys”Roses (2012)
“Serendipity” – Bonus track on Roses (2012)
“Shattered”Bury the Hatchet (1999)
“Shine Down”Nothing Left at All (1990, as The Cranberry Saw Us)
“Show Me” ‡ – Roses (2012)
“So Cold in Ireland” – B-side of “Ode to My Family” (1994)
“So Good”Roses (2012)
“Someday” – Bonus track on the Japanese release of Roses (2012)
“Sorry Son”Bury the Hatchet (1999)
“Stars” † – Stars: The Best of 1992–2002 (2002)
“Still Can’t…” ‡ – Everybody Else Is Doing It, So Why Can’t We? (1993)
“Stop Me” – Bonus track on the iTunes Canada release of Roses (2012)
“Storm in a Teacup”Anything (1990, as The Cranberry Saw Us)
“Such a Shame”Bury the Hatchet (The Complete Sessions) (2000)
“Such a Waste” – Bonus track on “This Is the Day” (2002)
“Summer Song”In the End (2019)
“Sunday” ‡ – Everybody Else Is Doing It, So Why Can’t We? (1993)

(T-Z)

“The Sweetest Thing” – B-side of “Promises” (1999)
“Them”Uncertain (1991)
“This Is The Day” † – Wake Up and Smell the Coffee (2001)
“Throw Me Down a Big Stairs”Anything (1990, as The Cranberry Saw Us)
“Time is Ticking Out” † – Wake Up and Smell the Coffee (2001)
“Tomorrow” † – Roses (2012)
“Twenty One”No Need to Argue (1994)
“Uncertain”Uncertain (1991)
“Waiting in Walthamstow” ‡ – Roses (2012)
“Wake Me When It’s Over” † – In the End (2019)
“Wake Up And Smell The Coffee”Wake Up and Smell the Coffee (2001)
“Waltzing Back”Everybody Else Is Doing It, So Why Can’t We? (1993)
“Wanted”Everybody Else Is Doing It, So Why Can’t We? (1993)
“War Child”To the Faithful Departed (1996)
“What You Were” – B-side of “Dreams” (1992)
“What’s On My Mind”Bury the Hatchet (1999)
“When You’re Gone” † – To the Faithful Departed (1996)
“Why?” † – Something Else (2017)
“Will You Remember?”To the Faithful Departed (1996)
“Woman Without Pride”Bury the Hatchet (The Complete Sessions) (2000)
“Yeats’ Grave”No Need to Argue (1994)
“You and Me” † – Bury the Hatchet (1999)
“Zombie” † – No Need to Argue (1994)

Steeleye Span announce Spring tour and update on new studio album

Steeleye Span have announced a run of live dates for April and May, as well as offering an update on their latest studio album.

Founding member and singer Maddy Piro heads a line-up that includes Liam Genockey (drums), Julian Littman (guitar and keyboards), Roger Carey (bass), Andrew “Spud” Sinclair (guitar) and latest addition, violinist Athena Octavia (who also plays in indie folk act Iris & Steel) for an 18-date run around England, kicking off at Alnwick Playhouse on April 25 and running through to Dorchester’s Hardye Theatre on May 17.

The band’s new studio album, titled Conflict, is currently at the mixing and mastering stage. Said to encompass the rockier side of the band Conflict is slated for a general release later this year, in time for the band’s traditional November and December run of live dates, although there remains a chance that, if completed, it may make the merch stand on the Spring run of dates,

You can see the full run of live dates and ticket details below.

Steeleye Span Spring tour dates

Apr 25: Alnwick Playhouse
Apr 26: Harrogate Theatre
Apr 27: Scunthorpe Plowright Theatre
Apr 29: Southport Atkinson Arts
Apr 30: Rhyl Pavilion Theatre
May 1: Kendal Brewery Arts
May 2: Pocklington Arts Centre
May 4: Middlesbrough Theatre
May 6: Hereford The Courtyard
May 7: Newport Riverfront
May 8: Walsall Arena
May 10: Hunstanton Princess Theatre
May 11: Newark Palace Theatre
May 12: Leamington Spa Royal Spa Centre
May 14: Milton Keynes The Stables
May 15: Salisbury Arts Centre
May 16: East Grinstead Chequer Mead Theatre
May 17: Dorchester Hardye Theatre

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This nu metal band want YOUR ideas for song titles and lyrics: “If we pick yours we’ll give you a shoutout on the album credits”

Nu metal band Nonpoint have turned to their fans for help writing their next album.

On Wednesday (February 19), the Florida five-piece, best-known for 2005 single Bullet With A Name and their metallic take on Phil CollinsIn The Air Tonight, took to social media, asking for their following to suggest potential song titles and lyrical themes in exchange for a shout-out in their next record’s liner notes.

“Want some new music from the Nonpoint squad?” the band asked. “We just so happen to be writing. Give us some ideas for titles and subject matter you’d love to hear in the comments. If we pick yours we’ll give you a shoutout on the album credits thanking you for the inspiration!”

So far, responses to the request have varied wildly, with one fan asking for lyrics about sleep paralysis while another suggests covering Chicago by Michael Jackson. Have your say by commenting on the embedded Instagram post below.

Nonpoint were formed in Fort Lauderdale in 1997 by vocalist Elias Soriono and drummer Robb Riviera. They debuted with 2000 album Statement, which reached number 166 on the US Billboard 200 charts. 2002 follow-up Development is currently their highest-charting record, having reached number 52 on the Billboard 200.

In 2004, Nonpoint’s version of In The Air Tonight cover reached number 3 on the US Bubbling Under Hot 100 singles chart. Bullet With A Name later found crossover appeal when it appeared on the soundtrack for WWE SmackDown vs. Raw 2007.

The band’s latest album, X, came out in 2018. Soriano declared his intention to start writing their next release last year. “We’re creators, and we’re constantly creating, so we’re sitting on a ton of music,” he told DJ Force X (via Blabbermouth). “It’s just about which ones kind of work together and kind of fit together and we wanna finally put together into a body of work.”

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Bloodstock festival announces one-day Winter Gathering event headlined by doom legends Candlemass

Bloodstock Open Air has announced a Winter Gathering offshoot for December.

The Derbyshire-based festival will take over KK’s Steel Mill down the road in Wolverhampton for a one-day, two-stage event on December 6. Headliners Candlemass have been confirmed and tickets are on sale now.

Joining Candlemass on the lineup’s main stage will be Venom Inc. playing their 2018 album Ave in full, plus Raised By Owls, Hellripper, Tortured Demon and King Kraken. Acts confirmed for the second stage are Red Method, Thuum and Hellripper.

Also at the event will be signing sessions, DJs and more activities still to be announced.

Candlemass comment: “Candlemass are proud to be a part of the Bloodstock Winter Gathering! We have always felt welcome on British soil and we’re excited to be there once again and deliver our special brand of Swedish doom metal! See ya all soon… Love you!!!”

The Winter Gathering will follow the 2025 edition of Bloodstock Open Air, set to be held at Catton Hall from August 7 to 10. Headlining the four-day outdoor weekender will be Trivium, Machine Head and Gojira. Weekend tickets have already sold out, as have day tickets for the Sunday with Gojira. Day tickets for Friday (featuring Trivium) and Saturday (featuring Machine Head) are still available.

Rounding out the Bloodstock bill will be Emperor, Lacuna Coil, Lord Of The Lost, Mastodon, Ministry and many more.

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Earlier this week, Machine Head announced details of their new album. Unatoned will be released on April 25 via Nuclear Blast and Imperium, and the singles These Scars Won’t Define Us and Unbound are currently streaming.

During an exclusive interview with Metal Hammer last year, Trivium frontman Matt Heafy revealed the band will play their 2005 breakthrough album Ascendancy in full during their slot. They are currently performing the record in its entirety on a European tour with Bullet For My Valentine.

“We’ve discussed adding in the special-edition original songs as well,” Heafy also told us, referencing Ascendancy’s bonus tracks Blinding Tears Will Break The Skies and Washing Away Me In The Tides.

A mysterious new band has been added to Download 2025 and the internet is convinced it’s Sleep Token-related

The internet is convinced that a mysterious new band added to the Download 2025 lineup have something to do with Sleep Token.

On Tuesday (February 18), the Leicestershire festival added 22 new names to this year’s bill, with one of them being an as-yet-unheard act called President. Little is known about the project, whose members are thus far unnamed. Their profile on the Download app reads, “No names. No past. No distractions. Only the mission ahead.”

On Instagram, President have posted several enigmatic images with captions that include “Join the campaign” and “The campaign commences soon”. The band’s website is currently hosting a countdown set to expire at midnight UK time on Friday, May 16.

The mystery has inherently led to some internet sleuths drawing parallels between this new outfit and similarly faceless superstars Sleep Token, who are headlining Download for the very first time in 2025.

In a Reddit thread with the title “Who/what are President (band)?”, one fan comments: “Could potentially be related to Sleep Token in some way. Download is a massive moment for them, could potentially be a way to signal a ‘new era’ for them?”

It’s understandable for the British progressive metal figureheads’ following to be in a puzzle-solving mood, as Sleep Token have been putting out some teasers of their own lately.

On Tuesday, a new TikTok account linked to the band began directing people to the website showmehowtodanceforever.com. The site hosts a cryptic word game that, when solved, asks the user to sign up to a mailing list. Many sources report that fans then receive an email sorting them into one of two ‘houses’.

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It seems that new Sleep Token music is on the horizon, given the band inked a deal with major label RCA last year and have been teasing a ‘new era’ for quite some time.

Download 2025 will take place at Donington Park from June 13 to 15. Korn and Green Day will headline along with Sleep Token. Weezer, the Sex Pistols, Bullet For My Valentine, Spiritbox and more will also appear across the weekend.