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“An album as full of joy as it is of craft”: The Doobie Brothers bring back Michael McDonald on Walk This Road

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A new Doobie Brothers album might not be a surprise in itself, since core members Tom Johnston, John McFee and Patrick Simmons have been chugging along merrily this century, releasing four well-crafted albums. What is a surprise – and a very pleasant one – is the return of vocalist Michael McDonald, an intermittent guest of late but now a full participant for the first time since 1980’s fractious One Step Closer.

The format, though, echoes 2021’s Liberté, for which songwriters Johnston and Simmons collaborated individually with producer John Shanks before taking the finished product to the group. McDonald has submitted to the same regime. And while it sounds awkward, at their best the Doobies were a church sufficiently broad to accommodate disparate talents.

The Doobie Brothers – Angels & Mercy (Vinyl Visualizer) – YouTube The Doobie Brothers - Angels & Mercy (Vinyl Visualizer) - YouTube

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McDonald initially exited after his introduction in 1975 gave the band their most sustained burst of mainstream success, albeit at the cost of surrendering their rougher, rocky edge. These days there’s less tension, and the musical equivalent of separate beds brings its own rewards. Gritty and blues-tinged, Here To Stay, Angels And Mercy – with guitar playing reminiscent of Peter Green’s on Oh Well – and New Orleans are throwbacks to the pre-McDonald era, when the Doobies were the darlings of the North California biker bar scene more than half a century ago.

With McDonald the youngest Doobie at 73 there’s a sense of reflection too, especially on Lahaina, the closing comfort ballad titled after a town in Hawaii, which features Mick Fleetwood and Hawaiian ukulele wizard Jake Shimabukuru. The languid Speed Of Pain is a showcase for McDonald’s ruminating vocals and his stentorian piano, while Learn To Let Go could have graced Minute By Minute.

The Doobie Brothers – Walk This Road (feat. Mavis Staples) (Vinyl Visualizer) – YouTube The Doobie Brothers - Walk This Road (feat. Mavis Staples) (Vinyl Visualizer) - YouTube

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Elsewhere there’s a gospel undercurrent to both the title track, on which vocalist Mavis Staples guests, and the outstanding State Of Grace, in which the line ‘I’ve wasted all of my life living on memories’ might be tad melodramatic, but the song itself is desperately moving. Call Me is a reminder that Dave Matthews is not without influence, Here To Stay begins with a burst of a cappella vocals before it gallops like Steely Dan’s Reelin’ In The Years, and The Kind That Lasts brings tough, swampy funk.

None of this should really work in 2025, but the fact the Doobie Brothers don’t have to exist makes their actual existence all the more worthwhile, and Walk This Road is an album as full of joy as it is of craft. Sixteen albums in, they’re still not letting themselves down.

John Aizlewood

As well as Classic Rock, John Aizlewood currently writes for The Times, The Radio Times, The Sunday Times, The i Newspaper, The Daily Telegraph, The Sunday Telegraph and Mojo amongst others.  He’s written four books and appears on television quite often. He once sang with Iron Maiden at a football stadium in Brazil: he wasn’t asked back. He’s still not sure whether Enver Hoxha killed Mehmet Shehu…

“They’ve always ignored the rule book in favour of new, often over-the-top ideas”: These are Muse’s proggiest moments

Muse
(Image credit: Nick Fancher)

From bombastic and extravagant compositions through to deep-thinking concepts and conspiracies which inform much of their lyrics, Muse have often married mainstream sensibilities with the scope and grandeur of prog rock. With their ever-evolving sound the Devonshire trio have always ignored the rule book in favour of new, often over-the-top ideas. From 10-minute apocalypse operas to three-part symphonies to getting their Floyd on, here are 10 moments – first presented in 2022 – in which Muse have let their progressive influences lead the way.


Butterflies & Hurricanes 

Arguably the band’s most far-out single from their stratospherically successful Absolution record, Butterflies & Hurricanes contains pain and beauty in equal measure, launching off a repetitive two-note phrase. It builds and builds, orchestrations sweeping cinematically into the picture with a choir of Matt Bellamy’s wringing out courage finding lyrics. Yet its constant rise is ebbed by a leftfield, winding piano interlude, before Bellamy’s Rachmaninoff influences prompt a stunning detour as an explosive finale.


Space Dementia 

“Space Dementia is the term NASA Used for what happens if you’re left out in space for a long time,” Bellamy has explained. “Because if you truly conceptualise the situation of being there and looking back at Earth, it can drive you mad.”

Between spiralling piano, a punch-drunk, fuzz-lavished bassline and the singer’s near-psychotic operatics, floating in zero gravity is that sense of madness. The 20th anniversary remix heightening its tension with weeping strings. Enormous, crushing guitars come in for an outro designed to be a stark contrast from its earlier section, as they drag you towards an ominous conclusion.

Muse – Space Dementia (XX Anniversary RemiXX) [Official Audio] – YouTube Muse - Space Dementia (XX Anniversary RemiXX) [Official Audio] - YouTube

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Animals 

The 2nd Law is arguably Muse’s most experimental album. A melting pot of so many influences, Queen and Floyd-isms are bedfellows with dubstep, classical, jazz and more across what are very ambitious reinterpretations of the band’s blueprint. Animals packs a lot into its short run. The band flit between time signatures for its dizzying conclusion, which segues from ethereal Floyd to a gorgeous guitar solo and a crunching prog rock riff that, just for a moment, drops into a head bobbing 4/4.

Muse – Animals (Competition Winner) – YouTube Muse - Animals (Competition Winner) - YouTube

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City Of Delusion 

2006’s chart topping Black Holes & Revelations is best known for Supermassive Black Hole, Starlight and frequent set-closer Knights of Cydonia – which leaves City Of Delusion something of a hidden gem. Ricocheting off an Eastern-styled chord progression and slowly building strings, its theatrics are amassed a winding structure iced with a dance-worthy yet sullen trumpet solo.


The Globalist 

A sequel to fan-favourite Citizen Erased from Origin Of Symmetry, and clocking in at just over 10 minutes, this apocalypse opera is full of complexities and Easter eggs. During the song, which is takes in whistled melodies, slide guitars and a monolithic, seven-string guitar riff fest, the protagonist discovers a code which starts World War Three. That code consists of lines from the record’s previous seven tracks played backwards, with ideas inspired by Edward Elgar’s Enigma Variations dotted throughout the song.

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MUSE | The Globalist | Español | HD Ver. Glastonbury 2016 – YouTube MUSE | The Globalist | Español | HD Ver. Glastonbury 2016 - YouTube

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Exogenesis Symphony 

Resistance may be one of Muse’s more underwhelming albums, but that doesn’t mean it’s bereft of magical prog moments. Closed out by this awe-inspiring three-part symphony, it’s inspired by the concept of pansmeria, in which humanity’s last hopes of survival are pinned on astronauts finding a new planet to become home. As early as 2008, Bellamy had hinted at a “15 minute space rock solo” – and he delivered with a stirring suite inspired as much by Radiohead as Chopin and Strauss.

Muse – Exogenesis Symphony Full – YouTube Muse - Exogenesis Symphony Full - YouTube

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Take A Bow 

The dark, unsettled opening track from Black Holes… represents a lot of Muse’s strengths in one snapshot: we have atypical structure, a defiant anti-corruption messaging and a piece of sheer scale. Described by Bellamy as a “gothic fairytale,” it lacks a definitive verse or chorus; instead it’s driven by arpeggiated keyboard phrases that perpetually change keys downwards, getting even darker and even more settled with each loop.

“Its structure is mathematical,” bassist Chris Wolstenhome explained. “Dom’s never played like that, with very jazzy rhythms, slow ones, followed by more chaotic bits integrated into the whole.”


Survival 

The official anthem of the London 2012 Olympic Games and penned especially for the world’s biggest sporting event, it’s befittingly gigantean. It started as a planned collaboration with Elton John (which was ultimately fruitless) before Bellamy turned it into a gladiatorial powerhouse. Whilst the song polarised fans – and its lyrics are guilty of being a little cheesy – musically, it’s an adventurous, perpetually progressing piece that feels like climbing a mountain, sword in hand and fuelled by a lust for glory, with all the pomp and majesty prog can muster.

Muse – Survival – London 2012 Olympic Games | Music Monday – YouTube Muse - Survival - London 2012 Olympic Games | Music Monday - YouTube

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On The Gallery, Muse step away from the security of their well used tropes for something completely different. A stripped back instrumental which interweaves jazzy drum work and eerie theremin textures makes this Origin… era B-side compellingly hypnotic.


Knights Of Cydonia 

This intergalactic spaghetti western extravaganza unites sci-fi imaginings with a blend of Ennio Morricone and Dick Dale; but the track also pays homage to Bellamy’s father. The laser-like tremolo riffing and galloping rhythms are a tip of the hat to The Tornados’ hit Telestar, on which George Bellamy played guitar.

Its title is inspired by a region of Mars that’s piqued many astronomers’ interest due to its face-like mountain which is believed to have once stood next to a giant Martian lake. The song’s huge success comes in the spite of being through-composed, meaning it lacks any clear repeating sections. Instead, it keeps thundering through the kind of grandiose astral plains that only Muse could create.

You can usually find this Prog scribe writing about the heavier side of the genre, chatting to bands for features and news pieces or introducing you to exciting new bands that deserve your attention. Elsewhere, Phil can be found on stage with progressive metallers Prognosis or behind a camera teaching filmmaking skills to young people. 

“They could certainly all have been in Fleetwood Mac”: Stevie Nicks likes Haim so much she’s working on a new song with them

Stevie Nicks and Haim onstage (composite image)
(Image credit: Stevie Nicks: Randy Holmes / Getty Images | Haim: Kevin Winter/TAS23/Getty Images for TAS Rights Management)

Fleetwood Mac icon Stevie Nicks has praised Haim, the Los Angeles band made up of sisters Danielle, Alana and Este Haim, claiming that the trio would have been right at home in her old band.

“It starts with Danielle’s voice,” Nicks tells GQ. “It is just stunning. She’s the first part of the puzzle, but then the percussion that Este and Alana wrap around her turn all of their songs into percussive masterpieces.

“[They are] something that I have never heard before. But coming from Mick Fleetwood’s great love of their kind of percussion, for me in a way, it’s like coming home. They could certainly all have been in Fleetwood Mac.”

Nicks also tells GQ that she’s been working on a new song with the sisters, although she doesn’t reveal when it will officially see the light of day.

“Some day, when you tumble into this song,” she says, “you will understand everything I have just told you.”

Elsewhere in the feature, in which Haim talk about their upcoming fourth album I Quit, the band address those in the rock community who fail to take them seriously.

“It’s always a guy,” Este says, chastising the men who notice that Haim’s guitars aren’t plugged in and go on to claim they’re miming onstage.

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“It’s like, my dog, we’re playing with wireless,” says Danielle. “Are you a fucking idiot?”

Late last month, it was announced that Nicks’ classic 1981 solo album Bella Donna is to receive a high-end vinyl reissue via Rhino Hi-Fi. The album, which is limited to 5000 copies worldwide, is available to order now.

“What I wanted my whole life was to do this album,” says Nicks. “Making Bella Donna really saved my life.”

Haim’s new single Take Me Back is out now. I Quit is released on June 20.

HAIM – Take me back (Official Lyric Video) – YouTube HAIM - Take me back (Official Lyric Video) - YouTube

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Online Editor at Louder/Classic Rock magazine since 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.

Complete List Of Rod Stewart Songs From A to Z

Complete List Of Rod Stewart Songs From A to Z

Feature Photo: Geoffrey Clowes / Shutterstock.com

The chronicle of Sir Rod Stewart is a sprawling, six-decade epic, a testament to a restless artistic spirit that journeyed from the gritty R&B clubs of 1960s London to the pinnacle of global superstardom, his unmistakable gravelly voice becoming one of the most iconic and beloved sounds in popular music. Born in Highgate, North London, Roderick David Stewart’s initial forays into the music world were decidedly unglamorous, a period of youthful exploration that saw him busking with a harmonica in 1962, a raw, itinerant apprenticeship that hinted at the tenacity to come.

His first formal engagement arrived in October 1963 when he joined The Dimensions as a harmonica player and occasional vocalist, a commitment he juggled with his day job in his brother’s painting and picture-frame shop. This early dedication, balancing nascent musical ambitions with everyday work, underscores a foundational work ethic. A more decisive step towards a full-time music career occurred in January 1964 when, at the age of 19, Stewart accepted an invitation from Long John Baldry to join his group, the All Stars, a move that prompted him to leave his conventional employment behind.

It was during this formative period that the “Rod the Mod” persona began to crystallize, his dandyish attire and carefully cultivated style reflecting not merely a fashion statement but an authentic immersion in the vibrant Mod subculture of the era. This early understanding of image and stage presence, an innate grasp of showmanship, would prove to be a vital component of his enduring appeal. His musical education was further enriched by his involvement with Steampacket, a white soul revue that toured with luminaries such as The Rolling Stones, steeping him in the R&B and soul idioms that would forever inform his vocal delivery—the characteristic rasp, the emotive phrasing, and the soulful depth that became his sonic signature. This unwavering blues and R&B foundation provided him with a versatile musical vocabulary, a core authenticity that allowed him to later navigate and master an astonishing array of genres.

The late 1960s marked a crucial period of artistic sharpening, as Stewart’s talents were forged in the crucible of two influential bands, the Jeff Beck Group and Faces, even as he simultaneously laid the groundwork for a monumental solo career. Joining the Jeff Beck Group in February 1967 was a “significant break,” a pivotal moment that not only paired him with the virtuosic guitarist Jeff Beck but also initiated his enduring friendship and musical partnership with Ronnie Wood. This collaboration was instrumental in honing his rock credentials and significantly boosting his visibility, particularly in the United States.

The group’s albums, Truth (1968) and Beck-Ola (1969), served as powerful showcases for Stewart’s increasingly dramatic and potent vocals; he also contributed to songwriting, later crediting this period with a significant development in his vocal abilities. The dynamic within such a talent-laden group, while creatively stimulating, was not without its challenges, including conflicts with management, an environment that likely accelerated his maturation as a performer.

Concurrent with this band activity, Stewart’s solo ambitions were taking shape. He signed a solo recording contract with Mercury Records in October 1968, and in 1969, released his debut solo album, An Old Raincoat Won’t Ever Let You Down (titled The Rod Stewart Album in the US). This record immediately established his distinctive solo sound: a compelling fusion of folk, rock, and country blues, imbued with a uniquely British working-class sensibility and narrative depth. This early solo work demonstrated not only his ambition but also a clear artistic vision distinct from his band projects.

In October 1969, following Steve Marriott’s departure from the Small Faces, Stewart, along with Ronnie Wood, joined the reconfigured lineup, which was soon rebranded as Faces. Renowned for their boisterous, freewheeling rock and roll and infectious camaraderie, Faces offered a more raucous and communal outlet for Stewart’s talents. The parallel pursuit of a flourishing solo career—with albums like Gasoline Alley (1970) gaining acclaim—alongside his role in the increasingly popular Faces, created a unique, if sometimes tense, dynamic. This duality, however, proved strategically brilliant, allowing him to explore diverse musical facets and ensuring his voice and name remained consistently in the public eye, effectively amplifying his ascent.

The dawn of the 1970s witnessed Rod Stewart’s explosive ascent to global superstardom, a trajectory ignited by a single song that would become an anthem for a generation and solidify his place in rock and roll history. The 1971 solo album Every Picture Tells a Story proved to be the watershed moment. Its second track, “Maggie May,” a poignant, mandolin-laced narrative co-written by Stewart and Martin Quittenton and initially relegated to the B-side of the single “Reason to Believe,” unexpectedly captured the public’s imagination.

Through sheer force of radio airplay and popular demand, “Maggie May” and its parent album achieved an unprecedented feat in September 1971, simultaneously topping the singles and albums charts in the United Kingdom, the United States, Canada, and Australia—a historic first that instantly transformed Stewart from a respected vocalist into a bona fide international phenomenon. The song’s organic success, driven by its narrative charm and Stewart’s evocative delivery rather than overt marketing, underscored an appeal rooted in genuine artistic merit. “Maggie May” enjoyed a five-week reign at number one in both the US and UK and has since been enshrined by the Rock and Roll Hall of Fame as one of the 500 Songs that Shaped Rock and Roll.

This triumph was swiftly followed by continued success with the album Never a Dull Moment in 1972, which featured the hit single “You Wear It Well,” further cementing his chart dominance. A move to Warner Bros. Records in 1975 and a collaboration with legendary producer Tom Dowd on the album Atlantic Crossing marked a subtle shift towards a more polished sound, yielding the monumental UK number-one single “Sailing,” which became his biggest-selling single in his homeland.

The latter half of the decade saw Stewart maintain his Midas touch, with the ballad “Tonight’s the Night (Gonna Be Alright)” holding the top spot on the US Billboard Hot 100 for an impressive eight weeks in 1976, and the disco-infused “Da Ya Think I’m Sexy?” from the 1978 album Blondes Have More Fun conquering charts worldwide, including number one positions in both the US and UK. While “Da Ya Think I’m Sexy?” courted criticism from some quarters for its departure from his rock roots, its massive success demonstrated a remarkable commercial adaptability and an astute understanding of the evolving musical landscape. Characteristically, Stewart turned potential controversy into a positive gesture, donating his royalties from the song to UNICEF and performing it at the Music for UNICEF Concert in 1979. This ability to navigate and often conquer prevailing musical trends, while sometimes divisive, was a crucial element in maintaining his extraordinary level of fame and relevance throughout a rapidly changing decade.

Throughout the 1980s and 1990s, Rod Stewart showcased an extraordinary capacity for reinvention and resilience, navigating shifting musical tides with a chameleon-like adaptability that ensured his continued presence at the forefront of popular music, culminating in one of his most unexpected and successful career pivots. As the 1970s gave way to the 80s, Stewart astutely embraced the emerging sounds of new wave and synth-pop, evident in albums like Tonight I’m Yours (1981), which spawned the hit single “Young Turks,” a track that resonated with the MTV generation.

While this period saw him explore more contemporary production styles, sometimes to the chagrin of longtime rock purists, it kept him firmly in the charts. The late 1980s and early 1990s heralded a significant resurgence in his popularity, with albums like Out of Order (1988), co-produced by Duran Duran’s Andy Taylor and Chic’s Bernard Edwards, and Vagabond Heart (1991) delivering a string of memorable hits including “Lost In You,” “Forever Young,” “My Heart Can’t Tell You No,” a poignant cover of Tom Waits’ “Downtown Train,” and the anthemic “Rhythm of My Heart”.

A particularly pivotal moment arrived in 1993 with the release of Unplugged…and Seated. This live acoustic album, part of MTV’s popular series, was a critical and commercial triumph, stripping back the layers of production to highlight the raw power and emotive depth of Stewart’s voice. His rendition of Van Morrison’s “Have I Told You Lately” from this album became a major international hit and served as a powerful reaffirmation of his core talents as an interpreter and vocalist, reminding audiences of the folk and rock roots that underpinned his artistry.

Then, in the early 2000s, Stewart embarked on perhaps his most audacious and ultimately rewarding venture: The Great American Songbook series. Under the guidance of legendary music executive Clive Davis, he released a succession of albums interpreting classic pop standards from the 1930s and 1940s. This move was met with immense popular success, with Stardust: The Great American Songbook, Volume III (2004) earning him his first US number-one album in 25 years and his first Grammy Award. This strategic masterstroke not only introduced his voice to a new demographic but also cleverly repositioned him as an elder statesman of popular song, transcending genre limitations.

Demonstrating that his creative wellspring was far from dry, Stewart returned to songwriting after what he described as a “dark period of twenty years,” releasing the album Time in 2013, which featured original material and impressively debuted at number one on the UK Albums Chart.

The sheer scale of Rod Stewart’s recorded output and the consistent, decades-spanning success of his music underscore a relentless creative drive and an almost unparalleled ability to connect with audiences across generations. As of the 2024 release of Swing Fever, a collaboration with Jools Holland, Stewart has amassed an extraordinary catalogue of 32 studio albums. This prolific discography, stretching from his 1969 debut An Old Raincoat Won’t Ever Let You Down to his most recent offerings, is a testament to remarkable longevity and an unwavering commitment to his craft over six decades.

His chart achievements are staggering: in his native United Kingdom, he has celebrated 10 number-one albums and an impressive 31 top-ten singles, six of which reached the coveted number-one position. This enduring bond with his home audience is a cornerstone of his career. Across the Atlantic, in the competitive US market, Stewart has garnered 16 top-ten singles, with four scaling the summit of the Billboard Hot 100. This consistent ability to craft songs that resonated deeply on both sides of the ocean speaks to a universal quality in his music and persona, a hallmark of truly iconic international artists.

His list of hit singles reads like a soundtrack to multiple eras, showcasing his remarkable versatility: the folk-rock intimacy of “Maggie May,” the swagger of “You Wear It Well,” the heartfelt sweep of “Sailing,” the sultry allure of “Tonight’s the Night (Gonna Be Alright),” the raw emotion of Cat Stevens’ “The First Cut Is the Deepest,” the controversial yet undeniably catchy disco of “Da Ya Think I’m Sexy?,” the new wave energy of “Passion” and “Young Turks,” the poignant balladry of “Baby Jane” and “My Heart Can’t Tell You No,” the timeless sentiment of “Forever Young,” the urban romance of “Downtown Train,” the Celtic-infused rock of “Rhythm of My Heart,” the tender reinterpretation of “Have I Told You Lately,” and the blockbuster collaboration “All For Love” with Sting and Bryan Adams. This continuous stream of diverse hits, coupled with his strategic evolution in sound, prevented him from being prematurely relegated to a nostalgia act, allowing him to generate new successes and remain a vital, current artist for far longer than many of his contemporaries.

The immense critical acclaim and industry respect Rod Stewart has garnered throughout his career are vividly reflected in the constellation of prestigious awards and honors bestowed upon him, cementing his status as a true legend of popular music. Perhaps most significantly, he holds the rare distinction of being inducted into the Rock and Roll Hall of Fame not once, but twice: first as a solo artist in 1994, an honor presented by his former bandmate Jeff Beck, and again in 2012 as a pivotal member of the influential group Faces. This dual induction is a powerful testament to his profound impact in multiple creative capacities, acknowledging his contributions both as a singular frontman and as an integral part of a band that significantly shaped the rock genre.

In 2005, his successful foray into classic pop standards was recognized with a Grammy Award for Best Traditional Pop Vocal Album for Stardust… The Great American Songbook Volume III. His profound impact on British music was celebrated in 1993 when he received the Brit Award for Outstanding Contribution to Music. One of the highest civilian honors, a knighthood, was conferred upon him in the 2016 Birthday Honours, recognizing his extensive “services to music and charity,” officially making him Sir Rod Stewart. This elevation to knighthood signifies his integration into the fabric of British cultural life, acknowledging not just his musical legacy but also his significant philanthropic endeavors.

Further underscoring his global icon status, Stewart received a star on the Hollywood Walk of Fame in 2005 and was inducted into the UK Music Hall of Fame in 2006. His enduring chart power and vocal prowess have also been acknowledged by industry arbiters: Billboard magazine ranked him the 17th most successful artist on their “Billboard Hot 100 All-Time Top Artists” list in 2008, while both Q Magazine and Rolling Stone have featured him prominently in their respective lists of the “Greatest Singers of All Time”. His trophy cabinet also includes a Legend Award (1993) and a Diamond Award (2001, for sales exceeding 100 million records worldwide) from the World Music Awards, the prestigious ASCAP Founders Award in 2011, and an Ivor Novello Lifetime Achievement Award in 1999.

Beyond the dazzling spotlight of his musical achievements, Rod Stewart has cultivated a life rich with personal passions and a notable commitment to philanthropy, elements that contribute significantly to his beloved status and the perception of an “everyman” appeal coexisting with his rock royalty. His charitable work is extensive, notably his active fundraising for The City of Hope Foundation, an organization dedicated to cancer research, a cause that became deeply personal following his own diagnosis and successful treatment for thyroid cancer in 2000. This commitment to giving back was further evidenced in February 2023 when he personally funded a day’s worth of MRI scans for patients at a National Health Service hospital in Harlow, Essex, to help alleviate waiting lists, an act of direct intervention driven by empathy.

This philanthropy, often stemming from personal experience, adds a layer of profound humanism to his public image. A lifelong and fervent passion for football has always been a defining characteristic; a talented player in his youth who captained his school team, he remains an ardent supporter of Celtic FC and the Scotland national team. This relatable enthusiasm for the “beautiful game” endears him to legions of fans.

Perhaps more unexpectedly, Stewart is a dedicated and highly accomplished model railway enthusiast. His elaborate 23 ft × 124 ft HO scale layout, meticulously modeled on the New York Central and Pennsylvania Railroads of the 1940s, has graced the cover of Model Railroader magazine multiple times—an accolade he once famously stated meant more to him than appearing in a music magazine. This intricate hobby reveals a meticulous, patient, and perhaps surprisingly introspective side to the flamboyant performer.

While also a known car collector, with a Ferrari Enzo among his prized possessions, it is these more down-to-earth pursuits, alongside his well-documented working-class origins, that cultivate a persona of relatability. This perceived authenticity, even amidst decades of fame and fortune, helps bridge the gap between the iconic star and his audience, fostering a deeper connection that transcends mere admiration for his musical talent. His enduring popularity, which has seen him sell over 120 million records worldwide, is undeniably rooted in his distinctive raspy voice and his unique ability to fuse rock, folk, soul, and R&B into a sound that appeals to an exceptionally broad audience.

The narrative of Rod Stewart is far from concluded; his unfading voice continues to resonate, adding new chapters to a six-decade legacy that is firmly embedded in the pantheon of popular music. He remains a vital recording artist, with recent studio albums such as Blood Red Roses (2018), The Tears of Hercules (2021), and the vibrant Jools Holland collaboration Swing Fever (2024) demonstrating an ongoing creative spark and a desire to explore fresh musical avenues.

His enduring stage presence has been showcased at highly significant events, including a performance at the Platinum Party at the Palace in June 2022, celebrating Queen Elizabeth II’s Platinum Jubilee, and his participation in the poignant Jeff Beck tribute concerts in May 2023. Further affirming his iconic status and cross-generational appeal, Stewart has been confirmed to play the prestigious “Legends” slot at the Glastonbury Festival in 2025, a booking that serves as a cultural anointment in the UK, signifying an artist’s elevation to a select group of performers who have achieved timeless, iconic status.

The immense commercial and cultural value of his life’s work was unequivocally underscored in February 2024 when Irving Azoff’s Iconic Artists Group acquired Stewart’s extensive music catalogue for a sum reported to be close to $100 million. This landmark valuation is a definitive statement on the enduring artistic and financial power of his body of work, reflecting not just past glories but the ongoing significance and earning potential of his songs. Sir Rod Stewart’s remarkable journey, characterized by his unmistakable voice, his fearless genre-blending, his captivating showmanship, and an uncanny ability to connect with audiences on a deeply personal level, ensures that his music will continue to entertain and inspire for generations to come.

Complete List Of Rod Stewart Songs From A to Z

  1. (Find a) Reason to BelieveEvery Picture Tells a Story – 1971
  2. (I Know) I’m Losing YouEvery Picture Tells a Story – 1971
  3. (If Loving You Is Wrong) I Don’t Want to Be RightFoot Loose & Fancy Free – 1977
  4. (You Make Me Feel Like) A Natural ManSmiler – 1974
  5. (Your Love Keeps Lifting Me) Higher and HigherSoulbook – 2009
  6. ‘S WonderfulStardust: The Great American Songbook, Volume III – 2004
  7. A Friend for LifeAnother Country – 2015
  8. A Kiss to Build a Dream onStardust: The Great American Songbook, Volume III – 2004
  9. A Night Like ThisEvery Beat of My Heart – 1986
  10. A Nightingale Sang in Berkeley SquareStardust: The Great American Songbook, Volume III – 2004
  11. Ain’t Love a BitchBlondes Have More Fun – 1978
  12. Ain’t Misbehavin’Fly Me to the Moon… The Great American Songbook Volume V – 2010
  13. Ain’t Misbehavin’Swing Fever – 2024
  14. All in the Name of Rock ‘N’ RollAtlantic Crossing – 1975
  15. All My DaysThe Tears of Hercules – 2021
  16. All of MeFly Me to the Moon… The Great American Songbook Volume V – 2010
  17. All Right NowCamouflage – 1984
  18. Almost IllegalOut of Order – 1988
  19. Almost Like Being in LoveSwing Fever – 2024
  20. Alright for an HourAtlantic Crossing – 1975
  21. An Old Raincoat Won’t Ever Let You DownAn Old Raincoat Won’t Ever Let You Down – 1969
  22. AngelNever a Dull Moment – 1972
  23. Another CountryAnother Country – 2015
  24. Another HeartacheEvery Beat of My Heart – 1986
  25. As Time Goes ByAs Time Goes By: The Great American Songbook, Volume II – 2003
  26. Attractive Female WantedBlondes Have More Fun – 1978
  27. Auld Lang SyneMerry Christmas, Baby – 2012
  28. Baby JaneBody Wishes – 1983
  29. Baby, It’s Cold OutsideStardust: The Great American Songbook, Volume III – 2004
  30. Bad For YouCamouflage – 1984
  31. Batman Superman SpidermanAnother Country – 2015
  32. Beautiful MorningTime – 2013
  33. Better off DeadFoolish Behaviour – 1980
  34. Bewitched, Bothered & BewilderedAs Time Goes By: The Great American Songbook, Volume II – 2003
  35. Beyond the SeaFly Me to the Moon… The Great American Songbook Volume V – 2010
  36. Big BayouA Night on the Town – 1976
  37. Blind PrayerAn Old Raincoat Won’t Ever Let You Down – 1969
  38. Blood Red RosesBlood Red Roses – 2018
  39. Blondes (Have More Fun)Blondes Have More Fun – 1978
  40. Blue ChristmasMerry Christmas, Baby – 2012
  41. Blue MoonStardust: The Great American Songbook, Volume III – 2004
  42. Blue SkiesThanks for the Memory: The Great American Songbook, Volume IV – 2005
  43. Body WishesBody Wishes – 1983
  44. Born LooseFoot Loose & Fancy Free – 1977
  45. Born to Boogie (A Tribute to Marc Bolan)The Tears of Hercules – 2021
  46. Brighton BeachTime – 2013
  47. Bring It On Home to Me/You Send MeSmiler – 1974
  48. Broken ArrowVagabond Heart – 1991
  49. But Not for MeStardust: The Great American Songbook, Volume III – 2004
  50. Bye Bye BlackbirdFly Me to the Moon… The Great American Songbook Volume V – 2010
  51. CamouflageCamouflage – 1984
  52. Can We Stay Home Tonight?Another Country – 2015
  53. Can’t Stop Me NowTime – 2013
  54. Can We Still Be FriendsCamouflage – 1984
  55. Careless With Our LoveWhen We Were the New Boys – 1998
  56. Charlie Parker Loves MeHuman – 2001
  57. Cheek to CheekThanks for the Memory: The Great American Songbook, Volume IV – 2005
  58. Cheek to CheekFly Me to the Moon… The Great American Songbook Volume V – 2010
  59. Cigarettes and AlcoholWhen We Were the New Boys – 1998
  60. Cindy’s LamentAn Old Raincoat Won’t Ever Let You Down – 1969
  61. Cold Old LondonBlood Red Roses – 2018
  62. Cold WaterTime – 2013
  63. Corrina CorrinaTime – 2013
  64. Country ComfortGasoline Alley – 1970
  65. Crazy About HerOut of Order – 1988
  66. Crazy LoveStill the Same… Great Rock Classics of Our Time – 2006
  67. Crazy She Calls MeAs Time Goes By: The Great American Songbook, Volume II – 2003
  68. Cut Across ShortyGasoline Alley – 1970
  69. Da Ya Think I’m Sexy?Blondes Have More Fun – 1978
  70. Dancin’ AloneBody Wishes – 1983
  71. Day After DayStill the Same… Great Rock Classics of Our Time – 2006
  72. DeliciousA Spanner in the Works – 1995
  73. Didn’t IBlood Red Roses – 2018
  74. Dirty Old TownAn Old Raincoat Won’t Ever Let You Down – 1969
  75. Dirty WeekendBlondes Have More Fun – 1978
  76. Dixie TootSmiler – 1974
  77. Don’t Come Around HereHuman – 2001
  78. Don’t Get Around Much AnymoreAs Time Goes By: The Great American Songbook, Volume II – 2003
  79. Downtown TrainVagabond Heart – 1991
  80. Drift AwayAtlantic Crossing – 1975
  81. DynamiteOut of Order – 1988
  82. Embraceable YouStardust: The Great American Songbook, Volume III – 2004
  83. Ev’ry Time We Say GoodbyeIt Had to Be You: The Great American Songbook – 2002
  84. Every Beat of My HeartEvery Beat of My Heart – 1986
  85. Every Picture Tells a StoryEvery Picture Tells a Story – 1971
  86. Every Rock’n’Roll Song to MeAnother Country – 2015
  87. Everything I OwnStill the Same… Great Rock Classics of Our Time – 2006
  88. FarewellSmiler – 1974
  89. FarewellBlood Red Roses – 2018
  90. Father and SonStill the Same… Great Rock Classics of Our Time – 2006
  91. Finest WomanTime – 2013
  92. Fly Me to the MoonFly Me to the Moon… The Great American Songbook Volume V – 2010
  93. Fool for YouA Night on the Town – 1976
  94. Fooled Around and Fell in LoveStill the Same… Great Rock Classics of Our Time – 2006
  95. Foolish BehaviourFoolish Behaviour – 1980
  96. For All We KnowIt Had to Be You: The Great American Songbook – 2002
  97. For Sentimental ReasonsStardust: The Great American Songbook, Volume III – 2004
  98. Forever YoungOut of Order – 1988
  99. Frankie and JohnnySwing Fever – 2024
  100. GabriellaThe Tears of Hercules – 2021
  101. Gasoline AlleyGasoline Alley – 1970
  102. Ghetto BlasterBody Wishes – 1983
  103. Gi’ Me WingsFoolish Behaviour – 1980
  104. Girl from the North CountrySmiler – 1974
  105. Give Me LoveBlood Red Roses – 2018
  106. Go Out DancingVagabond Heart – 1991
  107. Good Rockin’ TonightSwing Fever – 2024
  108. GraceBlood Red Roses – 2018
  109. Great DayAnother Country – 2015
  110. Handbags and GladragsAn Old Raincoat Won’t Ever Let You Down – 1969
  111. Hang On St. ChristopherA Spanner in the Works – 1995
  112. Hard RoadSmiler – 1974
  113. Have I Told You LatelyVagabond Heart – 1991
  114. Have Yourself a Merry Little ChristmasMerry Christmas, Baby – 2012
  115. Have You Ever Seen the Rain?Still the Same… Great Rock Classics of Our Time – 2006
  116. Heart Is on the LineCamouflage – 1984
  117. HenryEvery Picture Tells a Story – 1971
  118. Here Comes the NightTime – 2013
  119. Here to EternityEvery Beat of My Heart – 1986
  120. Hold OnThe Tears of Hercules – 2021
  121. Hold the LineAnother Country – 2015
  122. Hole in My HeartBlood Red Roses – 2018
  123. Honey GoldBlood Red Roses – 2018
  124. Hot LegsFoot Loose & Fancy Free – 1977
  125. Hotel ChambermaidWhen We Were the New Boys – 1998
  126. How LongTonight I’m Yours – 1981
  127. HumanHuman – 2001
  128. I Can’t Deny ItHuman – 2001
  129. I Can’t Get StartedStardust: The Great American Songbook, Volume III – 2004
  130. I Can’t ImagineThe Tears of Hercules – 2021
  131. I Don’t Want to Get MarriedBlood Red Roses – 2018
  132. I Don’t Want to Talk About ItAtlantic Crossing – 1975
  133. I Get a Kick Out of YouFly Me to the Moon… The Great American Songbook Volume V – 2010
  134. I Only Have Eyes for YouAs Time Goes By: The Great American Songbook, Volume II – 2003
  135. I Was Only JokingFoot Loose & Fancy Free – 1977
  136. I Wish You LoveThanks for the Memory: The Great American Songbook, Volume IV – 2005
  137. I Wouldn’t Ever Change a ThingAn Old Raincoat Won’t Ever Let You Down – 1969
  138. I’d Rather Go BlindNever a Dull Moment – 1972
  139. I’ll Be Seeing YouIt Had to Be You: The Great American Songbook – 2002
  140. I’ll Stand by YouStill the Same… Great Rock Classics of Our Time – 2006
  141. I’m in the Mood for LoveAs Time Goes By: The Great American Songbook, Volume II – 2003
  142. I’ve Got a Crush on YouThanks for the Memory: The Great American Songbook, Volume IV – 2005
  143. I’ve Got My Love to Keep Me WarmThanks for the Memory: The Great American Songbook, Volume IV – 2005
  144. I’ve Got the World on a StringFly Me to the Moon… The Great American Songbook Volume V – 2010
  145. I’ve Got You Under My SkinFly Me to the Moon… The Great American Songbook Volume V – 2010
  146. I’ve Grown Accustomed to Her FaceSmiler – 1974
  147. I’ve Grown Accustomed to Her FaceThanks for the Memory: The Great American Songbook, Volume IV – 2005
  148. If I Had YouHuman – 2001
  149. If Not for YouStill the Same… Great Rock Classics of Our Time – 2006
  150. If OnlyVagabond Heart – 1991
  151. If You Don’t Know Me by NowSoulbook – 2009
  152. In a Broken DreamAnother Country – 2015
  153. In My LifeEvery Beat of My Heart – 1986
  154. In My Own Crazy WayEvery Beat of My Heart – 1986
  155. InfatuationCamouflage – 1984
  156. InterludingsNever a Dull Moment – 1972
  157. Is That the Thanks I Get?Blondes Have More Fun – 1978
  158. Isn’t It Romantic?Stardust: The Great American Songbook, Volume III – 2004
  159. It Had to Be YouIt Had to Be You: The Great American Songbook – 2002
  160. It Takes TwoVagabond Heart – 1991
  161. It Was a Very Good YearBlood Red Roses – 2018
  162. It Was Love That We NeededHuman – 2001
  163. It’s a HeartacheStill the Same… Great Rock Classics of Our Time – 2006
  164. It’s Not the SpotlightAtlantic Crossing – 1975
  165. It’s OverTime – 2013
  166. It’s the Same Old SongSoulbook – 2009
  167. Italian GirlsNever a Dull Moment – 1972
  168. It’s All Over NowGasoline Alley – 1970
  169. It’s All Over Now (single version)Gasoline Alley – 1970
  170. JealousTonight I’m Yours – 1981
  171. Jo’s LamentGasoline Alley – 1970
  172. JuliaBlood Red Roses – 2018
  173. Just Like a WomanTonight I’m Yours – 1981
  174. Just My ImaginationSoulbook – 2009
  175. KookooaramabamaThe Tears of Hercules – 2021
  176. Lady DayGasoline Alley – 1970
  177. Lady LuckA Spanner in the Works – 1995
  178. Last SummerBlondes Have More Fun – 1978
  179. Last Train HomeAnother Country – 2015
  180. Lay Down SallyStill the Same… Great Rock Classics of Our Time – 2006
  181. Leave Virginia AloneA Spanner in the Works – 1995
  182. LeglessTime – 2013
  183. Let It Be MeSoulbook – 2009
  184. Let It Snow! Let It Snow! Let It Snow!Merry Christmas, Baby – 2012
  185. Let Me Be Your CarSmiler – 1974
  186. Let’s Fall in LoveThanks for the Memory: The Great American Songbook, Volume IV – 2005
  187. Lethal Dose of LoveOut of Order – 1988
  188. Live the LifeTime – 2013
  189. LochinvarSmiler – 1974
  190. Long Ago and Far AwayThanks for the Memory: The Great American Songbook, Volume IV – 2005
  191. Look in Her EyesBlood Red Roses – 2018
  192. Lost in YouOut of Order – 1988
  193. Lost ParaguayosNever a Dull Moment – 1972
  194. Love and Be LovedAnother Country – 2015
  195. Love Has No PrideTime – 2013
  196. Love HurtsStill the Same… Great Rock Classics of Our Time – 2006
  197. Love IsAnother Country – 2015
  198. Love Is the Sweetest ThingSwing Fever – 2024
  199. Love Me or Leave MeFly Me to the Moon… The Great American Songbook Volume V – 2010
  200. Love TouchEvery Beat of My Heart – 1986
  201. Love TrainSoulbook – 2009
  202. LovelessHuman – 2001
  203. Lullaby of BroadwaySwing Fever – 2024
  204. Maggie MayEvery Picture Tells a Story – 1971
  205. Make Love to Me TonightTime – 2013
  206. Makin’ WhoopeeThanks for the Memory: The Great American Songbook, Volume IV – 2005
  207. Mama, You Been on My MindNever a Dull Moment – 1972
  208. Man of Constant SorrowAn Old Raincoat Won’t Ever Let You Down – 1969
  209. Mandolin WindEvery Picture Tells a Story – 1971
  210. ManhattanStardust: The Great American Songbook, Volume III – 2004
  211. Merry Christmas, BabyMerry Christmas, Baby – 2012
  212. Mine for MeSmiler – 1974
  213. Missing YouStill the Same… Great Rock Classics of Our Time – 2006
  214. Moment of GloryVagabond Heart – 1991
  215. Moon RiverFly Me to the Moon… The Great American Songbook Volume V – 2010
  216. MoonglowIt Had to Be You: The Great American Songbook – 2002
  217. Move MeBody Wishes – 1983
  218. Muddy, Sam and OtisA Spanner in the Works – 1995
  219. My Cherie AmourSoulbook – 2009
  220. My Favourite ThingsAs Time Goes By: The Great American Songbook, Volume II – 2003
  221. My Foolish HeartFly Me to the Moon… The Great American Songbook Volume V – 2010
  222. My Funny ValentineThanks for the Memory: The Great American Songbook, Volume IV – 2005
  223. My GirlFoolish Behaviour – 1980
  224. My Heart Can’t Tell You NoOut of Order – 1988
  225. My Heart Stood StillAs Time Goes By: The Great American Songbook, Volume II – 2003
  226. My One and Only LoveThanks for the Memory: The Great American Songbook, Volume IV – 2005
  227. My Way of GivingGasoline Alley – 1970
  228. Nevertheless (I’m in Love with You)Thanks for the Memory: The Great American Songbook, Volume IV – 2005
  229. Never Give Up on a DreamTonight I’m Yours – 1981
  230. Never Give You UpSoulbook – 2009
  231. Night and DayStardust: The Great American Songbook, Volume III – 2004
  232. Night TrainSwing Fever – 2024
  233. No Holding BackVagabond Heart – 1991
  234. Nobody Knows You When You’re Down and OutOut of Order – 1988
  235. Oh God, I Wish I Was Home TonightFoolish Behaviour – 1980
  236. Oh MarieSwing Fever – 2024
  237. One More TimeThe Tears of Hercules – 2021
  238. One Night with YouAnother Country – 2015
  239. Only a BoyTonight I’m Yours – 1981
  240. Only a HoboGasoline Alley – 1970
  241. Only the Strong SurviveSoulbook – 2009
  242. Ooh La LaWhen We Were the New Boys – 1998
  243. Our Love Is Here to StayAs Time Goes By: The Great American Songbook, Volume II – 2003
  244. PassionFoolish Behaviour – 1980
  245. PeachHuman – 2001
  246. Pennies from HeavenSwing Fever – 2024
  247. Picture in a FrameTime – 2013
  248. PleaseAnother Country – 2015
  249. Precious MemoriesThe Tears of Hercules – 2021
  250. Pretty FlamingoA Night on the Town – 1976
  251. PricelessBlood Red Roses – 2018
  252. Pure LoveTime – 2013
  253. Purple HeatherA Spanner in the Works – 1995
  254. Rainy Night in GeorgiaSoulbook – 2009
  255. Ready NowBody Wishes – 1983
  256. Rebel HeartVagabond Heart – 1991
  257. Red Hot in BlackEvery Beat of My Heart – 1986
  258. Red-Suited Super ManMerry Christmas, Baby – 2012
  259. Rest of My LifeBlood Red Roses – 2018
  260. Rhythm of My HeartVagabond Heart – 1991
  261. RocksWhen We Were the New Boys – 1998
  262. Rollin’ & Tumblin’Blood Red Roses – 2018
  263. Run Back into Your ArmsHuman – 2001
  264. SailingAtlantic Crossing – 1975
  265. SailorSmiler – 1974
  266. Santa Claus Is Coming to TownMerry Christmas, Baby – 2012
  267. SatisfiedBody Wishes – 1983
  268. Say It Ain’t TrueFoolish Behaviour – 1980
  269. Scarred and ScaredBlondes Have More Fun – 1978
  270. Secret HeartWhen We Were the New Boys – 1998
  271. Seems Like a Long TimeEvery Picture Tells a Story – 1971
  272. Sentimental JourneySwing Fever – 2024
  273. September in the RainFly Me to the Moon… The Great American Songbook Volume V – 2010
  274. Sexual ReligionTime – 2013
  275. Shake Your MoneymakerTime – 2013
  276. She Makes Me HappyAnother Country – 2015
  277. She Won’t Dance with MeFoolish Behaviour – 1980
  278. She’s Funny That WayFly Me to the Moon… The Great American Songbook Volume V – 2010
  279. Shelly My LoveWhen We Were the New Boys – 1998
  280. Silent NightMerry Christmas, Baby – 2012
  281. Silver BellsMerry Christmas, Baby – 2012
  282. SmileAs Time Goes By: The Great American Songbook, Volume II – 2003
  283. SmittenHuman – 2001
  284. So Soon We ChangeFoolish Behaviour – 1980
  285. Somebody SpecialFoolish Behaviour – 1980
  286. Some Guys Have All the LuckCamouflage – 1984
  287. Some Kind of WonderfulThe Tears of Hercules – 2021
  288. Someone to Watch Over MeAs Time Goes By: The Great American Songbook, Volume II – 2003
  289. SonnyTonight I’m Yours – 1981
  290. Soothe MeA Spanner in the Works – 1995
  291. Soul on SoulHuman – 2001
  292. Standin’ in the Shadows of LoveBlondes Have More Fun – 1978
  293. StardustStardust: The Great American Songbook, Volume III – 2004
  294. Still Love YouAtlantic Crossing – 1975
  295. Still the SameStill the Same… Great Rock Classics of Our Time – 2006
  296. Stone Cold SoberAtlantic Crossing – 1975
  297. Strangers AgainBody Wishes – 1983
  298. Street Fighting ManAn Old Raincoat Won’t Ever Let You Down – 1969
  299. Sunny Side of the StreetFly Me to the Moon… The Great American Songbook Volume V – 2010
  300. SuperstarWhen We Were the New Boys – 1998
  301. Sweet Little Rock ‘n’ RollerSmiler – 1974
  302. Sweet SurrenderBody Wishes – 1983
  303. Sweetheart Like YouA Spanner in the Works – 1995
  304. Taking a Chance on LoveThanks for the Memory: The Great American Songbook, Volume IV – 2005
  305. Tear It UpTonight I’m Yours – 1981
  306. Ten Days of RainEvery Beat of My Heart – 1986
  307. Tennessee WaltzSwing Fever – 2024
  308. Thanks for the MemoryThanks for the Memory: The Great American Songbook, Volume IV – 2005
  309. That Old Black MagicFly Me to the Moon… The Great American Songbook Volume V – 2010
  310. That Old FeelingIt Had to Be You: The Great American Songbook – 2002
  311. That’s AllIt Had to Be You: The Great American Songbook – 2002
  312. That’s All Right / Amazing GraceEvery Picture Tells a Story – 1971
  313. The BalltrapA Night on the Town – 1976
  314. The Best Days of My LifeBlondes Have More Fun – 1978
  315. The Best of My LoveStill the Same… Great Rock Classics of Our Time – 2006
  316. The Christmas Song (Chestnuts Roasting on an Open Fire)Merry Christmas, Baby – 2012
  317. The Downtown LightsA Spanner in the Works – 1995
  318. The Drinking SongAnother Country – 2015
  319. The First Cut Is the DeepestA Night on the Town – 1976
  320. The Killing of Georgie (Part I and II)A Night on the Town – 1976
  321. The Motown SongVagabond Heart – 1991
  322. The Nearness of YouIt Had to Be You: The Great American Songbook – 2002
  323. The Tears of HerculesThe Tears of Hercules – 2021
  324. The Very Thought of YouIt Had to Be You: The Great American Songbook – 2002
  325. The Way You Look TonightIt Had to Be You: The Great American Songbook – 2002
  326. The Wild HorseOut of Order – 1988
  327. The Wild Side of LifeA Night on the Town – 1976
  328. Them There EyesSwing Fever – 2024
  329. These Are My PeopleThe Tears of Hercules – 2021
  330. These Foolish Things (Remind Me of You)It Had to Be You: The Great American Songbook – 2002
  331. They Can’t Take That Away from MeIt Had to Be You: The Great American Songbook – 2002
  332. ThisA Spanner in the Works – 1995
  333. This Old Heart of MineAtlantic Crossing – 1975
  334. This Old Heart of Mine (Is Weak For You)Vagabond Heart – 1991
  335. Three Time LoserAtlantic Crossing – 1975
  336. Till There Was YouAs Time Goes By: The Great American Songbook, Volume II – 2003
  337. TimeTime – 2013
  338. Time After TimeAs Time Goes By: The Great American Songbook, Volume II – 2003
  339. To Be with YouHuman – 2001
  340. Tomorrow Is a Long TimeEvery Picture Tells a Story – 1971
  341. Tonight I’m Yours (Don’t Hurt Me)Tonight I’m Yours – 1981
  342. Tonight’s the Night (Gonna Be Alright)A Night on the Town – 1976

Tora, Tora, Tora (Out With The Boys)

  1. TouchlineThe Tears of Hercules – 2021
  2. Trade WindsA Night on the Town – 1976
  3. Tracks of My TearsSoulbook – 2009
  4. TroubleCamouflage – 1984
  5. True BlueNever a Dull Moment – 1972
  6. Try a Little TendernessOut of Order – 1988
  7. Twistin’ the Night AwayNever a Dull Moment – 1972
  8. Until the Real Thing Comes AlongAs Time Goes By: The Great American Songbook, Volume II – 2003
  9. Up All NightThe Tears of Hercules – 2021
  10. Vegas ShuffleBlood Red Roses – 2018
  11. Walking in the SunshineAnother Country – 2015
  12. Walkin’ My Baby Back HomeSwing Fever – 2024
  13. Way Back HomeAnother Country – 2015
  14. We Can WinAnother Country – 2015
  15. We Three KingsMerry Christmas, Baby – 2012
  16. WeakWhen We Were the New Boys – 1998
  17. We’ll Be Together AgainIt Had to Be You: The Great American Songbook – 2002
  18. What a Difference a Day MakesFly Me to the Moon… The Great American Songbook Volume V – 2010
  19. What a Wonderful WorldStardust: The Great American Songbook, Volume III – 2004
  20. What Am I Gonna Do (I’m So in Love with You)Body Wishes – 1983
  21. What Are You Doing New Year’s Eve?Merry Christmas, Baby – 2012
  22. What Becomes of the Broken HeartedSoulbook – 2009
  23. What Child Is This?Merry Christmas, Baby – 2012
  24. What Do You Want Me to Do?When We Were the New Boys – 1998
  25. When a Man’s in LoveVagabond Heart – 1991
  26. When I Fall in LoveFly Me to the Moon… The Great American Songbook Volume V – 2010
  27. When I Was Your ManOut of Order – 1988
  28. When We Were the New BoysWhen We Were the New Boys – 1998
  29. When You Wish upon a StarMerry Christmas, Baby – 2012
  30. Where or WhenAs Time Goes By: The Great American Songbook, Volume II – 2003
  31. White ChristmasMerry Christmas, Baby – 2012
  32. Who Designed the SnowflakeBlood Red Roses – 2018
  33. Who’s Gonna Take Me HomeEvery Beat of My Heart – 1986
  34. Windy TownA Spanner in the Works – 1995
  35. Winter WonderlandMerry Christmas, Baby – 2012
  36. Wonderful WorldSoulbook – 2009
  37. You Are EverythingVagabond Heart – 1991
  38. You Go to My HeadIt Had to Be You: The Great American Songbook – 2002
  39. You Got a NerveFoot Loose & Fancy Free – 1977
  40. You Keep Me Hangin’ OnFoot Loose & Fancy Free – 1977
  41. You Make Me Feel Brand NewSoulbook – 2009
  42. You Send MeThanks for the Memory: The Great American Songbook, Volume IV – 2005
  43. You Wear It WellNever a Dull Moment – 1972
  44. You’re InsaneFoot Loose & Fancy Free – 1977
  45. You’re in My Heart (The Final Acclaim)Foot Loose & Fancy Free – 1977
  46. You’re My Girl (I Don’t Want to Discuss It)Gasoline Alley – 1970
  47. You’re the StarA Spanner in the Works – 1995
  48. You’ve Really Got a Hold on MeSoulbook – 2009
  49. Young TurksTonight I’m Yours – 1981

Albums

An Old Raincoat Won’t Ever Let You Down (1969): 8 songs

Gasoline Alley (1970): 10 songs

Every Picture Tells a Story (1971): 9 songs

Never a Dull Moment (1972): 9 songs

Smiler (1974): 12 songs

Atlantic Crossing (1975): 10 songs

A Night on the Town (1976): 9 songs

Foot Loose & Fancy Free (1977): 8 songs

Blondes Have More Fun (1978): 10 songs

Foolish Behaviour (1980): 10 songs

Tonight I’m Yours (1981): 10 songs

Body Wishes (1983): 10 songs

Camouflage (1984): 8 songs

Every Beat of My Heart (1986): 10 songs

Out of Order (1988): 11 songs

Vagabond Heart (1991): 14 songs

A Spanner in the Works (1995): 12 songs

When We Were the New Boys (1998): 11 songs

Human (2001): 12 songs

It Had to Be You: The Great American Songbook (2002): 14 songs

As Time Goes By: The Great American Songbook, Volume II (2003): 15 songs

Stardust: The Great American Songbook, Volume III (2004): 14 songs

Thanks for the Memory: The Great American Songbook, Volume IV (2005): 15 songs

Still the Same… Great Rock Classics of Our Time (2006): 14 songs

Soulbook (2009): 15 songs

Fly Me to the Moon… The Great American Songbook Volume V (2010): 18 songs

Merry Christmas, Baby (2012): 16 songs

Time (2013): 18 songs

Another Country (2015): 17 songs

Blood Red Roses (2018): 17 songs

The Tears of Hercules (2021): 13 songs

Swing Fever (with Jools Holland) (2024): 13 songs

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

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“These instruments are more than just tools of our trade – they’re extensions of our musical souls”: Nancy Wilson offers “no questions asked” reward for return of stolen Heart guitars

Nancy Wilson onstage, plus the headstock of the missing Telecaster and the missing mandolin
(Image credit: Nancy Wilson: Ethan Miller/Getty Images | Instruments: Heart / Paul Moak)

Heart have appealed for the return of a pair of “irreplaceable” instruments which were stolen from the band at the Etess Arena in Atlantic City, NJ, the venue for the opening night of their An Evening With Heart tour.

The stolen instruments included guitarist Nancy Wilson’s unique, custom-built, purple sparkle baritone Telecaster with a hand-painted headstock, and a 1966 Gibson EM-50 mandolin owned by multi-instrumentalist Paul Moak, who joined the band in 2023.

“These instruments are more than just tools of our trade – they’re extensions of our musical souls,” says Nancy Wilson. “The baritone Tele was made uniquely for me, and Paul’s mandolin has been with him for decades. We’re heartbroken, and we’re asking for their safe return – no questions asked. Their value to us is immeasurable.”

“A reward is being offered for any information leading to their return,” say the band. “Anyone with knowledge of the theft or whereabouts of the instruments is urged to come forward.”

Anyone with information regarding the whereabouts of the instruments is encouraged to contact the band’s tour manager, Tony Moon.

The next show on Heart’s schedule is at the Ravinia Festival in Highland Park, IL, on June 6. The band begin a run of dates in August with Todd Rundgren. Full dates below.

Heart: Tour dates 2025

Jun 06: Highland Park Ravinia Festival, IL #
Jun 07: Hinckley Grand Casino Hinckley Amphitheater, MN #
Jun 10: Evansville Ford Center, IN #
Jun 12: St Louis The Fabulous Fox, MO #
Jun 14: Grand Prairie Texas Trust CU Theatre, TX #
Jun 15: Cedar Park H-E-B Center at Cedar Park, TX #
Jun 17: Sugar Land Smart Financial Centre, TX #
Jun 18: Baton Rouge Raising Cane’s River Center, LA #
Jun 20: Birmingham Legacy Arena at the BJCC, AL #
Jun 22: North Charleston Coliseum, SC #
Jun 24: Jacksonville VuStar Veterans Memorial Arena, FL #
Jun 25: Estero Hertz Arena, FL #
Jun 27: Orlando Kia Center, FL #
Jun 28: Hollywood Hard Rock Live, FL #

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Aug 08: Quincy Gorge Amphitheatre, WA *
Aug 10: San Francisco Chase Center, CA ^
Aug 12: Bakersfield Dignity Health Arena, CA ^
Aug 13: San Diego Pechanga Arena, CA ^
Aug 15: Rancho Mirage The Show at Agua Caliente, CA #
Aug 16: Prescott Valley Findlay Toyota Center, AZ ^
Aug 18: Loveland Blue Arena, CO ^
Aug 19: Morrison Red Rocks Amphitheatre, CO ^
Aug 21: Kansas City T-Mobile Center, MO ^
Aug 23: Des Moines Des Moines Civic Center, IA #
Aug 24: Moline Vibrant Arena at the Mark, IL ^
Aug 26: Akron E.J. Thomas Hall: The University of Akron, OH #
Aug 27: Allentown The Great Allentown Fair, PA, #
Aug 29: Canandaigua Constellation Brands-Marvin Sands Performing Arts Center, NY *
Aug 30: Bethel Woods Center for the Arts, NY *

# ‘An Evening With Heart’ show
^ with Todd Rundgren
* support not yet announced

Tickets are on sale now.

Online Editor at Louder/Classic Rock magazine since 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.

Steve Perry launches sale of personal artefacts to raise funds for victims of Los Angeles fires

Steve Perry and his handwritten lyrics for Don't Stop Believin'
Steve Perry and his handwritten lyrics for Journey’s Don’t Stop Believin’ (Image credit: Myriam Santos / Darkives Collectibles)

Former Journey singer Steve Perry is auctioning an extensive collection of personal artefacts to raise money for the Sweet Relief Musicians Fund, the charity that provides financial assistance to struggling musicians and music industry workers.

Among the items up for grabs are Perry’s handwritten lyrics for the Journey classics Don’t Stop Believin’ and Faithfully as well as his own Foolish Heart, plus signed RIAA sales awards for Journey’s Greatest Hits album and Escape.

“I’m excited to open up my personal archives and give fans who have supported me through the years a chance to own a piece of my musical journey,” says Perry. “Every item in this collection comes directly from my personal archive. These pieces have been carefully stored for many years, and now I feel it’s the right time to pass them on from my hands to yours, to be enjoyed, remembered and treasured in your own personal collections.

“Some of my special items include handwritten lyrics, my own personal gold and platinum records, albums from my personal collection, test pressings, and even tour merchandise from years past. And most importantly, all the proceeds from this archive sale will go to support victims of the Los Angeles fires with the help of Sweet Relief Musicians Fund. Thank you for being a part of this incredible journey with me. Let’s help make a difference together.”

The sale is being handled by Darkive Collectables, an initiative from Dark Horse Records, who recently released a new version of Faithfully recorded by Perry and country star Willie Nelson.

“[Steve’s] continued generosity makes him the perfect artist to help launch this platform,” says Dark Horse CEO Dhani Harrison, son of The Beatles‘ George Harrison. “And we’re honoured to support the causes that matter most to him.”

Perry’s auction is live now.

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Online Editor at Louder/Classic Rock magazine since 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.

Top 5 AC/DC Concert Opening Songs

Whether they’re building tension or coming out swinging, our list of Top 5 AC/DC Concert Opening Songs proves they’re masters of starting a show with high-voltage rock ‘n’ roll.

The Aussie rockers have never exactly prided themselves on diversity — they gleefully recycle chords to craft a seemingly endless supply of iconic riffs, and they’ve been delivering fairly standard, meat-and-potatoes set lists for decades. Instead, blunt-force impact and relentless, infectious energy have always been AC/DC’s stock in trade.

As a result, most of their show openers over the years have been beloved hits or well-worn fan favorites. And that’s just fine, because no matter what song they choose to kick off their concerts, they always hit like a wrecking ball.

READ MORE: Top 5 Kiss Concert Opening Songs

Read on to see the Top 5 AC/DC Concert Opening Songs.

5. “Hells Bells”

From: Back in Black (1980)
Tours: Back in Black (1980-81) / For Those About to Rock (1981-82)

With its ominous bell tolling and sinister, arpeggiated riff, the opening track off Back in Black offers one of the album’s few moments of respite. It’s a strong bit of counter-programming both live and on record, building the tension to a breaking point before the song explodes into full-throttle metallic mayhem. AC/DC knew they had struck gold with “Hells Bells,” hence why they opened their shows with it on the Back in Black and For Those About to Rock tours.

4. “Back in Black”

From: Back in Black
Tour: Ballbreaker (1996)

It doesn’t get more iconic than this. With its earth-shaking riffs and lighter-waving chorus, “Back in Black” rightfully remains one of AC/DC’s career-defining songs and is precision-engineered to work audiences into a frenzy. Every time the Aussies hit the stage to the tune of “Back in Black” — which they did on 1996’s Ballbreaker tour — they gave fans a blistering reminder that they were back with a vengeance. Don’t try to push your luck, just get out of their way.

3. “If You Want Blood (You’ve Got It)”

From: Highway to Hell (1979)
Tour: Power Trip (2023) / Power Up (2024-25)

There was a lot riding on AC/DC’s 2023 Power Trip performance. Could these injury-ridden senior citizens still summon the thunder after seven years away from the stage? AC/DC answered that question with an emphatic “hell yes” when they stormed the Coachella Valley with “If You Want Blood (You’ve Got It),” the anthemic album cut off Highway to Hell. It was the first time in their half-century career that they’d used it as a show opener, and their first time performing it with Brian Johnson since 2003. It was such a rousing success that AC/DC continued slotting it first on their 2024-2025 Power Up tour. Fans wanted blood, and they got it.

2. “Riff Raff”

From: Powerage (1978)
Tour: Powerage (1978)

One of the hardest, fastest songs in AC/DC’s catalog, “Riff Raff” opens with a series of aggressively strummed chords that practically taunt the audience about the maelstrom Angus Young is about to unleash. After working listeners into a lather, the band crashes in with a steamrolling riff and a groove that just doesn’t quit. Different AC/DC show openers achieve different goals — “Riff Raff” is the perfect tone setter for a sweaty, breathless punk show. For proof, just listen to the incendiary version that opens their 1978 live album If You Want Blood You’ve Got It.

1. “Live Wire”

From: T.N.T. (1975)
Tours: High Voltage (1975) / T.N.T. (1975-76) / Dirty Deeds Done Dirt Cheap (1976-77) / Powerage (1978) / If You Want Blood (1978-79) / Highway to Hell (1979)

No band can wring as much life out of three chords as AC/DC. “Live Wire,” which served as a stalwart show opener in their early years, is a prime example. The song begins with a slow-burning chug, then gathers steam once the vocals enter, with Bon Scott serving libidinous swagger and thinly-veiled menace. “Live Wire” climaxes during Young’s fiery solo, then ratchets up the tension again with a guitar break augmented by cymbal catches. For a song with barely a handful of chords, it’s a masterclass in dynamics — and its 1979 rendition on Let There Be Rock: The Movie – Live in Paris shows why it’s the best concert-opening song in their oeuvre.

AC/DC Live Albums Ranked Worst to Best

These Aussies are nothing if not consistent.

Gallery Credit: Bryan Rolli

“It still doesn’t feel real that we’re supporting Slayer.” Neckbreakker released one of 2024’s most exciting metal debut albums. Now they’re about to live their biggest dream

Neckbreakker in 2024
(Image credit: Malene Vinge Jakobsen)

When Joakim Høholt Kaspersen co-founded Neckbreakker in 2020, aged 15, one of the Danes’ dreams was to play Copenhell, his home country’s premier metal festival. “As a Danish band, that is the thing that you strive towards,” the guitarist says of the 35,000-capacity weekender. He was just 19 when that dream came true.

“We’d all been going to that festival for years before we played it,” he continues with a smile. “It’s a place where the entire metal scene unites every year, so, when we played, it was like playing a festival where half of the crowd are your friends.”

Performing at one of Scandinavia’s biggest festivals is just the first item on the list of colossal things these death metal upstarts have accomplished. Now aged between 18 and 22, they’ve already signed to Nuclear Blast and released propulsive debut album Within The Viscera in December 2024. In a “full-circle” moment, they’ve also been announced as the opening act on Slayer’s mega-gigs when they return to the UK in July, a fitting position considering the thrash legends were Joakim’s gateway into extreme metal.

“I started listening to thrash and learned a bunch of Slayer [on guitar],” Joakim recalls. “When I found Death’s Scream Bloody Gore and to me that sounded just like Slayer but more aggressive. Before I knew it, I was listening to death metal and going to pretty much every metal show I could. I got exposed to a lot of different subgenres.”

You can hear those influences on Within The Viscera, a tooth-gnashing, headbanging mix of the nastiest bits in death metal and beyond. Deathcore breakdowns and scathing lead guitar lines frequently join its melee of chainsaw-like riffs, while pummelling beatdowns are never too far away.

“I’ve gotten very, very much into hardcore,” Joakim says. “But a lot of the drumming on the record was inspired by our old drummer Anton’s [Bregendorf] love of rock music. His favourite drummer of all time is Dave Grohl.”

Joakim formed Neckbreakker under the name “Nakkeknaekker” in February 2020, . He admits it was hard work finding other members. “I’m from Aarhus, which is a pretty big city,” Joakim says. “But the other guys in the band are from smaller cities in Jutland. There just isn’t a metal scene outside of the bigger cities in Denmark.”

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Making the search even harder was how young he was. “When I went to shows and stuff, there weren’t a lot of people my age,” he says with a shrug. “Even the people that were, they probably didn’t play any instruments themselves.”

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Nonetheless, Joakim did eventually gather a lineup…three weeks before COVID-19 forced shows to be cancelled for more than a year. Rather than impatiently split up, the band practiced incessantly for 18 months, holed away in their rooms perfecting their instruments. All that time writing and playing made their gigs as sharp as machetes once restrictions were lifted.

“I think it helped us because we didn’t think about having to book shit or anything like that,” Joakim reflects. “We just wrote songs and played them all day. I remember, we would have rehearsals that were 12 hours long, but we would just be playing the same four songs again and again.”

Nakkeknaekker burst out of lockdown like a rabid pitbull, playing all over Denmark in 2022 before going international the following year. They dominated the New Blood stage at Bloodstock Open Air, where the crowd relentlessly moshed to their well-honed savagery. “That was our second or third show out of Denmark and it was just incredible,” Joakim says.

But while they’d enjoyed some serious momentum, the band soon realised they’d need to change things if they wanted to continue reaching international audiences. Their expansion abroad showed the band that the name Nakkeknaekker was no longer fit for purpose, with the members noticing how many people overseas struggled to pronounce it. So, they translated the moniker into English and added an extra K. The rebrand was unveiled in late 2024, when it was announced that the five-piece were the newest additions to Nuclear Blast’s roster.

“There’s no other label that I’d rather be on as a metal band, to be honest,” he enthuses. “They’re just amazing people. The whole team seems to really, really understand metal and understand music. You can throw any reference to anything at them and they’ll know exactly what you’re talking about.”

Since then, exciting news from the band seems to come as frequently as the tide. Their set on the Sunday of Download will be followed one day later by a gig supporting deathcore mavens Fit For An Autopsy. Then, of course, will come the Slayer shows, taking place at Cardiff’s 35,000-capacity Blackweir Fields and London’s 45,000-capacity Finsbury Park – presenting possibly the biggest crowds the band have played to yet.

“Words can’t describe how excited me and the guys are to get the chance to support Slayer,” he enthuses. “It still doesn’t feel quite real, but we are just honoured and grateful to be a part of such an insane lineup.”

The guitarist struggles to think when asked what his band have left to achieve – granted, who could come up with an answer better than “playing my dream festival as a teenager” or “supporting fucking Slayer”? For now, he wants to stick the course, playing more places and climbing further up posters.

“We still want to tour the US and Australia at some point,” he says. “We just hope everything is going to get bigger and bigger.”

Within The Viscera is out now via Nuclear Blast. Neckbreakker will play Download on June 15 and London with Fit For An Autopsy on June 16. They’ll support Slayer in the UK in July

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

The biggest tour in the history of deathcore? Slaughter To Prevail announce 2026 European tour with Suicide Silence, Dying Fetus and reforming Annotations Of An Autopsy

Slaughter To Prevail in 2025
(Image credit: Press)

Slaughter To Prevail have announced a stacked European tour for early 2026.

The Russian-American deathcore pack will play across the UK and the mainland in January and February 2026. They’ll be supported by brutal death metal veterans Dying Fetus, deathcore mavens Suicide Silence and, for the British dates only, a reactivating Annotations Of An Autopsy.

The full list of announced shows is available below. Tickets go on sale on Friday (June 6) at 10am local time.

Slaughter To Prevail will be touring to promote their new album Grizzly, out on July 18 via Sumerian. The band recently collaborated with J-metal sensations Babymetal for the single Song 3, which will appear on the tracklisting. The song Russian Grizzly In America is also streaming.

Metal Hammer sat down with Slaughter To Prevail singer Alex Terrible for its 398th issue earlier this year, and he spoke about all things Grizzly as well as the band’s journey so far. The issue is available online with a Slaughter To Prevail cover you won’t find in the shops. One package bundles it with an exclusive Grizzly vinyl and the other with a t-shirt unavailable anywhere else.

Head to the Louder webstore now to order the bundles while stocks last.

Dying Fetus released their latest album, Make Them Beg For Death, in 2023. They have a handful of mainland European shows booked for the summer and will play Aftershock festival in Sacramento, California on October 4. See details via their website.

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Suicide Silence put out latest album Remember… You Must Die in 2023. The band will play Louder Than Life festival in Louisville, Kentucky in September.

Annotations Of An Autopsy are a UK deathcore band who originally formed in 2006 and have had several splits and reunions since. They haven’t toured since 2019 and their last release was that year’s EP World Of Sludge. The five-piece will perform World Of Sludge in full on the three dates they’re playing.

Jan 13: Tilburg O13, Netherlands
Jan 14: Brussels Ancienne Belgique, Belgium
Jan 16: London O2 Academy Brixton, UK*
Jan 17: Manchester O2 Victoria Warehouse, UK*
Jan 18: Birmingham O2 Academy, UK*
Jan 20: Zurich Halle 622, Switzerland
Jan 21: Milan Alcatraz, Italy
Jan 24: Berlin UFO Im Velodrom, Germany
Jan 25: Hamburg Sporthalle, Germany
Jan 29: Oslo Sentrum Scene, Norway
Jan 30: Stockholm B-K, Sweden
Jan 31: Copenhagen K.B. Hallen, Denmark
Feb 02: Frankfurt Jahrhunderthalle, Germany
Feb 03: Ljubljana Media Center, Slovenia
Feb 04: Budapest Barba Negra, Hungary
Feb 06: Munich Zenith, Germany
Feb 07: Leipzig Haus Auensee, Germany
Feb 08: Prague Forum Karlin, Czech Republic

(* = w/ Annotations Of An Autopsy)

Founded in 1983, Metal Hammer is the global home of all things heavy. We have breaking news, exclusive interviews with the biggest bands and names in metal, rock, hardcore, grunge and beyond, expert reviews of the lastest releases and unrivalled insider access to metal’s most exciting new scenes and movements. No matter what you’re into – be it heavy metal, punk, hardcore, grunge, alternative, goth, industrial, djent or the stuff so bizarre it defies classification – you’ll find it all here, backed by the best writers in our game.

“We went to abandoned cemeteries at night, stole everything we could find.” Black magic, human skulls and Aleister Crowley – the twisted story of Tobias Forge’s favourite cult horror-metal band, Death SS

Death SS posing in 2025, looking like spooky monsters
(Image credit: Press)

Steve Sylvester is a reluctant trailblazer. As frontman with cult Italian horror-metal band Death SS, he was plundering graveyards for stage props and embracing the occult well before the likes of Venom, Mercyful Fate and Bathory. But he insists never deliberately set out to drag metal to the dark side.

“Many people said that Death SS was the precursor of black metal, because we started in 1977, doing Satanic things in music before all those other bands,” he says. “But it was completely unconscious. We simply were very young guys all dressed in black, with a street attitude, really obsessed with dark things, who came into the cemetery at night and wanted to do what we liked.”

Nearly 50 years after they formed, a huge gulf exists between Death SS’s influence and the recognition they receive outside of their homeland. In overwhelmingly Catholic Italy in the late 1970s, these brave souls were stress-testing the most obsessively morbid, avowedly occult aesthetic that metal had ever seen. They became a household name in their homeland, and they’re worshipped by clued-up fans of occult metal from further afield – not least Ghost’s Tobias Forge, who has acknowledged them as a big influence on his own band’s image, music and message.

Yet this enigmatic five-piece have maintained a shadowy mystique and cultish detachment from any scene, despite boasting a ton of killer tunes, a luridly colourful story and one of heavy metal’s greatest theatrical gimmicks, with each bandmate identifying as a classic monster – Vampire, Death, Zombie, Mummy, Werewolf and so on.

The Steve Sylvester speaking to Hammer via Zoom doesn’t look especially monstrous, though witchcraft seems to have been involved at some point. The disarmingly affable singer, born Stefano Silvestri, is now 64 but looks at least 20 years younger, a jet black mop of curls tumbling down onto the shoulders of his black leather jacket.

He was a teenager when he formed Death SS in 1977, obsessed by comics and the movies of Italian horror maestros Mario Bava, Lucio Fulci and Amando de Ossorio.

“All these were forbidden for minors, so I tried always to enter cinemas illegally,” he says. “At the same time, my favourite band as a child was the English glam band The Sweet. As I loved horror, I thought, ‘What if Brian Connolly, the singer from The Sweet, was a vampire?’ So I transformed myself into a dark demoniac version of Brian Connolly, and I wanted to play ‘death music’. This was an original thought for a child in Italy in 1977!”

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Those adolescent passions remain the foaming lifeblood of Death SS’s death-glam horror metal. The band’s new album, The Entity, is a luxuriant love letter to Steve’s youthful obsessions. It’s their first full-scale narrative concept record, centred around the idea of notorious occultist Aleister Crowley summoning the destructive entity that possessed the minds of such Victorian villains as Dr Jekyll and Jack the Ripper, with the singer archly weaving the band’s own existence into this lineage of historic evil. Crowley’s name crops up frequently in heavy music, but his occult writing came as a revelation to the teenage Steve.

“Crowley was always a source of inspiration for the philosophy of Death SS,” he says. ‘I wanted to discover occultism, not only the theatrical part but the older histories, something deeper, for my knowledge. So I soon discovered Crowley and his philosophy of Do What Thou Wilt, which is very simple but very strong. I got in contact with the people who led the lodge in Italy that follows the teachings of Crowley, the Ordo Templi Orientis. I became part of the OTO for my personal studies, but I’m not a fanatic.”

Today, he says, he has a balanced spiritual outlook. “My personal current of philosophy is chaos magic, but I try to live by Crowley’s motto ‘Love is the law, love under will’. Everything must be done with passion, with love, and with respect for others.”

Death SS in 1991, dressed up like horror monsters

Death SS in 1991 (Image credit: Press)

Death SS’s early years are shrouded in mystery. Formed in the city of Pesaro by Steve and guitarist Paul Chain, they released a demo EP, The Horned God Of The Witches, in 1981, but little other music made it out of the crypt during that formative period. Instead, their early notoriety was founded on their live show, where rumours of Satanic excess and orgiastic carnage compounded the band’s mystique.

“The first shows were very simple,” says Steve. “We went to abandoned cemeteries at night, stole everything we could find that looked cool, then carried them onstage before we played. It was all real, authentic stuff, like crosses, old broken coffins, real human skulls. I remember one guy at the front of the stage recognised the headstone of his grandfather! Also we threw worms into the audience. Now I laugh at this, but you have to consider when we were doing these things we were 16, 17, it was the punk attitude.”

They began to build a growing fanbase who would turn up to every gig they played. But they also attracted the ire of those who had no time for such devilish antics. People would wait outside their gigs to beat up the band members, and the police would often turn up to shows to “take control”, as Steve puts it. Even now, Death SS occasionally get similar attention from the authorities. Following a show four years ago, they ended up in a police station after being accused of performing “obscene acts in public”, thanks to the flaming crucifixes and naked woman that are part of their live show.

“All I do onstage is just a theatrical act, stolen from horror movies and comics,” insists Steve. “Naked women, skulls, blood – everything is with much irony and fun. But there is something of real meaning inside. There are two sides: the visual, because music must be entertainment, and something deeper for people to find if they seek it.”

Run-ins with people who didn’t like what they were doing were one thing, but other, more sinister forces have seemingly conspired against Death SS at times. Back in their early days, these inexperienced occultists’ dabblings with dark forces didn’t always garner positive results.

“From the beginning we were very serious about our black magic practices,” says Steve. “But we were very young, and sometimes something went wrong. A lot of very bad things happened to us.”

He won’t be drawn on the specifics of this bad juju, but in 1982 Steve had to step away from Death SS, in calamitous mental and physical shape. Guitarist Paul Chain was left to rebuild the band and take them forward with a debut EP, 1983’s Evil Metal, featuring replacement vocalist Sanctis Ghoram. Stymied by a pressing error, few copies even made it to market – another sign, it seemed, that the band was cursed. Paul Chain apparently thought so, laying Death SS to rest in 1984, forming Paul Chain Violet Theatre and releasing an EP pointedly entitled Detaching From Satan.

“I haven’t seen Paul for many years,” says Steve. “I know he became a Jehovah’s Witness, which completely changed his life. He’s always been a very strange guy.”

Papa Emeritus IV with the singer of Death SS

Tobias Forge is a huge fan (Image credit: Press)

Other bands rose to prominence in Death SS’s absence, chief among them Mercyful Fate, who ploughed the same theatrical occult-metal furrow. But the devil looks after his own, and the Death SS flame began to flicker once more with the 1987 compilation, The Story Of Death SS 1977-83. By that point, Steve had slain some of his demons and relaunched the band with renewed enthusiasm.

“I moved from Pesaro to Florence and was working to rebuild myself,” he says. “I was ready to start again, in a new town with new musicians and a new attitude, more seriously oriented in music.”

With Steve in charge once more, Death SS finally released their debut full-length LP, ..In Death Of Steve Sylvester, in 1988. He’s steered the band since then, releasing a string of singles and albums, of which The Entity is the eleveth. Steve remains the sole constant member: upwards of 30 other musicians have passed through the ranks since their inception. But this stubbornness has been worth it. Over the years, the frontman’s vision, aesthetic and philosophy has blazed a trail for everyone from Mayhem to Ghost. The latter’s singer, Tobias Forge, has proved to be the most demonstrative Death SS superfan, frequently tipping his bejewelled mitre to the Italian masters and introducing a new generation to their dark magic.

“I’m very grateful to Tobias for everything,” says Steve. “We meet every time he comes to play in Italy. We shared the same stage at San Siro Stadium two years ago – Lucifer, Death SS and Ghost all together, it was a very nice experience.”

It was Tobias who advised Steve to contact producer Tom Dalgety, who deftly oversaw Ghost’s Prequelle LP, for The Entity, an inspired pair-up that audibly got the best out of both parties. Even so, Steve insists he doesn’t yearn for Ghost-scale stardom.

“I don’t follow this path to become a rich rock star, I don’t care about this,” he says. “I only do what I want to do, and I will carry on doing it.”

Lack of desire for stardom aside, there’s perhaps another reason the band hasn’t crossed over to mainstream success. Occultism and flaming crucifixes are one thing, but the band’s name still has the power to repel potential fans thanks to the double ‘S’ and the Nazi connotations that come with it.

“For more than 40 years I’ve told everyone that SS is just initials of my name,” says Steve with a sigh. “Death SS means ‘In Death of Steve Sylvester’, in the occult way: my death as a normal being and rebirth after the evocation of occultism.”

Plausible deniability, possibly, but in truth Death SS is such a powerful name precisely because it’s so provocative, prodding taboos that were even more raw in a former Axis power just three decades years after World War II.

“The double S was very dangerous in the name,” he concedes. “We still have problems for this, but we are absolutely not political, and we are for the absolute freedom of people. I believe in freedom in every sense, we are the opposite of Nazis. But one reason why Death SS never became a big band outside Italy could be just for the name.”

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Irrespective of their fame, or lack of it, Death SS have earned their place as one of metal’s great cult bands. But while Steve has dedicated almost half a century of his life to Death SS, it’s not the only thing that occupies his time. For several years, he has owned a vegan restaurant in Florence – a far cry from the band’s bloody, Hammer Horror image

“Yes, I’m a vegan,” he says. “I think animals are our friends and I don’t want to kill or eat them. We prefer animals to people – animals are innocent, people are not! So I opened a vegan restaurant to spread the vegan philosophy in Florence, which is a town very attached to its steak. We are very involved in conserving nature and helping animals however we can.”

This dichotomy that calls to mind Tobias Forge’s explanation for his interest in the occult and the creation of Ghost. Both, he has explained, stem from the fact that he is afraid of the dark, and is trying to conquer his fear head-on. For Steve Sylvester there is no such anxiety, only affinity.

“I always loved the darkness,” affirms Steve. “At night when I was a little child, after being to the cinema to see a horror movie, in the darkness I went on my own to the cemetery. Just because I liked the adrenalin, and to prove to myself that I was not scared, that the dark was part of my life, part of my personality.”

The Entity is out now

Chris has been writing about heavy metal since 2000, specialising in true/cult/epic/power/trad/NWOBHM and doom metal at now-defunct extreme music magazine Terrorizer. Since joining the Metal Hammer famileh in 2010 he developed a parallel career in kids’ TV, winning a Writer’s Guild of Great Britain Award for BBC1 series Little Howard’s Big Question as well as writing episodes of Danger Mouse, Horrible Histories, Dennis & Gnasher Unleashed and The Furchester Hotel. His hobbies include drumming (slowly), exploring ancient woodland and watching ancient sitcoms.