Chevelle unleashed their first new music in four years with the hit single “Rabbit Hole (Cowards, Pt. 1)” earlier this spring, to the thrill of fans and supporters alike. It’s already at No. 9 at rock radio and is well on its way to Top 5 status.
Today, the band is excited to announce that it will release the new album Bright as Blasphemy on August 15 via Alchemy Recordings. Chevelle have also shared the lyric video for new single “Jim Jones (Cowards, Pt. 2)”
“History teaches us the longest rabbit hole has no end,” the band succinctly shares about the song. Regarding the album as a whole, Chevelle state, “Human Existence encompasses both inherent challenges and potential. It’s up to you how to pass the time. Enjoy.”
Slaughter to Prevail and BABYMETAL have released a new single, “Song 3”. The song will appear on Slaughter to Prevail’s upcoming album GRIZZLY as well as BABYMETAL’s upcoming album METAL FORTH. It’s one of the Japanese metal bands most forceful tracks to date, pairing Slaughter to Prevail’s raw, punishing vocals with BABYMETAL’s soaring, melodic choruses.
The result is tense and theatrical, but tightly controlled-a balancing act the band has long specialized in. The song was written between the UK and Russia by Slaughter To Prevail’s Jack Simmons and Alex Terrible before being sent special delivery across continents for BABYMETAL.
BABYMETAL added their vocals – lyrics, flows, and verses all centered around the concept of “3” – unleashing their signature kawaii chaos. Matt Heafy of Trivium performed the shamisen woven throughout the song, adding another unexpected layer to the madness.
The accompanying music video follows a young version of Slaughter to Prevail’s Alex Terrible, bullied and outcast, as he transforms- guided by BABYMETAL themselves-into a force capable of confronting his past. The track follows the release of BABYMETAL’s “from me to u” feat. Poppy and Slaughter to Prevail’s “Russian Grizzly In America”, both of which amassed millions of streams in less than month.
Released on March 23, 1979, Van Halen II cemented the band’s rise as one of America’s most electrifying hard rock acts. Peaking at number six on the Billboard Top LPs & Tape chart and selling nearly six million copies in the U.S., the album balanced high-energy rockers with radio-ready hooks. From “Dance the Night Away” to “Beautiful Girls,” it showcased Eddie Van Halen’s inventive guitar work and David Lee Roth’s charismatic flair. Here are five facts about the album.
1. Recorded in Just a Week The band began recording on December 10, 1978, at Sunset Studio, only a week after finishing their world tour. They tracked the album in under a week, capturing raw energy and a live feel.
2. Songs With Early Origins Many tracks dated back to their pre-fame demos, including “Somebody Get Me a Doctor” and “Beautiful Girls,” then called “Bring On the Girls.” Both appeared in Gene Simmons’ and Ted Templeman’s demo sessions.
3. A Hit Without a Solo “Dance the Night Away” was the only song written fresh during the sessions. Eddie Van Halen chose not to include a traditional guitar solo, using tapped harmonics instead, giving the track a unique shimmer.
4. The Bumblebee Guitar’s Legacy The black-and-yellow “Bumblebee” guitar featured on the back cover became iconic. Decades later, it was buried with Pantera’s Dimebag Darrell, honoring his admiration for Eddie’s playing and design.
5. Rock Meets Acoustic Firepower “Spanish Fly” stood out as a solo showcase, with Eddie applying his rapid-fire technique to a nylon-string acoustic guitar. The brief track highlighted his versatility and expanded the band’s sound palette.
Van Halen II built on the momentum of the band’s debut while carving new directions for their sound. Blending party anthems, technical mastery, and unforgettable hooks, it proved the band was more than a one-album wonder and set the stage for their dominance of late-1970s and early-1980s rock.
Released on October 5, 1979, Reggatta de Blanc was the Police’s second studio album and their first to top the UK Albums Chart. It delivered two UK number-one singles, “Message in a Bottle” and “Walking on the Moon,” and won the band their first Grammy. Blending reggae rhythms with new wave urgency, the album quickly established the Police as one of the defining acts of the era. Here are five facts about its creation and impact.
Five Facts
1. A Low-Budget Recording The album was recorded at Surrey Sound with Nigel Gray for just £6,000–£9,000, a modest sum compared to major-label productions of the time. The choice gave the band full control, free from record company interference.
2. Songs Built From Earlier Ideas Several tracks were adapted from Sting’s earlier band, Last Exit, including “Bring on the Night” and “The Bed’s Too Big Without You.” Stewart Copeland also reshaped a college piano piece into “Does Everyone Stare.”
3. A Title With Franglais Flair Like their debut Outlandos d’Amour, the album carried a Franglais title. “Reggatta de Blanc” loosely translates as “White Reggae,” reflecting the band’s unique fusion of rock, pop, and Jamaican rhythms.
4. The Police’s First Grammy Win The instrumental title track earned the Police their first Grammy Award, winning Best Rock Instrumental Performance. It began as an extended live jam based on “Can’t Stand Losing You.”
5. “Message in a Bottle” As A Breakthrough Written by Sting, the lead single became the band’s first UK number-one. Its universal theme of loneliness and connection, paired with Andy Summers’ layered guitar textures, made it a career-defining song.
Reggatta de Blanc captured the Police at a moment of explosive creativity, turning spare resources into worldwide acclaim. With its blend of inventive songwriting, reggae-infused grooves, and chart-topping singles, the album solidified their place on the global stage and remains a landmark of late-1970s rock.
Released in August 1979, Into the Music is Van Morrison’s 11th studio album, recorded at the Record Plant in Sausalito. It features “Bright Side of the Road,” which charted in the UK, alongside songs that highlight themes of love, celebration, and the healing power of music. With contributions from Pee Wee Ellis, Ry Cooder, and other musicians, the album marked a creative return to a more spiritual and meditative sound. Here are five facts about the album’s making and legacy.
1. Recording in California The album was tracked in early 1979 at the Record Plant in Sausalito, with Mick Glossop as engineer. Trumpeter Mark Isham introduced Morrison to Pee Wee Ellis, who became central to the horn arrangements and stayed on to shape the full record’s sound.
2. Ry Cooder’s Cameo Guitarist Ry Cooder appears on “Full Force Gale,” adding slide guitar to Morrison’s gospel-inspired declaration. His guest spot gave the track a rootsy edge, blending Morrison’s Celtic soul with Cooder’s American blues touch.
3. Songs Born in Epwell Morrison wrote many of the tracks while staying in Epwell, a Cotswold village. He often walked through the fields with his guitar, working out lyrics and melodies in the countryside setting that informed the music’s reflective tone.
4. Themes of Joy and Healing The album celebrates love and life, with tracks like “Troubadours” and “You Make Me Feel So Free.” “And the Healing Has Begun” introduced the idea of music as a restorative force, a theme Morrison returned to frequently afterward.
5. A Pop Classic Revisited Morrison wove a gentle version of the 1950s hit “It’s All in the Game” into the album. The interpolation sat alongside his originals, linking his personal storytelling to a wider tradition of popular song.
Into the Music endures as a pivotal work in Morrison’s catalogue. Its blend of joyful rhythms, spiritual reflection, and heartfelt songwriting showcased his ability to channel personal inspiration into timeless performances. The record remains a touchstone for the themes and style that continued to shape his music in the years ahead.
In 1979, ska went technicolor with One Step Beyond…, the debut album from Madness. Recorded in just three weeks, it shot to number two on the UK charts and stayed there for over a year. Powered by nutty dancing, Prince Buster tributes, and a sound both retro and brand-new, the record launched Madness as the joyful heart of the ska revival.
1. The “Nutty Train” Shot The iconic cover photo, snapped by Cameron McVey, was based on a pose from Kilburn and the High Roads’ album Handsome. It became Madness’s calling card, symbolizing the playful “Nutty Sound” they carried into ska history.
2. A Prince Buster Salute The title track was a cover of Prince Buster’s 1964 B-side, but Madness added the unforgettable “Don’t watch that, watch this!” intro. Their version became a ska anthem, launching the album into ska revival legend.
3. Rough Mix, Big Hit Producer Alan Winstanley revealed that the final single was just a rough mix. The track was stretched by repeating the short instrumental and altering half with a harmonizer — and that “mistake” became their breakout.
4. First of the Decade “My Girl,” written by Mike Barson, sent Madness to Top of the Pops in January 1980. They had the distinction of being the very first band to perform on the program in the new decade, cementing their status as rising stars.
5. Miles of Saxophone “Night Boat to Cairo” was built around Barson’s instrumental idea before Suggs added lyrics. With a sprawling structure, heavy sax breaks, and no real chorus, it broke rules and became their go-to show closer for decades.
One Step Beyond… was amazing to listen to dance in loafers and pork pie hats, mixing humor, grit, and irresistible ska rhythms. From the “Nutty Train” cover to “Night Boat to Cairo” closing countless gigs, Madness proved that fun could be as sharp as it was enduring.
By 1979, Led Zeppelin were both battered and brilliant. Out of exile, grief, and excess came In Through the Out Door — an album recorded in Stockholm that blended samba rhythms, synth experiments, and smoky barroom blues into a strangely forward-looking final chapter.
1. The ABBA Connection The album was recorded at ABBA’s Polar Studios in Stockholm, a space more associated with shimmering pop than heavy rock. Zeppelin turned it into their own laboratory, with John Paul Jones’ Yamaha GX-1 synthesizer coloring tracks like “Carouselambra” in ways that felt futuristic.
2. Six Hidden Covers The sleeve design was a trickster’s delight. Each copy came wrapped in a plain brown paper bag, hiding one of six alternate bar-room photo covers. Fans had no idea which version they owned until peeling the wrapping, turning every purchase into a lucky dip for collectors.
3. Samba Meets Shuffle “Fool in the Rain” drew inspiration from the samba rhythms Plant had absorbed during the 1978 World Cup broadcasts. The result — Bonham’s Purdie shuffle colliding with carnival swing — was one of the band’s most surprising rhythmic left turns, and their last US hit single.
4. A Song for Karac “All My Love” was Robert Plant’s tribute to his late son Karac. Co-written with Jones, the song’s tender heart is marked by a classically-styled synth solo. For a band known for thunder, this ballad stood as one of their most openly vulnerable moments.
5. A Puzzle of Perspectives The Hipgnosis artwork told its own story: a man burning a Dear John letter in a New Orleans-styled bar, observed by six others. Each of the six covers offered a different perspective of the same scene — a clever nod to fractured viewpoints within the band itself.
In Through the Out Door stands as both a swan song and a bold experiment, filled with synths, samba grooves, and one last blast of Zeppelin grandeur. Wrapped in brown paper mystery and recorded far from home, it captured a band still chasing new sounds on the edge of their story.
Power pop rarely explodes into the mainstream with the speed of a lightning strike, but in the summer of 1979 the Knack pulled it off. Their debut album Get the Knack stormed out of Los Angeles clubs and onto the Billboard 200, climbing to #1 in less than two months. “My Sharona” blasted from car radios everywhere, teenage mania kicked in, and Capitol Records had its fastest-selling debut since the Beatles. Beneath the hype and the backlash, though, the record hides some surprising details.
1. Two weeks, $18,000
The entire album was recorded in just 14 days for $18,000. At a time when rock stars were spending six figures on studio time, the Knack made a blockbuster hit with the budget of an indie demo.
2. Beatlemania by design
From the rainbow Capitol label to the Meet the Beatles!-inspired cover, the Knack insisted their debut look and feel like a Beatles artifact. Even the back cover echoed a shot from A Hard Day’s Night.
3. A song written in 15 minutes
Doug Fieger said “My Sharona” came together in a flash—written in 15 minutes, recorded in a single take, and mixed just as quickly. The result became 1979’s biggest single and one of power pop’s defining anthems.
4. Sharona was real
The song’s muse, 17-year-old Sharona Alperin, inspired a fevered streak of songwriting and later became Fieger’s girlfriend. She went on to a successful career in real estate, forever linked to a pop juggernaut.
5. “Knuke the Knack” backlash
Critics bristled at the Knack’s cocky image and fast rise. San Francisco artist Hugh Brown launched a satirical “Knuke the Knack” campaign with buttons and T-shirts, turning the band’s success into one of rock’s most notorious backlashes.
Get the Knack is one of the wildest overnight successes of the late ’70s, wrapped in Beatle-worship, fueled by a teenage crush, and chased by controversy. Forty-plus years later, it still sounds like a band sprinting into history with no time—or money—to waste.
Released in 1979, Low Budget found the Kinks shifting gears yet again. With Jim Rodford stepping in on bass, Ray Davies steering into topical lyrics, and the band embracing a tougher rock edge, it became their best-selling US studio album. Beneath the crunch and satire, there are some fascinating stories.
1. Recorded on both sides of the Atlantic
The first songs, including “(Wish I Could Fly Like) Superman,” were tracked in London at Konk Studios. But most of the album was finished in New York at the Power Station and Blue Rock Studios, giving it an extra punch of American arena-rock energy.
2. Ray Davies handled all the keyboards
After cycling through multiple keyboard players who didn’t stick, Davies decided to take on the parts himself. His playing drives much of the record, shaping everything from disco grooves to barroom-style piano flourishes.
3. Topical lyrics with superheroes in tow
While “Catch Me Now I’m Falling” invoked Captain America to critique global politics, “(Wish I Could Fly Like) Superman” drew on Ray’s admiration for the comic books and a trip to see Superman: The Movie. The mix of satire and pop culture kept the themes fresh and immediate.
4. Dave Davies nearly rejected “Superman”
Dave Davies was skeptical about the disco-driven single. He eventually added his guitar parts, but he later admitted he thought the song was a risky move—saved, in his view, by its humor. Despite his doubts, it became a minor hit in North America.
5. Songs for the future snuck in
During the Low Budget sessions, the Kinks also tested out early versions of “Destroyer” and “Give the People What They Want,” songs that wouldn’t appear until their 1981 album. The sessions proved a workshop for both the present and the band’s next phase.
Low Budget turned the Kinks into a late-’70s arena rock powerhouse, brimming with disco jokes, social commentary, and riffs built for big stages. It remains a testament to the band’s adaptability—forever balancing grit, humor, and sharp songwriting.
