Are you kidding me? It’s Christmas Eve ya deluded old man, we should be stumbling from egg nogg by now stuffed to the gills with Christmas cookies and ready to open some damn presents. Instead, you have me typing this list thing. You do know almost no one actually reads this stuff, right? I mean why not just put a camera on me and let’s have The Little Johnny Power Hour . People will tune into something cool like that. This assignment blows.      But, sure…I imagine after Beard’s trip down…

Funk maestro Michael Hampton has a new EP of instrumental guitar music out, Into The Public Domain.

Michael Hampton is a legendary guitarist, known best for his pivotal role in the iconic funk bands Parliament and Funkadelic. If you don’t already know, when you listen to him play on this record you will realize that his true peers are only the finest guitarist in the world. The name of the new album is literal. “Into the Public Domain will be released under a public-domain license, granting artists, filmmakers and marketers everywhere royalty-free usage of any and all elements of the album (save for artwork).” How about that? It is the first of three planned EPs coming your over the next many months.

There are six songs on the album and an extra, most running at radio length or briefer. “Fight Or Flight” steps in on padded feet and looks around a bit. The guitar is very surfy, and beautifully exploratory. The instruments sound almost like voices, and you can tell what they are saying by their tones. “Savanna” is more reflective than the first song, while also being exploratory. Poking about as it does. “Canyon Jam” is ninety seconds of pure joy. What a delight.

“Public Domaine” is super funky in its bones, and the lead guitar works on those edges. “Steve’s Kaddilac” runs longer than its predecessors, punching out near the five-minute mark. It has a good simmer and an irresistible way of urging you on. The non-guitar instruments have a bigger presence here, allowing the music to broaden. “Technicolor Mobile Home” is a slow walk off into the sunset. Lovely and calming.

There is also a bonus track that is “Public Domaine” remixed. It does not really add much, but you don’t need any additional reasons to buy this excellent record – and don’t forget that there is another on coming out in the spring, King Kong, so keep an eye out for that. Recommended.

Into The Public Domain came out through Sound Mind Records on Friday, December 19^th. Listen and buy at the links below.

Link.

Facebook, https://www.facebook.com/p/Michael-Hampton-100040199001670/

Sound Mind Records, https://soundmindnetwork.org/smn-records/

© Wayne Edwards

Greetings, friends, fans, and followers and welcome to the Beard’s final review of 2025. Before we begin, I want to thank those of you who have read my material. As our boss says, reading seems a stretch for people these days and they much prefer that someone just talks to them and does not require them to, you know, engage their brains.      As a result, it looks like The Beard & Little Johnny will have to head on down the road and find another vehicle to run our live show reviews. There are…

Ziege: Kadaverknast

Jæhzorn: Weiderecht

Poppy Wizard: Point & Shoot

Dungeon Keeper: Dungeon Metal Masters

Passed Out: Web of Lies

kotzschmerztablette: Die Elenden

Ch’ahom: Covered in the Priests Black Shit

Primitive Slaughter: Endless Raids

Sensu Stricto: Tower of Execution

Satanic Black Blood: Sulphuric Demonomancy

Moral Rot: why can nothing ever just be nice

Good Day Noir Family,
The first vocal line is delivered with a sharp precision that recalls medieval chant, yet it is immediately folded into a modern, industrial-leaning production.

Zünden is Adorée’s Single Out Now

This duality is where Adorée thrives. Her voice cuts through the mix like steel, yet it carries depth and emotion that instantly gives the listener a sense of urgency.

German is a language often associated with angularity and harsh consonants; however here it becomes a weapon of beauty. When melody rises through it, the impact is even greater.

“Zünden” quickly grows into something driven. The rhythm pulses forward, almost militaristic, powered by drums that feel like a signal to march into battle. However, the guitars lean toward cinematic hard-rock territory. They never overwhelm; instead, they act as a fire beneath the vocal performance. Because of this balance, the track feels like a ceremony, a rite of awakening.

Furthermore, the production deserves attention. AI elements are present but subtle. Nothing about the track feels sterile or cold. Digital layers add width and reinforce the dystopian-fantasy aesthetic that Adorée clearly moves within. Fans of Rammstein’s rhythmic authority and Wardruna’s ancestral chanting may find themselves shocked by how naturally those energies merge here.

The chorus is where the spell fully tightens. It expands with melodic intensity and introduces emotional tension strong enough to grip anyone willing to listen closely. The track becomes larger, almost thunderous, yet it never loses clarity. Transitional breaks give brief moments of oxygen, only to launch the listener back into a wall of energy. These dynamics show thoughtful songwriting rather than sheer volume for volume’s sake.

Lyrically, “Zünden” suggests ignition – a spark that awakens the wild spirit buried inside. There is a theme of rebirth, the kind that is earned through pressure. The song leaves a mark not through soft whispers, but through a push toward strength. It is the kind of track that belongs in a film scene where a protagonist decides not to break, but to rise.

Zünden is Adorée’s Single Out Now!

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Ignited!

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Adorée, hailing from Cologne, Germany, embodies a unique fusion of old shanties and folk traditions with modern alternative rock and cinematic atmospheres. The solo-driven project, led by a single creative mind, delves deep into emotional storytelling and sound design, creating a musical language that feels both timeless and contemporary. The music is born from a hybrid creative process in which human emotion and algorithmic composition intertwine. Artificial intelligence is not used as a shortcut, but as a creative instrument — a way to translate inner states, fragments of memory, and emotional tension into sound. Adorée’s dark, cool-toned vocals navigate themes of loss, awakening, and rebellion, shaping each release as a cinematic chapter that transcends genre boundaries, offering an intimate and emotionally resonant experience.

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Good Day Noir Family,
A soft piano arpeggio invites you into It Was For Me, and it immediately signals that Allan Townsend is not here to deliver something disposable.

It Was For Me is Allan Townsend’s Single Out Now

 He reaches for the emotional core with a voice that carries grit and warmth. His tone feels lived-in, like someone who has known loss, faith, and wonder, and decided to put all of it into a four-minute confession.

As the vocal begins, the lyrics stand front and center. There is sincerity in every syllable. Townsend sings not as a performer trying to decorate a melody, but as a believer allowing inner truth to come through. The slight rasp in his delivery enhances the feeling that this is a message he needed to say. The listener becomes witness to something intimate.

Transitioning into the chorus, the song swells with intention. The production rises, the instrumentation breathes wider, and the lyric opens up like a window letting light rush in. The track becomes larger, yet it never loses its anchor in vulnerability. While many Christian-rock-leaning compositions try to reach epic territory through walls of guitars or choirs, Townsend succeeds through restraint. Because of that, the emotional peak arrives naturally.

Furthermore, the dynamic structure keeps the song engaging. There are moments when the piano stands alone, creating a quiet tension that feels like prayer. Then, the arrangement returns with a sense of arrival. It allows the message to be absorbed, not simply heard. You feel the contrast between silence and release, which gives the song a cinematic touch.

Another strength is how relatable the theme feels. Townsend sings about faith with humility, not preaching but sharing. It is a reminder that people often search for signs, comfort, and direction. When he reaches his final phrases, you can feel gratitude radiating from within the interpretation. Fans of MercyMe, Casting Crowns, or Needtobreathe will likely find a new voice to follow here, yet Townsend keeps his identity independent. His writing and his vocal DNA are unmistakably his own.

It Was For Me is a track about discovery — the kind that happens quietly, sometimes painfully, but transforms you when you least expect it. It leaves you with an afterglow, urging you to sit in silence for a few seconds before playing it again.

It Was For Me is Allan Townsend‘s Single Out Now!

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Illuminating!

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It Was For Me is Allan Townsend’s Single Out Now

Allan Townsend, hailing from Lincoln, United States, is the creative force behind the original single “It Was For Me.” Rooted in a story that spans more than five decades, the song began as an idea shared by three high school friends and gradually evolved into its final form. With lyrics originally written by Don Clifton in 1974, a chorus added by Rick Betts in 1980, and Townsend’s own lyrical expansions, bridge refinements, and melodic updates completed in 2025, the track reflects a rare, multi-generational collaboration. The result is a release that feels both personal and enduring, highlighting Townsend’s thoughtful approach to songwriting and his respect for the song’s long creative history.

 

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Good Day Noir Family,
Saasz returns with Nostalgic Escapism, an album that feels like a lucid dream that refuses to let go of your consciousness even after silence arrives.

Nostalgic Escapism is Saasz’s Album Out Now

Her vision was already recognizable from previous work, yet this record pushes deeper into emotional clarity. The production feels more intentional, more sculpted.

Each song feels like a ritual; you are not simply listening, you are entering a room where the air is thick, the lights are dim, and memories from lives you never lived suddenly seem familiar.

The journey begins with “Curse Word,” a track that plunges you immediately into an atmosphere soaked in shadows. The production is sparse, but never empty. Pads hum like a distant choir, and the percussion strikes feel like steps echoing through fog. Although the arrangement is minimal, it feels alive, almost sentient. The experience resembles stumbling upon a hidden ceremony in the woods. Saasz occupies that mystical territory once touched by performers like Enya, yet she brings a darker, colder edge.

Then “Jealousy” arrives, whispering like a lullaby that refuses to comfort. It coils around the listener in a fragile embrace, where the reverbs are more restrained than past work, thus allowing her voice and lyrics to cut more directly. The aura recalls a hybrid space between Lana Del Rey’s moonlit melancholy and Mazzy Star’s softness, though Saasz holds her own lane with intention. It is hypnotic, yet somehow sharp.

“Unbreakable” introduces cinematic grandeur. Synth pads rise like waves under winter skies, and a slow-burn progression pulls you toward an emotional peak. The track might not explode, yet it never stops expanding. After that, “I Want You” surprises with its tone. Its guitar passages suggest something hopeful, almost like stepping into sunrise after a long night. However, she never abandons her core aesthetic, and the warmth is tinted with vulnerability.

The album reaches its most surreal point with “Alternative Reality.” Here, Saasz fuses influences with expert precision. You can hear spectral hints of Enya, the crooning mystique of Lana Del Rey, and rhythm and harmonic shifts that call to mind Björk’s unpredictability. It feels light, almost like floating soap bubbles drifting across your ears, yet a sudden textural shift turns it visionary.

“Perfect Machine” closes the project like a celestial ending. It moves like solar wind across the body, glittering synth particles falling like cosmic rain. There seems to be a coded message hidden in its currents, something that triggers images more than thoughts: auroras, frozen oceans, abandoned cities under stars.

Nostalgic Escapism is more than a listening experience. It is an escape hatch from logic into emotion, into dream, into memory.

Nostalgic Escapism is Saasz’s Album Out Now!

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Epic!

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Nostalgic Escapism is Saasz’s Album Out Now

Saasz is a UK-based singer and songwriter blending indie pop/rock with DIY production and intimate vocals. On the latest release Nostalgic Escapism, Saasz explores inner turmoil, nostalgia, and self-acceptance with emotional honesty. Rather than chasing polish, the focus is on vulnerability—songs that feel like late-night thoughts turned into sound: personal, dreamy, and quietly cathartic.

 

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Good Day Noir Family,
There is something instantly transportive about Class 2 Rapids, the new album by Robbie Rapids.

Class 2 Rapids is Robbie Rapids’ Album Out Now

It arrives like a drive through small-town America, windows down, the scent of the highway mixing with stories carved from heart, nostalgia, and grit.

While it clearly reflects classic songwriting traditions, the record is shaped through modern edges, production choices, and a bright, concise energy that makes it feel current rather than a museum piece.

The opener Hang Loose introduces the listener to Rapids’ world with a bassline that grooves and a rhythm section that urges movement. The track invites a scene: a dusty van cruising toward a place where time slows, and music remains king. Yet the album does not sit still. Instead, it transitions into Dance with Me, a song layered in light psych shades. Its dreamy tone recalls summer evenings near the water, and the back-and-forth vocal interactions add character that expands the texture while preserving intimacy.

Although I Believe in You moves at a slower pace, it does so with intention. The syncopated rhythm feels like footsteps walking closer toward emotional clarity, and gradually, the chords bloom. The message becomes more reassuring than melancholic. Dream Away – Reimagined stands out through its anthem-leaning vocal line, encouraging the listener to join in — a chorus that could easily take shape in a live setting, fans swaying together.

Later, Out of the Garden introduces a grit familiar to 90s grunge, although it soon folds back into Rapids’ signature classic-rock DNA. Hints of Neil Young appear through dry guitar tones and REM-like rhythmic phrasing. That blend gives authenticity without imitation. Meanwhile, Fishing the River shifts to Americana terrain, thanks to its harmonica intro and campfire-warm structure. It feels handcrafted, dusted with rural spirit.

The closer Dream Away – Original concludes the record with doubled vocals, lifting the melody to a slightly psychedelic sphere. Distorted guitar chords stretch into long sustain, giving the chorus an almost epic lift. Additionally, the dynamics rise and fall with control, proving thoughtful arrangement. Class 2 Rapids becomes a body of work that respects tradition while refusing to stagnate.

Class 2 Rapids is Robbie Rapids’ Album Out Now!

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Timeless!

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Class 2 Rapids is Robbie Rapids’ Album Out Now

Recorded at Mosspit Studio in Norcross, GA, and BigSound Productions ATL in Johns Creek, GA, Class 2 Rapids is a testament to Robbie Rapids’ dedication to his craft and his ability to captivate audiences with his musical storytelling. 

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If you were watching rock TV in 1991, you remember how fast the air changed. One minute, big hooks, louder guitars, and glam attitude were everywhere. Then the industry decided the whole thing was “out of style,” and pushed a new look and sound to the front.

Bands like Poison, Mötley Crüe, and Whitesnake went from being automatic adds to being treated like yesterday’s news, while Jane’s Addiction, Nirvana, and Nine Inch Nails got the spotlight. For a lot of hard rock and metal acts who came up right at the end of the ’80s boom, that timing was brutal.

One of the bands that felt that shift firsthand was Dangerous Toys. They broke through with their gold-certified self-titled debut, Dangerous Toys, in 1989. But when Hellacious Acres landed in 1991 and Pissed followed in 1994, the ground had already moved under them.

Talking about that moment, Jason McMaster framed it less like an enemy takeover and more like the business doing what it always does: signing anything that looks like it might sell until the audience gets sick of the template.

“There were a lot of bands such as us. I call it ‘The class of ’89,’ where a bunch of bands on the coattails of Guns N’ Roses got signed because their singer had long hair, tattoos, and sang really high. So, which brings me to the point that I’ve been making lately that I feel grunge did not kill hair metal, hair metal killed hair metal,” McMaster told Rock Interview Series (via Ultimate Guitar).

“And, as a matter of fact, not trying to one-up anything or be a pundit here, but grunge also killed grunge for the same reason. Grunge killed grunge, and hair metal killed hair metal. It’s the over-saturation of a market until the climate changes, until somebody just goes, ‘It doesn’t matter what you wear or what you sound like. If the music is good, listen to it and buy it and support [it].’”

McMaster also pointed to the culture machine around the music, especially MTV, because back then, that pipeline could make or break a band’s reach. If you weren’t in the rotation, you were fighting uphill, no matter how tight the band was live.

He described the early ’90s as a weird stretch where critics and outlets acted like the debate was settled, and anyone who looked like a late-’80s hard rock band had already missed the boat.

“Between the Hellacious Acres tour and the release of Pissed, which was a crazy time for what it is that we’re sort of talking about, when everybody at Rolling Stone magazine or everybody who had a pen and called himself a music journalist had an opinion about the Seattle sound, versus what was hot on MTV,” he recalled.

“And how anybody resembling Guns N’ Roses may not have a chance. We’ll play Guns N’ Roses because they sell records, but everybody else that came right after that, they’re dead. For them to be able to just like, say that and call it law was a trip.”

The post JASON MCMASTER Explains Why The Glam Metal Scene Imploded In 1991: “Grunge Didn’t Kill Hair Metal, Hair Metal Killed Hair Metal” appeared first on Sonic Perspectives.

Some years hit harder than others, and 2025 has been one of those. Music is not just “something to listen to.” It is the background noise of our best memories, our worst days, the car rides we still think about, and those late-night headphones moments where a song somehow says what we cannot.

This list is only meant as a tribute to 14 musicians we lost in 2025. It goes in no particular order, and it is not meant to be definitive. These are simply artists whose work shaped genres, pushed culture forward, and left people on Reddit and everywhere else sharing stories like, “I cannot believe how much this one hurts.”

1. Ozzy Osbourne (December 3, 1948 – July 22, 2025)

It is hard to explain Ozzy to someone who did not grow up with him. He was the voice of Black Sabbath, the accidental blueprint for heavy metal, and also somehow a lovable chaos magnet who became a pop culture character without ever losing the dangerous edge. You can trace entire branches of rock and metal back to the way he sang over those early Sabbath riffs, like a warning siren that somehow still had melody.

When the news hit, Reddit instantly filled up with the same kind of posts you see when someone truly universal is gone: people talking about the first time they heard “Crazy Train,” about blasting Sabbath albums with their parents, about how Ozzy made being weird feel normal. If you want the quickest reminder of why he mattered, put on “War Pigs” and then jump straight to “No More Tears.” Two completely different eras, same unmistakable presence.

2. Ace Frehley (April 27, 1951 – October 16, 2025)

For KISS fans, Ace Frehley was not just a guitarist. He was an identity. The Spaceman. The guy whose playing made the band feel like it had rocket fuel in its veins, even when the songs were simple on paper. His style was flashy without being sterile, melodic without losing bite, and a huge reason why so many kids picked up a guitar in the first place.

The reaction online was immediate and emotional, especially among guitar players. Reddit threads turned into a mix of grief and gratitude, with people sharing old concert photos, talking about learning “Shock Me,” and arguing in the most loving way possible about the best Ace solos. If you want to do the Ace deep dive, start with “Cold Gin,” hit his solo-era “New York Groove,” and then go straight to the classic KISS live material.

3. Brian Wilson (June 20, 1942 – June 11, 2025)

Brian Wilson was one of those rare artists who felt like a once-in-a-century mind. The Beach Boys are often introduced as sunny pop, but Brian’s real gift was turning emotion into architecture. He built songs like cathedrals, then somehow made them feel like they belonged on the radio next to everything else.

On Reddit, the tone around Brian’s passing was different: less shock, more heartbreak. People wrote about “Pet Sounds” saving them, about hearing “God Only Knows” and feeling like it rewired their brain, about how a “happy” band made some of the most vulnerable music ever recorded. If you want the essential reminder, play “Wouldn’t It Be Nice,” then “God Only Knows,” then “Good Vibrations,” and try not to just sit there in awe.

4. Sly Stone (March 15, 1943 – June 9, 2025)

Sly Stone did not just make hits. He changed the rules. Sly and the Family Stone sounded like the future arriving early: funk, rock, soul, psychedelia, all melting together with a sense of joy that still feels rebellious. And the band itself, diverse and fearless, looked like what music culture eventually wanted to become.

When people talk about Sly, you can almost hear the respect in the way they type. Reddit was full of “this is where it started” posts, because so much of modern pop, funk, hip-hop, and dance music traces back to Sly’s ideas. Put on “Everyday People,” then “Dance to the Music,” then “Family Affair,” and it becomes obvious why he is not just influential. He is foundational.

5. D’Angelo (February 11, 1974 – October 14, 2025)

D’Angelo’s catalog is not huge, which somehow makes his impact even crazier. Three albums, a handful of songs that feel like sacred texts to certain fans, and a vibe that artists have been chasing for decades. He brought soul into the modern era without watering it down, and he made restraint feel powerful.

If you want to understand the reaction, look at how people talked about him online. Reddit threads were filled with disbelief, like people genuinely could not process it. A lot of fans said the same thing in different ways: he made music that felt private, like it was written for your headphones at 2 a.m. If you want the starter pack, go “Brown Sugar,” “Lady,” “Untitled (How Does It Feel),” and “Devil’s Pie.” Then you will get it.

6. Roberta Flack (February 10, 1937 – February 24, 2025)

Roberta Flack had a voice that did not need to beg for attention. It simply arrived, calm and direct, and somehow hit harder because she never oversold the emotion. She sang like she trusted you to listen closely, and that intimacy became her superpower.

After she passed, Reddit and social media filled with people talking about where they first heard “Killing Me Softly with His Song,” and how “The First Time Ever I Saw Your Face” still feels almost unreal in its tenderness. If you have not done a full Roberta listen in a while, do it now. Her music does not age. It just settles deeper.

7. Marianne Faithfull (December 29, 1946 – January 30, 2025)

Marianne Faithfull lived multiple artistic lives in one lifetime. She started as a symbol of 1960s pop culture with “As Tears Go By,” but the real story is what came after. She became a survivor-artist, turning hard experience into music that was jagged, honest, and fearless.

Fans on Reddit kept coming back to the same idea: Marianne was not just a singer, she was a mood, a voice that carried history in it. If you only know the early hits, go listen to “Broken English” and hear how she transformed struggle into art without polishing the edges off.

8. Jimmy Cliff (July 30, 1944 – November 24, 2025)

Jimmy Cliff was one of the artists who helped reggae become global language, not just a local sound. He carried warmth and defiance at the same time, the kind of energy that makes you feel like the world is heavy but you can still move through it.

When news of his death spread, the tributes online were full of gratitude. Reddit posts shared live clips, lyrics, and personal stories about hearing him during tough times. If you want to feel the power of Jimmy Cliff quickly, start with “Many Rivers to Cross” and “You Can Get It If You Really Want,” and you will understand why he meant so much to so many.

9. Mick Ralphs (March 31, 1944 – June 23, 2025)

Mick Ralphs was the kind of guitarist who made riffs feel inevitable, like they always existed and he just uncovered them. From Mott the Hoople to Bad Company, his playing and writing had that classic rock magic: tough, catchy, and built to last.

After he passed, a lot of fans online focused on something simple but true: Mick made songs you can start humming after one chorus, but they never feel cheap. Reddit threads turned into people naming favorite Bad Company tracks like they were swapping comfort food recommendations. If you need a reminder, put on “Can’t Get Enough” and turn it up until it feels correct.

10. Rick Davies (July 22, 1944 – September 6, 2025)

Supertramp has always been one of those bands people rediscover and then wonder how they forgot. Rick Davies was a huge reason why. His voice had that grounded, slightly weathered quality, and his keyboard work helped give the band its unmistakable identity.

The fan reaction online was the kind that comes from deep listening. Reddit threads were filled with people debating which songs hit hardest, and you could tell it was not casual nostalgia. It was real attachment. If you want the Rick Davies essentials, start with “Bloody Well Right,” then “Goodbye Stranger,” and then the emotional gut punch of “The Logical Song.”

11. Rick Derringer (August 5, 1947 – May 26, 2025)

Rick Derringer’s career touched so many corners of rock that people kept having the same realization after he died: “Wait, he played on that too?” From the teenage hit days of “Hang On Sloopy” to his solo run with “Rock and Roll, Hoochie Koo,” he was the definition of a working, influential musician who never stopped moving.

Online tributes had that appreciative, slightly amazed tone. Reddit users were connecting dots between classic rock radio staples, guitar hero moments, and his behind-the-scenes work. The best way to honor Rick Derringer is honestly to play his music loud, because that is exactly what it was built for.

12. Roy Ayers (September 10, 1940 – March 4, 2025)

Roy Ayers made music that feels like sunlight on your skin. That is not a metaphor people throw around lightly, but in Roy’s case it is basically literal. “Everybody Loves the Sunshine” has lived a thousand lives through samples, playlists, and summer afternoons, and somehow it still never gets worn out.

After his passing, Reddit was full of posts that sounded like people remembering a friend, not just an artist. That is what vibe-heavy music does when it is made with real soul. If you want to explore beyond the obvious classic, dig into his jazz-funk era and let it play in the background of your day. You will understand why he is everywhere, even when you do not notice it.

13. D’Wayne Wiggins (February 14, 1961 – March 7, 2025)

D’Wayne Wiggins was one of those musicians who had a front-facing legacy and a behind-the-scenes legacy, and both mattered. As a core member of Tony! Toni! Toné!, he helped define a run of R&B that still sounds smooth, playful, and emotionally sharp at the same time. Their songs are the kind of classics that make people instantly start singing along, even if they pretend they will not.

When he passed, a lot of the online conversation focused on how much he did for other people, too. Reddit threads and tributes kept mentioning his role as a mentor and builder in the community. If you want to celebrate him properly, play “Anniversary,” “Feels Good,” and “(Lay Your Head on My) Pillow” and remember that timeless music is not an accident. People like D’Wayne make it.

14. Sam Rivers (May 2, 1977 – October 18, 2025)

Sam Rivers was the backbone of Limp Bizkit in a way that people sometimes forget until you isolate the bass and realize how much it drives the whole machine. Nu-metal is often talked about in big, chaotic terms, but Sam’s playing had structure and groove. It kept the songs heavy without turning them into noise.

After he died, Reddit fans did what music fans always do when a musician’s contribution finally hits them in the chest: they went back to the songs. People shared memories of seeing the original lineup, talked about how underrated his basslines were, and replayed tracks like “Re-Arranged” with fresh ears. If you want to honor Sam, do exactly that. Put those albums on, listen closer than you used to, and give the rhythm section the respect it earned.

The post 14 Musicians That Passed Away In 2025 appeared first on Metal Shout.