Category: news

The Beatles have been broken up for well over half a century, and there have been roughly one million vault-raiding reissues since then. It’s crazy to think that there could still be any unreleased Beatles recordings out there, but apparently there are. Some of them will finally see the light of day on an upcoming super deluxe edition of the band’s 1965 masterpiece Rubber Soul.

The post The Beatles Somehow Found More Unreleased Recordings For New Super Deluxe <em>Rubber Soul</em> appeared first on Stereogum.

LA’s visceral dance-punk trio PUREST FORM sign to Dais Records for their next EP RESISTANCE, coming September 4. Vocalist Story Beeson, guitarist / programmer

The final day of Steelhouse Festival 2026 has arrived already, and it is back to it for those who want to soak up all the music. For those who do not, bacon sandwiches and the best view in the world await.

Steelhouse Festival 2026 – Sunday

Hafod-Y-Dafel Farm, Aberbeeg, Wales – 24-26 July 2025

Words And Photography: Paul Hutchings

Responsibility for starting the final day sits with Blue Nation.

Blue Nation

Blue Nation are a three-piece from Birmingham whose name has been popping up with regularity in recent times. Their sound is ideal for a Sunday lunchtime.

Lightweight melodic rock with heart and feel providing those with hangovers the chance to nurse that hair of the dog. It is easy to see why this lot fit in.

They are not going to steal the day, but Neil Murdoch, Luke Weston and Nick Sharman do their best to fill a big stage.

LN

Many folks told me to catch the Pagan Metal of LN. So, I did. They certainly put everything into their set, and in firebrand singer Hirst, they had probably the gutsiest vocalist of the weekend.

Her intensity made up for the limitations in quality, and it was good to hear some proper heavyweight riffs for virtually the first time since King Kraken opened the festival nearly 48 hours earlier.

Shield Wall may not have the bombast of Swedes Amon Amarth, but the turbo driven sound was certainly a welcome addition to a weekend, with a slightly limp circle pit kicking up dust at Hirst’s agitated command.

It has all been done before, see Moonsorrow, Finntroll, Enisferum, Arkona, Draconian etc. But on a day when rock beats Metal, something with this much fire is welcome.

Phil Campbell Tribute

Advertised as a secret set, word has spread around the site over the weekend, and it is the biggest crowd of the entire festival that gathers at 2.15 pm. Mikey Evans and Max Rhead, the two guys behind this brilliant festival, take to the stage, something they rarely do, to introduce a brief tribute to Phil Campbell.

It is an emotional video of the late Motörhead legend playing the Welsh National anthem. A few tears are shed.

Florence Black

It is followed by uncontained joy as Merthyr’s Florence Black roar onto the stage to an enormous welcome. A raw Ace Of Spades is the nod to the Welsh Prince before Tristan, Fozzy and Perry own the afternoon with a set not dissimilar to that seen at Cardiff Castle at Blackbird Festival a month ago.

Breadfan is a no-brainer, igniting the meatier lads in the crowd to pit, before Sun & Moon closes out an epic 40-minute set. 

Darren Wharton’s Renegade

It may be a glorious tribute band in many aspects, but having Darren Wharton’s Renegade in the mid-afternoon slot was a stroke of genius.

A set of classic Thin Lizzy songs delivered by one of the final members of the legendary band is going to grab the attention, and even though it turned into the Sunday afternoon singalong section, who was going to complain about another listen to Angel Of Death, Chinatown and, of course, The Boys Are Back in Town.

Inspired booking and smiles once again beam around the field.

Tyketto

Another band returning after a long absence, Tyketto are always a touch of class. In as good form as they have ever been, this was the ideal follow-up to Renegade.

Danny Vaughn remains the supreme frontman, both vocally and interactively. The band are no slouches. Guitarist Harry Scott Elliot, keyboardist Ged Rylands, drummer Johnny Lee and bassist Chris Childs have been around a bit, and together they deliver a smooth as silk set.

New songs from this year’s Closer To The Sun sound great, and when the entire arena joins in on Forever Young, Sunday’s line-up is suddenly taking the lead.

Vaughn and co also pull in a fair crowd for the final acoustic set of the day later.

Ugly Kid Joe

We have had a few bands known for one or two songs, and Ugly Kid Joe are forever going to be associated with Cats In The Cradle and Everything About You.

There is so much more about the Americans, and in Whitfield Crane they possess one of rock’s most engaging frontmen. Their set flies by and the diehards are word perfect, whilst the casual fan can groove to the likes of Neighbour and Milkman’s Son.

A band I would never play at home, they always hit the spot in the live setting. Tonight they do not let me down again. 

Alien Ant Farm

Six studio albums, over five million records sold, Alien Ant Farm are heavyweight special guests. Another band known purely for a cover, the band are now into year 30.

They bring a set that is unfamiliar to many, but a surprising number are fully immersed. Tracks that you may not recognise as AAF fly out of the stage, and then they hit the winner.

Watch a field full of mainly over 40s dancing to Smooth Criminal like it is going out of fashion, and you realise that you do not need much more. In a set that opened a few eyes, it is still the classics that hit the spot best. 

Unfortunately, personal circumstances forced me to leave the festival before Steel Panther. By all accounts, they went down well.

So, another year up the mountain done. We had the wind, a little rain, but mainly sunshine to support a fantastic weekend. Well done to all involved. It was a blast.

2027 tickets are already on sale. Visit steelhousefestival.com for more details. See you next year.

---

Steelhouse Festival 2026

MetalTalk’s Paul Hutchings is at Steelhouse Festival 2026. You can read all of this year’s coverage at MetalTalk.net/steelhouse.

You can read all of MetalTalk’s Steelhouse Festival 2025 coverage at https://www.metaltalk.net/tag/steelhouse-festival-2025.

You can read all of MetalTalk’s Steelhouse Festival 2024 coverage at https://www.metaltalk.net/tag/steelhouse-festival-2024.

For the Steelhouse Festival 2023 edition, click here.

The post Steelhouse Festival 2026 Sunday – Another Epic Weekend Comes To A Close first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Due out in October, this could make a great Christmas gift for the Fab Four lover in your life. Continue reading…

Australians King Gizzard & The Lizard Wizard have released “Alien Metal”, the first single and title-track from their forthcoming studio record which comes out on October 28th, 2026.
Read more…

The 1970s are often remembered as the golden age of blues rock. It was the decade when legends such as Led Zeppelin, Rory Gallagher, ZZ Top, Robin Trower, Johnny Winter, The Allman Brothers Band, Foghat and George Thorogood brought blues-inspired guitar music to arenas around the world. Their biggest songs have become staples of classic rock radio, and deservedly so.

Yet beneath those iconic hits lies another world of incredible music. Countless albums from the era contained songs that never became radio staples despite showcasing exceptional songwriting, jaw-dropping guitar work and performances that stand alongside the biggest classics of the decade. Many were overshadowed simply because they appeared alongside even bigger songs or were released by artists who never achieved the commercial success their talent deserved.

The beauty of discovering these forgotten gems is hearing familiar artists in a different light while also uncovering musicians who helped shape blues rock without becoming household names. These tracks remind us that the genre’s greatest decade offered far more than the songs everyone already knows.

Here are 10 under the radar blues rock songs from the 1970s that deserve a place in every fan’s playlist.

Savoy Brown – “Hellbound Train”

When people discuss British blues rock, names like Eric Clapton, Peter Green and Rory Gallagher usually dominate the conversation. Too often, Savoy Brown gets left out despite being one of the hardest-working bands of the era.

“Hellbound Train” opens with a haunting train rhythm before exploding into one of Kim Simmonds’ finest guitar performances. Rather than relying on speed, Simmonds builds tension through tasteful phrasing and perfectly timed bends that make every note feel important.

Lyrically, the song paints a vivid picture of inevitable destruction, using the unstoppable locomotive as a metaphor for life’s darker paths. The arrangement continually builds throughout its nearly ten-minute runtime without ever feeling repetitive, a testament to the band’s musicianship.

While Savoy Brown enjoyed loyal fans throughout the decade, “Hellbound Train” never reached the mainstream audience it deserved. Today, it remains one of the finest examples of atmospheric British blues rock from the early 1970s.

Trapeze – “Jury”

Before Glenn Hughes became the bassist and vocalist for Deep Purple, he helped establish Trapeze as one of the most underrated blues rock bands of the early 1970s. While the group is often remembered for songs like “Black Cloud,” “Jury” remains one of the hidden gems from their sophomore album, Medusa.

Built around a heavy blues riff, “Jury” showcases the remarkable chemistry between Hughes, guitarist Mel Galley and drummer Dave Holland. Hughes delivers a soulful vocal performance filled with grit and emotion, while Galley’s guitar work strikes the perfect balance between crunchy rhythm playing and expressive lead lines. Rather than relying on flashy solos, Galley lets the song breathe, choosing tasteful phrasing that serves the groove.

What makes “Jury” especially compelling is its relentless momentum. Holland’s powerful drumming and Hughes’ melodic bass playing lock together to create a groove that is equal parts blues and hard rock. The band’s ability to sound both loose and incredibly tight gives the song an infectious energy that never lets up.

Although Medusa has earned a devoted following among blues rock fans, Trapeze never achieved the commercial success of many of their contemporaries. “Jury” is a perfect example of why the band deserves far greater recognition, combining memorable songwriting, soulful vocals and first-rate musicianship into one of the most overlooked blues rock tracks of the decade.

Groundhogs – “Cherry Red”

Few bands remain as criminally overlooked as The Groundhogs. Led by guitarist Tony McPhee, the British trio developed an aggressive, stripped-down sound that often anticipated hard rock while remaining deeply rooted in the blues. “Cherry Red” perfectly captures that balance. McPhee’s guitar tone is gloriously raw, avoiding excessive production in favor of pure amplifier grit. His playing emphasizes emotion over technical flash, making every riff feel urgent and authentic.

The rhythm section deserves equal praise. Rather than simply supporting the guitar, bassist Peter Cruickshank and drummer Ken Pustelnik create an enormous groove that allows the song to swing despite its heavy attack.

Had “Cherry Red” been released by one of the decade’s superstar bands, it might be remembered as a classic rock staple today.

Frank Marino & Mahogany Rush – “Dragonfly”

Frank Marino often drew comparisons to Jimi Hendrix early in his career, comparisons that sometimes overshadowed his own identity. While Hendrix’s influence is certainly present, “Dragonfly” proves Marino was much more than an imitator. The song blends psychedelic textures, blues phrasing and progressive arrangements into something uniquely his own. Marino’s guitar seems to sing throughout the performance, alternating between lyrical melodies and explosive improvisation.

Unlike many extended guitar showcases, “Dragonfly” never feels like an exercise in technical ability. Every solo serves the emotional direction of the song rather than existing simply to impress listeners.

Over time, Marino has earned tremendous respect among guitarists, but songs like “Dragonfly” still deserve far greater recognition from mainstream rock audiences.

Free – “Heavy Load”

Free’s legacy is forever tied to the massive success of “All Right Now,” but that hit only scratches the surface of what made the band so extraordinary. “Heavy Load,” from their breakthrough album Fire and Water, showcases a completely different side of the group.

Built around a slow-burning groove, the song allows every member of the band room to shine. Paul Rodgers delivers a deeply soulful vocal performance that perfectly captures the emotional weight of the lyrics, while Andy Fraser’s melodic bass playing quietly drives the arrangement forward with remarkable sophistication.

Paul Kossoff’s guitar work is the true centerpiece. Few guitarists have ever said so much with so few notes. His sustain, vibrato and phrasing create an emotional intensity that many technically faster players never achieved. Every bend feels deliberate, and every note seems to hang in the air just long enough to leave a lasting impression.

Although Fire and Water became a landmark blues rock album, “Heavy Load” remains one of its hidden treasures. It perfectly demonstrates why so many guitarists continue to regard Kossoff as one of the most expressive players the genre has ever produced. The song has been covered by modern bands like King King.

Alvin Lee & Mylon LeFevre – “On the Road to Freedom”

After leaving Ten Years After, Alvin Lee sought greater musical freedom, resulting in one of the most overlooked collaborations of the decade.

The title track from On the Road to Freedom showcases Lee’s phenomenal guitar playing in a more mature and restrained setting. Rather than delivering endless rapid-fire solos, he focuses on melody, groove and tasteful interaction with the rest of the band. Lee’s unmistakable speed appears when appropriate, but the song’s emotional impact comes from its warmth and sincerity rather than instrumental fireworks.

Featuring contributions from George Harrison, Steve Winwood, Jim Capaldi and Ron Wood across the album, the project attracted remarkable talent yet never achieved the lasting recognition it deserved.

Black Cat Bones – “Death Valley Blues”

Many casual fans have never heard of Black Cat Bones, but the band’s influence reaches surprisingly far. Various members would later become involved with groups including Bad Company and Foghat, helping shape British blues rock throughout the decade.

“Death Valley Blues” combines heavy riffs with traditional blues structures, creating a sound that bridges the gap between late-1960s blues and emerging hard rock. Rod Price’s slide guitar work deserves particular attention. Long before becoming famous with Foghat, Price displayed extraordinary control and creativity, delivering soaring slide passages that remain breathtaking today.

The production captures the raw power of a live band without excessive studio polish, giving the recording an immediacy that continues to resonate more than fifty years later. For listeners interested in tracing the evolution of blues rock into hard rock, few recordings are as rewarding as this overlooked masterpiece.

Rory Gallagher – “Edged in Blue”

Rory Gallagher never chased hit singles, but if there was one song that had the potential to become one, it was “Edged in Blue.” Featured on Calling Card, the song showcased a more polished side of Gallagher without sacrificing the passion and authenticity that defined his music. In fact, Chrysalis Records believed it had major commercial potential, but Gallagher chose not to release it as a single, preferring it to remain an album track.

Built around a soulful melody rather than a blistering guitar riff, “Edged in Blue” highlights Gallagher’s growth as both a songwriter and vocalist. His heartfelt performance captures the pain of heartbreak with remarkable sincerity.

When Gallagher finally cuts loose with his guitar solo, every phrase serves the song instead of overshadowing it. His warm sustain, expressive bends and impeccable sense of melody demonstrate why he remains one of the most respected blues guitarists of all time. Rather than relying on speed or flash, he allows the emotion to guide every note.

While Calling Card is widely regarded as one of Gallagher’s finest studio albums, “Edged in Blue” remains one of its most overlooked moments. It perfectly balances blues, rock and soul, offering a glimpse of Gallagher’s versatility while reminding listeners that some of his greatest work was never destined for the radio.

Stray – “All in Your Mind”

Stray enjoyed enormous respect from fellow musicians but never found the commercial breakthrough many believed they deserved.

“All in Your Mind” demonstrates exactly why guitarists continue praising the band’s musicianship. Del Bromham delivers riffs that combine blues authenticity with remarkable melodic sophistication, while his lead work constantly balances aggression and precision. The rhythm section locks into a relentless groove that gives the song tremendous momentum without sacrificing swing, an essential quality that distinguished great blues rock from many heavier acts emerging during the decade.

What makes the recording especially impressive is its confidence. Rather than chasing trends, Stray embraced a style entirely their own, resulting in a song that still sounds distinctive today. Had circumstances been different, “All in Your Mind” easily could have become a classic rock standard.

Detective – “One More Heartache”

Few forgotten bands had stronger industry support than Detective. Signed to Led Zeppelin’s Swan Song Records and championed by Jimmy Page, expectations were understandably high.

“One More Heartache” is an electrifying blues rock showcase. Vocalist Michael Des Barres delivers one of the strongest performances of his career, bringing equal parts swagger, grit and soul to the song. Guitarist Michael Monarch complements him with muscular riffs and expressive lead work that elevate the arrangement without overwhelming it. The rhythm section provides a relentless groove while the guitars inject plenty of arena-sized energy.

Despite impressive musicianship and backing from one of rock’s biggest bands, Detective struggled to break through as punk and new wave began reshaping the musical landscape. “One More Heartache” stands as one of the hidden gems of late-1970s blues rock and deserves far more recognition than it receives today.

The post 10 Under the Radar Blues Rock Songs of the 1970s appeared first on Blues Rock Review.

Kavinsky, the French DJ, producer, and actor whose iconic electro-pop track “Nightcall” soundtracked the opening credits of Drive, has died. CNN reports that Kavinsky was found dead in his Paris home on Tuesday, and local authorities are investigating his cause of death. According to the BBC, Kavinsky had been complaining of headaches, and authorities believe that he may have suffered from a stroke. Kavinsky was 50.

The post Kavinsky Dead At 50 appeared first on Stereogum.

Long Distance Runner: Zero                         Via Sounds Management Stream Out Now A new guitar band with no singer or bass player has released a song of rare emotional depth and will tour the UK this Autumn with their spiritual forefathers, Swervedriver. MK Bennett heartily […]

The post Long Distance Runner: Zero – Single Review appeared first on Louder Than War.

“Think It Over’ is the third single from The Mistakes blasting new album ‘Die Laughing’. ‘Die Laughing’ is