Australian Heavy Metal outfit Battlesnake have announced their new album, Bogpocalypse And The Annihilation Of Lucifer, due for release on 19 February 2027. The announcement arrives alongside the record’s third single, Bog Bringer.
Following the previously released I Killed Satan and Mud Apocalypse, Bog Bringer offers another glimpse into a record the band frame as swampy, unholy and deliberately pulpy.
Asked to describe the album, Battlesnake do not reach for genre tags. Instead, they call it “a ’90s Goosebumps novel with guns.”
Bogpocalypse And The Annihilation Of Lucifer marks another step in Battlesnake’s evolution. After years of recording and touring together, the six-piece entered the studio with a new level of certainty about what each member brings to the band and how to push the material further.
The album was recorded in Prague, Czech Republic, during a dedicated three-and-a-half-week studio session. Living together on site, away from home, left the band immersed in the songs and each other. That atmosphere runs through the record: claustrophobic, humid and tense, with Battlesnake’s sense of humour still lurking in the swamp.
The three singles released so far sketch out that world. I Killed Satan charges through the underworld, Mud Apocalypse drags the energy into the swamp, and Bog Bringer pushes into darker, heavier and increasingly strange territory. Together, the songs point towards an album about digging yourself out of the muck and setting the devil on fire on the way up.
In 2026, Battlesnake maintained a relentless touring schedule, including an opening mainstage appearance at Bloodstock, sold-out headline shows in Brighton and London, and their live silent disco sets at 2000trees and ArcTanGent.
Drawing on the grandiosity of Queen, the steel of Judas Priest and the doom-laden power of Black Sabbath, Battlesnake have built a sound that connects classic Heavy Metal scale with their own theatrical streak. Their international breakthrough came with 2024’s The Rise And Demise Of The Motorsteeple, followed by 2025’s Dawn Of The Exultants And The Hunt For The Shepherd. The band have also performed with KISS, The Smashing Pumpkins and Jane’s Addiction, and appeared at festivals including Download, Copenhell, Rock for People and Mad Cool.
Battlesnake Line-Up
Nick Zammit – drums
Sam Frank – vocals
Ben Frank – guitar
Daniel Willington – guitar
Billy O’Key – keytar
Elliot Hitchcock – bass
Bogpocalypse And The Annihilation Of Lucifer Tracklisting
There is a bittersweet tinge to entering KK’s Steel Mill for
this milestone 5th anniversary edition of NWOCR LiveFest. Over the last five
years, this weekend has grown into a cornerstone gathering for UK grass-roots
rock, but with whispers around the venue that this landmark fifth outing marks
the end of the festival in its current format, every riff carried a little
extra weight.
Friday – 25.09.26: The Warm-Up Party
Kickstarting Friday night’s sold-out launch, Kim Jennett (8) hit
the stage with raw, untamed vocal power, commanding the early crowd
immediately. Her fiery, relentless presence set the bar remarkably high for the
rest of the weekend.
Injecting a heavy dose of soulful southern swagger, Bad
Touch (9) brought classic blues-rock hooks that had the Steel Mill singing along.
They effortlessly primed the room, proving once again why they remain fan
favourites on the UK circuit.
Headlining the Friday party, The Dust Coda (8) delivered a
slick, soaring performance brimming with arena-sized attitude. Andrew
Knightly’s vocals cut cleanly through a wall of huge guitar riffs, locking in a
triumphant finish to night one.
Saturday – 26.09.26
Opening the main weekend marathon, Revenant (7) blew away any
early-afternoon hangovers with a sharp, aggressive set of modern hard
rock. Next the all-female outfit, Joanovarc (7) brought tight musicianship and
undeniable energy, keeping the crowd on their feet with melodic, hard-hitting
anthems. Clearly the ladies enjoy being up on a big stage and make the most of
it.
Delivering pure 70s-infused rock ‘n’ roll chaos, Sweet
Electric (9) brought glitter, strut, and infectious hooks that turned the hall into
a giant dance floor. There is nothing quite like Sweet Electric around at the
moment, the German band are fronted by former Massive member Brad Marr who
brings his manic Aussie antic to the party. Following that with stunning dual vocals and pristine blues-rock
arrangements, Brave Rival (7) provided a masterclass in tone, passion, and soul.
Injecting a shot of pure 80s glam metal nostalgia, Midnite
City (8) delivered soaring solos, huge choruses, and unashamedly fun rock-and-roll
theater. Heavy, groove-laden, and thick with thick-toned riffs,
Doomsday Outlaw (9) brought a darker, heavier punch to the late afternoon.
Taking the sub-headline slot, Hollowstar (9) proved why they
belong at the top of the bill. Joe Bonson’s gravelly, emotionally charged
vocals soared across KK’s, while the band locked into a muscular groove that
had the room roaring. Despite a minor technical glitch mid-set, they powered
through with signature warmth and grit, debuting fresh material alongside fan
favourites that hit like a hammer blow.
Australia’s favorite export, The Lazys (10) delivered an absolute hurricane
of a headlining set. Leon Harrison is a front-man possessed, charging across
the stage while Matty Morris unleashed pure, blistering lead-guitar fury. Their
high-octane punk-infused hard rock left the Steel Mill exhausted, sweaty, and
utterly electrified—a masterclass in unadulterated live performance.
Sunday – 27.09.26
Kicking off the final day, Alabama Crow (8) set a gritty,
southern-tinted tone early on with low-slung riffs and gravel-throat
vocals. Blending rootsy blues-rock with sharp pop sensibilities, Eddie & The Wolves (8) delivered a tight, engaging early-afternoon slot. The electricity between
the husband and wife team of Eddie and Char is palpable echoing that of other
current blues outfits like When Rivers Meet and Beaux Gris Gris, must be
something in the air!
A local favourite who always deliver, the heavy Black
Country roots of Red By Night (7) shone through with a hard-hitting, riff-heavy set, and they kept
their cool when there were issues with the bass, just kept going as if nothing
was wrong! Delivering bags of charm and soaring choruses, Thieves Of
Liberty (7) kept the afternoon momentum surging forward. The band have broken out
from their North Eastern stronghold and are a popular festival addition.
Packed with bite and fast-paced energy, Fangslinger (7) brought
a sharper, metallic edge to the early evening crowd. Their dark country rock
style and stage get up set’s them apart from others this weekend. Melodic, polished, and full of heart, This House We Built (9) delivered rich
vocal harmonies and arena-ready rock hooks. Having been endorsed by Tyketto
frontman Danny Vaughn they have pushed themselves to the forefront of the NWOCR
movement this past couple of years.
Stepping into the sub-headline slot, the Birmingham trio, Blue Nation (10) brought an emotional, soul-infused rock sound that completely captivated the
venue. Luke Weston’s driving bass rhythms and Neil Murdoch’s expressive vocal
delivery created a massive, atmospheric sound wall. Their connection with the
local Midlands crowd was palpable, delivering one of the most poignant sets of
the entire weekend. How we have managed to miss these guys for ten years I
don’t know!
Closing out the 5th anniversary festival fell to Fury (10), and
they didn’t disappoint, unleashing a grandiose, heavy metal spectacle that
shook the rafters. Julian Jenkins led the charge with soaring dual-guitar
harmonies and theatrical flair, backed by a rhythm section that pounded through
the Steel Mill. Nyah provides a sultry muse to Julian’s gruffer delivery and
it’s a great partnership.
Hot off her dynamic sessions with Black Sabbath
legend Tony Iommi, bass player Becky Baldwin gives the songs a power boost
along with Tom’s pounding drums It was a fitting, defiant, and gloriously loud
curtain call for the festival’s current chapter—ending five years of NWOCR
LiveFest on the ultimate high note. Latest addition Matt Fletcher has slotted
in seamlessly and the set is fast, heavy and furious!
It will be sad if this is the last NWOCR weekenders, fingers
crossed someone will take up the mantle and bring it back in some form, we can
only wait and see.
The marketing says HateSphere’s Guillotine is “hand-made, old-school, real, in-your-face Thrash-Death Metal that will for sure make your head bang until the neck snaps”. But what does their 12th studio album actually deliver?
Old-school Thrash with a punkish inaccuracy and attitude that delves deep into Thrash-Death Metal. The sound is not immediately obvious, with a rasp to the guitars that could come from a real amp or a simulation.
HateSphere released Guillotine on 9 October 2026 via Scarlet Records.
The vocals are classic with a modern edge. The album has a good dynamic range and tempo changes that are as likely to lead into distinctive, stripped-back breakdowns as they are to lead into foot-stomping mosh parts.
Overall, Tue Madsen’s mix works well, conveying the subtleties without sacrificing aggression. Produced, mixed and mastered at Antfarm Studio, the album sounds suitably aggressive for its subject matter.
The lyrics explore the conflict between human nature and society, questioning who breaks first and what happens when they do. It is darker than Hatred Reborn, and definitely worth exploring.
The first standout track for me is Cleansing. There is nothing wrong with what came before, but this was the track that made me want to listen again. It has a thumping Scott Ian-style riff that will have you headbanging along as promised.
The way it slips in and out of that trademark riff is as natural and fluid as a freshwater stream.
Mouth Filled With Barbed Wire is a great example of the band’s capabilities. It has stomping riffs, dissonant transitions, tempo changes and gripping hooks. After Cleansing, it feels like the album wakes up and demands more of your attention.
Guillotine is a Ronseal-Marmite album. It does what it says on the tin, and if you love the track below, you will love the rest. This is a cutting album that could put your head in a basket, all within the mandatory sub-forty minutes that every good Thrash album must clock up.
I like it. The rest is up to you.
HateSphere released Guillotine on 9 October 2026 via Scarlet Records. For more details, visit bfan.link/guillotine-3,
A romantic date at home does not need a complicated plan. Food, softer lighting, phones out of the way, and the right music can change how the whole evening feels.
The playlist matters because it controls the pace without demanding attention. A song that is too loud or energetic can turn dinner into background noise. Something too slow for too long can flatten the evening. The best sequence moves between soul, R&B, soft rock, indie, and pop without suddenly breaking the mood.
If you’re looking for more inspiration beyond this playlist, our selection of best love songs for Valentine’s Day includes more romantic music worth considering.
Research conducted by AdultWork into Spotify playlists associated with romance and intimacy offers an interesting perspective on the music people choose to set the mood.
The findings, also covered in a report by Luxuriate Life, highlight how certain songs and artists repeatedly appear on playlists created for intimate moments. With that in mind, the selection below brings together timeless classics and modern favorites that can make a quiet evening at home feel more special.
The 18 tracks below work particularly well when the goal is dinner, conversation, a drink, and a few hours without rushing anywhere.
1. Sade, No Ordinary Love
Few voices fit a late evening better than Sade. “No Ordinary Love” moves slowly, gives every instrument room, and builds without becoming intrusive. It can sit behind a conversation during dinner and still sound powerful when nobody is speaking.
The track works especially well near the beginning of the night. It signals that the playlist is going somewhere softer without making the whole setup feel staged.
2. Al Green, Let’s Stay Together
“Let’s Stay Together” sounds effortless even after more than five decades. Al Green does not need a huge arrangement to make the song feel intimate. The rhythm stays relaxed, the organ sits quietly underneath, and his vocal does most of the work.
It also avoids one problem that affects many romantic playlists. The song is affectionate without becoming overly sentimental.
We included it among the best songs of the 1970s, and it still sounds perfectly suited to a quiet evening today.
Yes, it is an obvious choice. That does not make it the wrong one.
Marvin Gaye recorded plenty of songs about relationships, desire, and emotional connection, but “Let’s Get It On” remains the one most people immediately associate with a romantic night. The opening guitar line is recognizable within seconds, and the rest of the song never loses that slow, relaxed pace.
Putting it too early can feel a little heavy-handed. It works better after dinner, once the evening has already settled into its rhythm.
A carefully chosen playlist can set the same mood on a solo evening too. Low lighting, a drink, and music you actually enjoy can turn an ordinary night at home into something more personal, including when relaxing with private content.
4. Arctic Monkeys, I Wanna Be Yours
Alex Turner built “I Wanna Be Yours” around words by British poet John Cooper Clarke, then turned them into one of Arctic Monkeys’ most intimate recordings.
The production is restrained. The bass carries much of the track, the drums stay controlled, and Turner sings almost as if he is speaking directly to one person across the room.
For anyone who wants a romantic date at home playlist that does not sound like a collection of old soul standards, it provides an easy move into newer music.
“Wicked Game” sounds romantic before you even pay attention to the lyrics. The slow guitar, open space, and Chris Isaak’s vocal give it the atmosphere of a song playing from another room late at night.
The lyrics themselves are less comfortable. Desire here comes with regret and frustration rather than uncomplicated romance. That tension is exactly why the song works so well.
A playlist full of straightforward declarations of love quickly becomes predictable. “Wicked Game” adds something darker without changing the pace.
6. The Weeknd, Earned It
“Earned It” was made for a setting like this. Strings, piano, and a slow rhythm give the track more of an old-school arrangement than much of The Weeknd’s electronic R&B catalog.
The vocal keeps it firmly modern. It is sensual without needing a heavy beat, which makes it easier to place between older soul tracks and newer pop.
If dinner is finished and the playlist is moving into the second half of the evening, “Earned It” fits naturally there.
Cigarettes After Sex built an entire sound around low-volume intimacy, and “Apocalypse” is one of the clearest examples.
The guitar barely pushes forward. Greg Gonzalez sings softly enough that the track never competes with conversation. The result is dreamy without becoming background elevator music.
It works best when the room is already quiet. Put it between two louder songs and much of its effect disappears.
8. Barry White, You’re the First, the Last, My Everything
Barry White brings warmth and movement into the playlist without suddenly turning the living room into a party. “You’re the First, the Last, My Everything” has more energy than most tracks here, but the strings, groove, and unmistakable vocal keep it connected to the same mood.
It is a useful song around dinner or drinks, especially if the playlist has spent too long at the same slow tempo.
9. Fleetwood Mac, Need Your Love So Bad
Before Fleetwood Mac became one of the defining pop-rock bands of the 1970s, Peter Green led a very different version of the group. “Need Your Love So Bad” comes from that earlier blues period.
The guitar is measured, the strings never overwhelm it, and Green’s vocal sounds vulnerable without becoming theatrical.
Anyone building a romantic playlist around soul and R&B can use this track to bring in blues and rock without an awkward transition.
10. Daniel Caesar Featuring H.E.R., Best Part
“Best Part” works because almost nothing gets in the way of the two voices.
The arrangement is minimal, with soft guitar and a rhythm that barely pushes forward. Daniel Caesar and H.E.R. trade lines rather than trying to overpower each other, giving the song the feeling of an actual conversation.
It is one of the easier modern tracks to place next to older soul songs because the production leaves so much space.
Its gentle arrangement and affectionate lyrics also make it the kind of track that fits alongside some of the best modern wedding songs.
A date-night playlist needs at least a few songs that make the room feel lighter, and “Moondance” does exactly that.
The jazz influence gives it movement without pushing the tempo too far. Piano, bass, flute, and Van Morrison’s vocal create something playful rather than overly serious.
Play it during dinner, when another drink is being poured, or whenever the slower tracks start bunching together. It resets the pace without breaking the romantic tone.
12. Beyoncé, Plastic Off the Sofa
“Plastic Off the Sofa” is one of Beyoncé’s softer recordings, built around an easy bass line and a vocal that moves almost freely over the arrangement.
There is no giant chorus waiting to interrupt the room. The song keeps flowing, which is exactly what background music for a romantic date at home should do.
The performance also brings a little more warmth and personality than a purely atmospheric track. It feels relaxed rather than sleepy.
13. D’Angelo, Untitled (How Does It Feel)
D’Angelo takes his time here. The song grows gradually, with drums, keys, layered vocals, and guitar building around a slow central groove.
At more than seven minutes, “Untitled (How Does It Feel)” is longer than most playlist tracks. That length works in its favor when the music is there to support the evening rather than rush through a sequence of recognizable hits.
Save it for later. Its intensity makes far more sense once the night has already slowed down.
14. Mazzy Star, Fade Into You
“Fade Into You” has been used in romantic scenes for decades because its sound carries so much emotion without becoming loud.
Hope Sandoval’s voice sits over acoustic guitar, slide guitar, piano, and an unhurried rhythm. The lyrics are melancholic, but the recording itself feels intimate enough to fit comfortably into the playlist.
It is a strong choice for people who prefer alternative rock to conventional love songs.
“Adorn” gives the playlist a needed shot of rhythm without taking it into club territory.
Miguel keeps the production compact, with a pulsing beat underneath a vocal that stays front and center. The song is direct, romantic, and short enough to leave you wanting another track in the same lane.
It pairs particularly well with The Weeknd, D’Angelo, or Daniel Caesar when several modern R&B songs are grouped together.
16. Stevie Wonder, Ribbon in the Sky
Stevie Wonder has plenty of obvious romantic choices, but “Ribbon in the Sky” works especially well at home because it is so uncluttered.
Piano and voice carry most of the song. There is enough emotion to make it memorable, yet the arrangement never dominates the room.
For a longer relationship or an anniversary dinner, it brings a sense of commitment that many more sensual tracks on the list do not try to capture.
17. Frank Ocean, Thinkin Bout You
“Thinkin Bout You” is built around uncertainty rather than perfect romance. Frank Ocean sings about memory, distance, and feelings that are harder to define.
The production is sparse enough for a late-night playlist, and his falsetto gives the song a completely different texture from the deeper voices of Marvin Gaye, Barry White, or D’Angelo.
A few emotionally complicated songs help the playlist feel chosen by a person rather than generated from a search for “romantic music.”
18. Eric Clapton, Wonderful Tonight
“Wonderful Tonight” is an easy way to close the list because it is romantic without trying to raise the temperature any further.
Clapton wrote it about Pattie Boyd as they were preparing to go out for the evening, but the song itself focuses on small observations rather than grand declarations. The slow guitar lines and simple arrangement make it work just as well at home.
Even a carefully selected playlist sounds better with a decent audio setup, and there are simple ways to enjoy better sound at home without spending a fortune.
We placed this track at the top of its list of essential songs from the 1970s. Ending the night with it brings the playlist back to something warm, recognizable, and uncomplicated.
Build the Playlist Around the Evening, Not Just the Songs
A playlist for a romantic date at home works best when the order has some thought behind it.
Start with songs that leave room for dinner and conversation. Sade, Al Green, Van Morrison, and Daniel Caesar fit well early. Move toward Marvin Gaye, The Weeknd, D’Angelo, Miguel, and Arctic Monkeys as the evening becomes more relaxed.
Mixing eras also helps. Eighteen slow R&B tracks in a row can begin to sound flat even when every individual song is excellent. A little blues from Fleetwood Mac, alternative rock from Mazzy Star, jazz influence from Van Morrison, and soft rock from Eric Clapton keep the sequence moving.
Music can also shape how people connect emotionally, something explored further in our article about the benefits of music on our mind, culture, and relationships.
The best romantic playlist should not demand constant attention. It should make the room feel better and then disappear into the evening.
Central Massachusetts-based metalcore/beatdown outfit RATBLOOD premiere a new single and music video by the name of "Deus Sanguis", streaming via YouTube and Spotify for you now below. ARMS LIKE TEETH guests on this particular track.
Read More/Discuss on Metal Underground.com
Yankee Rose Shyboy I’m Easy Ladies’ Nite in Buffalo? Goin’ Crazy! Tobacco Road Elephant Gun Big Trouble Bump And Grind That’s Life
Spontaneous, raw and a bloody good laugh into the bargain, David Lee Roth’s Eat ’Em & Smile was a massive ‘fuck you’ to those who viewed Diamond Dave’s exit from Van Halen as a rock’n’roll suicide by any other name.
The album teamed the Sunset Strip’s biggest ego with the best rock musicians on the planet: guitarist Steve Vai, bassist Billy Sheehan, and drummer Gregg Bissonette, who unleashed a brash, loud and colourful collection of Halen-esque party-influenced hard rock.
It holds its own against any Van Halen record – Yankee Rose features a jaw-dropping ‘talking guitar’ intro from Vai – and a charisma-bomb performance from Roth, while Shyboy (a cover of a song by Sheehan’s previous band, Talas) and Goin’ Crazy aren’t far behind, but the ever-unpredictable singer wasn’t entirely happy.
“It ran into the dead end that is rock-fusion jazz-blues something or other, aka ‘widdley widdley’,” Roth told Classic Rock. “When the guitarist starts going ‘widdley widdley’ it’s a symptom. When I made those records with Steve it was an effort to get him to go under the bar; consolidate; give your guitar solo a beginning, middle and end.
“What is the development of the character here? Is this guitar solo the same guy we met in the last three songs? Perhaps one is never so much oneself as when wearing the mask. And Steve’s mask is that there is something greater than writing songs and simple emotional content.”
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Should The World Fail To Fall Apart – Peter Murphy
Sound Of Confusion – Spacemen 3
What they said…
“In the strictest metal tradition, many tracks are just frenzied riffs with Roth rapping on top. And surprisingly enough, there’s nothing here as slick as the two singles on Van Halen’s post-Roth LP. Luckily, Vai’s guitar work provides a rough enough roller-coaster ride to counter the lack of more melodic hooks.” (Rolling Stone)
“With everybody from Patti to Belinda to Peter to Eldra kissing pop’s ass, Roth gives it a pinch and keeps on trucking. Maybe because he lived out his wimpier fantasies on last year’s EP, here he’s free to mastermind his own piece of multiplatinum potential. Sure he covers That’s Life, but he also assembles a metal band that’ll cut old buddies: Maynard Ferguson drummer, cult heaven bassist, and on guitar former Zappa and Lydon sideman Steve Vai, who splits the difference between parody and virtuosity.” (Robert Christgau)
“The “diamond” one set out to out-Van Halen Van Halen with his band’s first effort, Eat ‘Em and Smile, a more than adequate substitute for the overtly commercial tendencies of the “new and improved” original. Why mess with a winning recipe, indeed. Guitarist Steve Vai, bassist Billy Sheehan, and drummer Gregg Bissonette sound perfectly at home aping their boss’s old cronies on such sizzling party anthems as Shyboy and Elephant Gun.” (AllMusic)
What you said…
Nick Tedds: I remember thinking at the time of release that Eat ‘Em And Smile was an excellent album in parts. Lead single Yankee Rose is innovative/gimmicky enough to stand out from the crowd, Shyboy an opportunity for the Vai/Sheehan combo to showcase their twiddly histrionics, and Ladies Nite in Buffalo has a huge funky groove that is different but works well alongside the aforementioned opening tracks. Goin’ Crazy is also catchy enough.
After that though… I’m not a fan of the lounge-swing approach of I’m Easy, and That’s Life. The cover of Tobacco Road is fairly pointless, and Bump And Grind offers nothing new at all. It’s not often that I think an album of just over half an hour in length may have been better if it had been trimmed a little! But then again, that’s exactly what I thought about Roth’s last effort with Van Halen, 1984, although, as with that album, the musicianship is undeniably of the highest quality and Ted Templeman’s production is top-notch.
Adam Ranger: Controversial opinion: Diamond Dave is not as good as he thinks he is. The first three Van Halen albums were great, a sum of their parts rather than just one individual.
But I find this a bit one-dimensional and uninspiring. Great musicians on it, no question. But Dave having “fun” does not mean a good record. No song on this album stands out, and I would be quite happy not to hear it again.
Mark Herrington: Mixed feelings about this one. There are some good tracks and great guitar pyrotechnics throughout. However, the sheer amount of covers at the expense of original material, and the weaker second half, drains some of that initial enthusiasm.
I love the punchy party rock on Yankee Rose, a great track and a great start, the standout track by miles here. Shyboy is a good display of guitar pyrotechnics, although not as catchy as Yankee Rose.
The bluesy cover I’m Easy is a bit Dad Rock, but the guitar is great. Ladies Night lacks oomph, with good guitar. Goin’ Crazy is a return to energetic party rock, with a weakish chorus rescued by great guitar.
Tobacco Road – another cover – ushers in the weaker second half, and it’s better than anything that follows. The tracks are just average from here, and finish with another cover in That’s Life.
Some good stuff, some great guitar, but the album is short on ideas and consistency. If anything, it just gets me reaching for my copy of Van Halen I, to hear it done properly.
Chris Elliott: In simple terms, it sounds like Van Halen. So that pretty much tells you if you’ll like it. It’s harmless FM rock that passes by without annoying or engaging. At my age, I don’t think I’m about to be converted
Chris Downie: Given the endlessly-publicised fallout over the split in the Van Halen camp in 1985, it was inevitable that both David Lee Roth’s full-length debut and the first ‘Van Hagar’ effort 5150 would be intertwined with one another, far too often compared directly, as opposed to being viewed as distinct entities in their own right and enjoyed (or otherwise) on their own merits.
While the revamped Van Halen decided, at first, to continue the musical path taken on the mega-selling 1984 album (before paring back the keyboards on the provocatively titled follow-up OU812 a few years later, and even more so on the heavier remaining ‘Van Hagar’ outings), Roth decided to go all-in with his cabaret clown show, albeit to mildly entertaining effect.
Where his solo career fell short, however, was in his failure to evolve beyond his first three solo efforts, culminating in the impressive A Little Ain’t Enough, which was underpinned by the incredible talent of the young Jason Becker.
While the debut EP, replete with Beach Boys tribute, gave hints of what was to come, this full-length hits the spot when on point (Yankee Rose needs no introduction, but Shyboy is also impressive) but tails off in the second half. Moreover, its sparse running time of 31 minutes – two tracks of which are cover versions – treads the same path that held back the otherwise brilliant innovation of early Van Halen. Love it or hate it, the Van Hagar lineup evolved impressively and remained on top, while Roth’s career stagnated and ultimately faded into a novelty act by the mid-90s.
Decades further down the line and taking a fresh perspective, if Eat ‘Em And Smile does one thing in 2026, it tells us the original Van Halen line up were a product of their time, an exciting breath of fresh air that ushered in the American 80’s metal scene two years before that decade even began, but which also burned out just as the second wave they heavily influenced, such as Dokken, Ratt, Twisted Sister et al, were hitting their peak. Despite their individual brilliance, they were somehow greater than the sum of their parts, but when divided, it was Roth who ultimately fell by the wayside, into self-parody. 7/10.
Gary Claydon: Flawed but fun offering from the King of good-time metal. Neverthess, Eat ‘Em and Smile is more hit than miss, thanks in large part to a genuinely killer band (ably aided and abetted by Ted Templeman’s spot-on production), with Vai’s guitar the real star of the show.
Raucous album opener, the classic Yankee Rose is a perfect illustration of Diamond Dave’s technicolour, larger-than-life approach to rock’n’roll and the obvious stand-out track. The easy strut and groove of Ladies’ Night In Buffalo runs it close, while Big Trouble has a lesser-spotted semi-serious DLR lyric. Elsewhere, there is plenty of energy, but a heavy whiff of filler lingers, and the covers are a waste of the talent on show.
Brian Carr: A lot of memories for me on this one. I saw some great shows in my first three years of concert-going, and DLR on this tour was one of my favourites – his band were white hot! Steve Vai is in my top ten favourite guitar players; Billy Sheehan is almost certainly in my top five favourite bass players. The videos were loads of fun. Ladies Night In Buffalo was the second or third song I learned on bass. And, of course, I absolutely loved the Eat ‘Em And Smile record.
Times and musical tastes change over the decades, though. I found and bought a used vinyl copy in recent years, but haven’t listened to it often. The album is still fun, and the performances are still electric. I still love Vai and Sheehan, and Bissonette is a fantastic drummer and perfect fit for the band. But listening 40 years later(!!!), it’s really hard to forget how poorly Dave’s schtick aged.
I’m Easy and That’s Life may be fun, but on a record barely longer than 30 minutes, it screams padding and shows that Dave’s idea of entertainment is simultaneously inside and outside the norm. It’s also hard to ignore that Eat ‘Em And Smile was, in my opinion, the apex – it all went downhill from here. Five years later, I saw Roth again in what I will always remember as one of the worst concerts I’ve ever seen.
All of that said, it’s still great to hear Roth in his ADHD prime, together with one of the greatest rock lineups.
Philip Qvist: It is a fun album, with great guitar pyrotechnics from Steve Vai backed by a solid rhythm section of Billy Sheehan and Gregg Bissonette, while Diamond Dave does what he does best, i.e. being Diamond Dave. None of the songs should be taken seriously, which was probably the real purpose of Eat ‘Em And Smile, hence the cover versions.
There is nothing here that surprises me, and the songs are exactly what you expect from David Lee Roth, with song titles such as Bump And Grind, Elephant Gun and Ladies Night in Buffalo, with lyrics to match. The standout track is the opener, Yankee Rose (which I believe is a tribute to the Statue of Liberty).
So this is a fun and enjoyable album, but it’s also a disposable one. The fact is that David Lee Roth needed Van Halen as much as Van Halen needed him (and this is not a slight against Sammy Hagar). No more than a 7 from me this week, but at least this album title inspired “Van Hagar” to name their next album OU812.
Mike Canoe: I love it, I love it, and no one can change my mind.
Eat ‘Em And Smile finds David Lee Roth trying to out Van Halen Van Halen by building his own perfect beast and I, for one, think, on this one album, that he succeeded, especially compared to the recently released 5150 and its emphasis on ballads and, gasp, pop songcraft.
Steve Vai made the lead guitar ridiculously Hot For Teacher fun again on songs like the giddy opener Yankee Rose and sex positive Bump And Grind. Fellow recruit Billy Sheehan was referred to in the music press at the time as the “Eddie Van Halen of bass.” And while drummer Gregg Bissonette didn’t have the name recognition of the rest of the band, he certainly knew what he was doing, whether on ravers like Shyboy or Elephant Gun or lounge lizards like I’m Easy or That’s Life.
The band brings out the best in Roth. Roth was Van Halen’s hype man (and he knew it), and he brings that same manic energy and showmanship here while still showing a (relative) maturity on Ladies’ Nite in Buffalo? and Big Trouble. Interestingly, I used to hate Goin’ Crazy because of those %$#@ing keyboards, but now it’s one of my favourites.
Roth knew from the success of Diver Down that the majority of fans don’t care if a song’s a cover if it’s “Van Halen’d” enough, and that’s what he and his new band do with Tobacco Road. I don’t think Roth ever got enough credit for his sense of humour or eclectic taste in cover choices. It’s not like a hard rock band covering Frank Sinatra was a shoo-in for commercial success until Roth already proved it could be done with Ain’t Got Nobody/Just a Gigolo.
Roth has been slagged since Van Halen’s inception as a terrible singer, and I absolutely do not give a shit. He made rock’n’roll more fun than just about anybody before or since.
His prevailing fatal flaw has always been that he thinks he is the sole genius in the room instead of a vital part of a team. The ridiculously steep decline of his solo career indicates his need for talented collaborators. Roth had the ability to make already good things great. He thought he was coffee, but he was just the cream. (No, you’re making it gross.)
Still, I would argue that Eat ‘Em and Smile was the last great Van Halen album until 2012’s A Different Kind of Truth. Roth, like the rest of Van Halen, was closely identified with the big, bright 1980s. It’s unlikely that a mid-’90s VH album with Roth would have fared much better than Balance or VHIII. Still, Roth may have been the fourth most musically talented member of any Van Halen lineup he was in, but he was always the most fun.
Marco Edwards: Great album.
John Davidson: We all loved Van Halen, but they never really topped their explosive debut, and while 1984 was a chart-bothering return to form, the writing was on the wall that DLR and the Van Halens were on different trajectories. Dave wanted pop hits, and with a couple of hit solo singles under his belt, he left the band to set out on his own.
It’s ironic then that Eat ‘Em And Smile sounds like a more natural follow-up to 1984 than 5150. Though 5150 scuppered any hope EVH had of avoiding the charts with its AOR sound and the solid punch of Sammy Hagar.
It’s not as if DLR had to downgrade the musicianship on his solo run either, though. Steve Vai brings the guitar chops that are every bit as good as Eddie’s, Sheehan is arguably a better bassist than Michael Anthony, and Gregg Bissonette is no slouch on the drums either.
The two standouts are Yankee Rose and Tobacco Road, but songs like Elephant Gun rip along like the best early Van Halen, mixing guitar wig-outs and bass runs with the staccato drumming of Hot For Teacher.
I didn’t pay this much heed at the time, but it brought a smile today, and at just over 30 minutes long, it doesn’t hang around long enough to get tiresome. 8/10.
Mark Veitch: I loved this album when I was in my teens, but then I also loved Skittles back then too! For such a great band, disappointing they could only come up with six new songs and padded out the album with covers. Yankee Rose and Ladies Night In Buffalo are the stand-out tracks, and live they were a top band, but this album doesn’t get many spins these days, and Dave’s career quickly tailed off in line with his hairline and the 80s.
Adam Halpin: Great music and awful lyrics.
David R. Howard: This is a great record. I still listen to it.
Nigel Mawdsley: I do like, and indeed own, some of Dave Lee Roth’s solo albums but find Eat ‘Em And Smile a little one-dimensional. There’s no denying the superb musicianship and production, but I found the original songs very ‘samey’ and merging into one.
The cover of Tobacco Road seems to get stuck in a similar groove to the rest of the album; it’s a great song, but I always feel there’s something lacking when I play it.
Generally the album’s okay, but Diamond Dave, as a solo artist, went on to produce better material. 6 out of 10.
Erik Schiavo: This Buffoon’s last shining moment. This tour was great.
Greg Schwepe: So, still trying to figure this out. Huge Van Halen fan (of both eras) since day one. Love DLR and his sense of humor, swagger, attitude, and the overall concept of “Dave Being Dave.” But I did not rush out and buy this (or any other DLR solo albums) at the time it was released. It wasn’t until I had access to his entire catalogue via the streaming platforms that I actually listened to Eat ‘Em And Smile in its entirety. But, at the time I liked everything I heard on the radio or saw on MTV. Probably more MTV.
Maybe I wasn’t too excited about him being backed by another group of musicians besides Eddie, Alex, and Mike? Which is silly, because, wow, did he enlist some musician firepower on this album or what? Or maybe I was staying loyal to Brand Van Halen even though one of the main ingredients had been swapped out and the recipe had changed. Or was it just that in some cases I have little interest in a solo album from someone even though they were a member of one of my favourite bands?
The first thing I noticed when listening again was the brevity of the album at 30 minutes. Get in, state your musical case, then get out.
This album runs the gamut from full-on, hard-rocking, guitar-fueled songs (Yankee Rose, Goin’ Crazy, Elephant Gun), a little jump blues (I’m Easy), and the show tune vibe of album closer That’s Life complete with strings and horns. All done DLR style. I tend to think Dave adheres to my own personal motto: “anything worth doing is worth overdoing.” So he’s all over the board here in those 30 minutes, but it’s all just enough and not too much. I must have listened to this 2-3 times today and have come to appreciate it more. Nothing “dark” here, just Dave bringing the fun.
And since this was released about four months after 5150, you’re going to get the inevitable “well, which one was better?” discussions. And I say they’re too hard to compare, as the difference between them was way too far apart.
8 out of 10 on this one for me. “Dave Being Dave” is a good way to spend a half hour.
Mike Sargent: The only DLR solo album that is worth a spin.
Final score: 7.56 (103 votes cast, total score 779)
Think Like A Key 2026 A gospel and other spells according to a kid with too vivid an imagination and a story which requires a host of angels to spread the word across the land. There are many ways events … Continue reading →
Blues rock guitarist Eric Johanson has released his new single, “Mercy & Madness,” from his upcoming album The Open Bayou, due October 16 through his independent label Levee Ward Records.
Released October 9, “Mercy & Madness” is the third single from the album, following “Shake the Fever” and “Alligator Smile.” The new track continues Johanson’s exploration of blues rock with gritty grooves, experimental guitar work, and influences that extend beyond traditional blues.
“I think a lot of people are craving some freedom from the constant noise of being connected all the time. There’s this desire to get away from the screens and reconnect with something real. That’s what music does for me, especially playing live. It’s a chance to forget about everything else and just be in the moment,” Johanson said.
The Open Bayou was recorded live with Johanson’s touring band, featuring Will Repholz on bass and Jake Gartenstein on drums. The album was mixed and mastered by Bill Skibbe, whose previous credits include Jack White, The Raconteurs, and The Kills.
The upcoming release follows Johanson’s 2023 album The Deep and the Dirty, which reached No. 1 on the Billboard Blues Albums chart.
The Open Bayou will be available October 16 on vinyl, CD, and digital platforms. Johanson will also support the release with a fall tour.
Another week has passed on the good ship rock’n’roll, and Captain Jack Hutchinson will be delighted with his showing in our latest Tracks Of The Week contest, for he sailed to victory, ahead of the great Tony Iommi and the great Slash featuring Myles Kennedy and The Conspirators. So congratulations to him. Long may he reign.
Or at least until this time next week. Eight fresh faces are primed and ready for action, and they’re below. So get listening.
Sons Of Silver – Fever Run
The LA-based rockers return with this crunchy, industrial-come-grunge banger with Slash-level grooves, a big chorus and a touch of Josh Homme in Peter Argyropoulos’s vocals. Commanding stuff. “Fever Run is a great example of what Sons Of Silver is all about, musically, for me,” guitarist Kevin Haaland says. “Melody-based rock ‘n’ roll, big riffs, hooks and, most of all, a soaring chorus. All rooted in melodies that hopefully stick with you.”
Royal Blood – Dead Company
Audibly enjoying a confident new stride, Royal Blood continue to set the stage for their next album (which you can buy in its entirety now) with this mighty title track. Kicking straight in with a big, galloping buzzsaw hook with pounding drums to match, it mixes the raw oomph of their first records with the swagger and subtle shifts of a band who’ve been at this for well over a decade now, and have learned a thing or two about putting a song together.
The Misty – Neverknows
By day Connie Stone and Steve Sherwood sell guitars on London’s legendary Denmark Street. By night they mastermind ‘post-surf’ cohort The Misty – recent support act to The Molotovs and now responsible for this dreamlike swirl of indie rock with a retro heart. Delicately dark and shot through with 60s psychedelic folk, its shadows emerge through atmospheric tones and musings like ‘We all wanna be good looking and punch someone in the face’, set to the sweetest of vocal harmonies. Ones to watch out for.
Skindred – Big ‘Em Up
“It’s so easy to get overwhelmed by life and everything it throws at you,” mouthpiece-in-chief Benji Webbe explains, of this groovy, meatilicious godzilla from the ragga-metallers’ latest record, “from your gas bill to a family tragedy or people just being negative and your timeline filling up with hate and negativity on social media.” If anything rock-adjacent is going to lift a crappy mood, it’s Big ‘Em Up. Stick it on, stand taller and motor through everything on your to-do list.
Battlesnake – Bog Bringer
‘I am made of mud / I have ascended from the bog’. Only these madcap Australians could open on such a flagrantly ridiculous lyric and still deliver a rock-solid piece of proper music. Bog Bringer finds them revelling in their now-signature realm of fantastical freakery and Judas Priest-via-Queen levels of twin-lead riffage, sequins and storytelling – fire in their bellies, broadswords in hand, hellish beasts in tow and inhibitions…what inhibitions?! They’re called Battlesnake, I think we passed that a while ago.
Needtobreathe feat. Anne Wilson – Past The Gates
Lusty, acoustic-based roots and heartland sensibilities combine with primal gospel energy on this quality new single from the Grammy-nominated South Carolinians. Peppered with earthy, soulful piano and joined by Kentucky singer Anne Wilson for some added lungpower, it’s a rousing heartwarmer for increasingly grey and chilly days (in the UK at least…). Like the sound of that? Find more on their new record The Long Surrender and The Fellow Passengers of Pain, which comes out next month.
Robert Plant – The Blackest Crow
From Robert Plant and Saving Grace’s digital EP Saving Grace: All That Glitters… (originally released on vinyl for Record Store Day earlier in the year), The Blackest Crow is a traditional Appalachian folk tune, although some of its lines date back to earlier Scottish and English ballads. It’s also typical modern-day Plant, sounding both ancient and contemporary at the same time, imbued with a lovely warmth and continuing his entirely admirable I’ll-do-whatever-the-hell-I-like approach to producing music.
The Violent Hour – Already Dead
Ex-Butcher Baby Carla Harvey used to be a mortuary assistant and is a partner in a business that turns cremated remains into stones people can carry around to honour the departed, so it’s entirely appropriate that the video for Already Dead, the new single by her post-Butchers project The Violent Hour, should be shot in a morgue. Having said all that, Already Dead is surprisingly upbeat, thumping boisterously along and featuring an old-school twin-guitar solo and a chorus uplifting enough to rouse a corpse.
