Even of the most latest song that currently hitting on the highest in the chart of these recent, these song is a rare kind legend and never will be surpassed, old may be but always refreshing as the time goes by.
The critics say AC/DC songs sound the same. Tell me, does BACK IN BLACK (1980), For Those About to Rock (1981) sound like Rock and Roll Train (2009) and Rock Or Bust(2014)? Their sound is theirs. It’s that AC/DC sound that only the Young brothers can produce. It’s actually a subset of rock n roll. You have metal, blues, Rock, Pop, and AC/DC. Plus, they have never made music for the critics. They make it for their Fans. Put it this way: if AC/DC ever listened to their critics at least ONE TIME, I believe they wouldn’t be where they are today. Still making music for soundtracks. Still selling out stadiums at world record pace. I get a kick out of those who say “oh they’re losing a step. They’re getting old”. Haha! Of course! They’re human! But losing a step? I disagree. If they lose a step then they’re hiding it very well. Not bad for guys in their 60’s pushing 70! I can barely get of bed at 40 sometimes but here they are rocking still. Numbers don’t lie and neither do the …more
Played by masters of metal AC/DC, “Back in Black” has an incredibly infectious beat nobody can resist. (Listen to it right now and see if you can keep from gleefully jumping up and down.) Appearing on an album of the same name, the album sold 50 million copies – the second highest selling album ever – while “Back in Black” the song peaked at #37 on Billboard’s Hot 100 chart. A tribute to former lead singer Bon Scott, who died young at 33, Brian Johnson, Scott’s replacement, was asked to write the song and then the band created one of the most memorable hard-rock tunes of all time.
One of many Aerosmith hit singles in the 1970s, “Walk This Way” is a hard rock tune appearing on the band’s third studio album, Toys in the Attic, which is their highest selling album to date. “Walk This Way” jumped to #10 on the Billboard Hot 100. Then, during the 1980s, when Aerosmith hit a lull in popularity, the rap group Run-D.M.C re-made the song, with Aerosmith vocalist Steven Tyler and guitarist Joe Perry making guest appearances in the tune and on the video. Surprisingly, this version of the song did even better on the Billboard Hot 100, climbing to #5, and also helped spawn a new genre – rap rock.
Classic Rock is a British magazine dedicated to rock music, published by Future PLC, who are also responsible for its “sister” publications Metal Hammer and Prog magazine. Although firmly focusing on key bands from the 1960s through early 1990s, it also includes articles and reviews of contemporary and upcoming artists it deems worthy of note. Despite starting as an on-off project it became one of the UK’s best selling music magazines. In September 2010 it published its 150th issue and now has a higher circulation than the NME.
So who defines the parameters of this seemingly genre-free category? It’s actually you – the listener. Very little is played on classic rock stations without extensive market research to find a niche amongst their audience, and that’s how regional popularity will always trump age or genre in defining the musical category of classic rock. Read more here about the carefully crafted classic rock subset and how age alone isn’t the only thing that can make a song truly “classic.”
^ Hannum, Terence (18 March 2016). “Instigate Sonic Violence: A Not-so-Brief History of the Synthesizer’s Impact on Heavy Metal”. noisey.vice.com. Vice. Retrieved 7 January 2017. In almost every subgenre of heavy metal, synthesizers held sway. Look at Cynic, who on their progressive death metal opus Focus (1993) had keyboards appear on the album and during live performances, or British gothic doom band My Dying Bride, who relied heavily on synths for their 1993 album, Turn Loose the Swans. American noise band Today is the Day used synthesizers on their 1996 self titled album to powerfully add to their din. Voivod even put synthesizers to use for the first time on 1991’s Angel Rat and 1993’s The Outer Limits, played by both guitarist Piggy and drummer Away. The 1990s were a gold era for the use of synthesizers in heavy metal, and only paved the way for the further explorations of the new millennia.
Trouble? These are the kind of comments I hope we get. Wasn’t HD2 supposed to be the launching pad for dangerous, spontaneous niche radio? And I don’t care what you call them – it sure would be nice if people were buzzing about what they were listening to on the radio. Thanks for the comment, Walter.
In the 2000s, an extreme metal fusion genre known as deathcore emerged. Deathcore incorporates elements of death metal, hardcore punk and metalcore. Deathcore features characteristics such as death metal riffs, hardcore punk breakdowns, death growling, “pig squeal”-sounding vocals, and screaming. Deathcore bands include Whitechapel, Suicide Silence, Despised Icon and Carnifex.
Can’t believe there is no more Journey on this list than there is. I don’t think “Don’t Stop Believing” is their best song but I would be very hard pressed to pick a favorite out of their vast catalog. Even though I love Pink Floyd, the Stones, Zepp, Queen, and all the others, there’s just no way that Queen’s “The Show Must Go On” is better than every Journey song!
By the early 2010s, metalcore was evolving to more frequently incorporate synthesizers and elements from genres beyond rock and metal. The album Reckless & Relentless by British band Asking Alexandria (which sold 31,000 copies in its first week), and The Devil Wears Prada’s 2011 album Dead Throne (which sold 32,400 in its first week) reached up to number 9 and 10, respectively, on the Billboard 200 chart. In 2013, British band Bring Me the Horizon released their fourth studio album Sempiternal to critical acclaim. The album debuted at number 3 on the UK Album Chart and at number 1 in Australia. The album sold 27,522 copies in the US, and charted at number 11 on the US Billboard Chart, making it their highest charting release in America until their follow-up album That’s the Spirit debuted at no. 2 in 2015.