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Foreigner waxes nostalgic and reflective on its first new song in eight years, a track from the band’s vaults.
Timed to the group’s Rock and Roll Hall of Fame induction on Oct. 19, “Turning Back the Time” appears on a new 18-song, best-of compilation of the same name that releases Oct. 4 via Rhino.
“There are a number of songs that Lou Gramm and I wrote together that have never seen the light of day,” Foreigner founder Mick Jones tells Billboard. “‘Turning Back the Time’ was co-written with Marti Frederiksen. Marti and I recently revisited and reworked the song. Because of the time that had passed we were able to go back to it with a fresh perspective. The sentiment of the song spoke to us now more than ever and with the upcoming Rock and Roll Hall of Fame induction we thought it an ideal time to let the world hear it.”
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The upbeat and melodic track weighs in at just under three minutes, with lyrics about “the times I was growing up and the road that brought me here,” and how seeing the Beatles on TV “changed everything deep inside of me.” It also references “the double vision day,” a nod to Foreigner’s second album. Particularly poignant in light of Jones’ battle with Parkinson’s disease, which has kept him off stage for the last few years, the chorus intones, “There’s something missing my life, so I’m turning back the time.”
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The track was first demoed back in 1996, shortly after Jones and Frederiksen collaborated on songs for the 1998 movie Strange Fruit. The two also began writing material for Foreigner, with Gramm joining the process for some of those, including “Turning Back the Time.” Jones and Frederiksen co-produced the recording earlier this year with both playing guitar, Jones adding keyboards, Frederiksen on bass and his son Evan on drums. Gramm’s vocals were taken from the original demo; he left the band for a second and final time in 2003.
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The album’s other 17 tracks draw from Foreigner’s nine studio albums, including “When It Comes to Love” with current frontman Kelly Hansen.
There’s no word on any future plans for additional unfinished Foreigner material that’s in the vaults. Jones told Billboard in May that, “There are a number of songs that are demos I wrote with Lou. A couple of them are quite promising. Some written with Marti are lying around. I’ve been going through cassette tapes of demos; some I think don’t deserve to see the light of day.” Jones adds that he’s also finished mixing and mastering a solo album, Shelter From the Storm, that he hopes to release “at some point soon.”
Gramm, meanwhile, has often spoken about “a whole album’s worth of songs” from the early 2000s that he and Jones wrote and only recorded in rough form. “They’re great songs…some of our very best songs,” Gramm told Billboard earlier this year. “There were about eight or nine of them. We didn’t have a record company then, so we were waiting to see what happened. Then Mick and I had a huge falling out, and I left the band…. So now Mick’s got the copy and I don’t have one and I don’t know if he’s ever gonna do anything with them. I kind of doubt it, but I would like to at least listen to those roughs that we did. Those were great ideas.”
In the meantime, Jones, Gramm and their former bandmates are preparing for the Rock Hall induction, one of the most highly anticipated since Foreigner was long considered one of the shrine’s greatest snubs. Producer Mark Ronson, Jones’ son-in-law, put together a video campaign with Rock Hall members such as Paul McCartney, Slash, Dave Grohl, Slash and Chad Smith of the Red Hot Chili Peppers expressing disbelief that the group wasn’t in yet.
“Every year was the same thing, so eventually I didn’t really worry about it,” Jones told Billboard earlier this year. “I certainly haven’t been overly consumed by it…. I’ve had a great career and this is like the whipped cream and cherry on top.”
The Rock Hall induction ceremony will stream live from Cleveland via Disney+, with a truncated special slated for ABC later in the year.
The full track list for Turning Back the Time:
“Feels Like The First Time”
“Cold As Ice”
“Long, Long Way From Home”
“Hot Blooded”
“Double Vision”
“Dirty White Boy”
“Head Games”
“Urgent”
“Waiting For A Girl Like You”
“Juke Box Hero”
“Girl On The Moon”
“I Want To Know What Love Is”
“That Was Yesterday”
“Say You Will”
“Can’t Slow Down”
“When It Comes To Love”
“The Flame Still Burns”
“Turning Back The Time”
X – a punk band that delivers rockabilly riffs at breakneck speeds while dual lead vocalists, John Doe and Exene Cervenka, shout poetry inspired by the dirty realism of Charles Bukowski — was one of the formative bands of the Los Angeles punk scene. On their essential first two albums, 1980’s Los Angeles and 1981’s Wild Gift, Cervenka and Doe (then married) sounded like they were dashing out diary entries from the end of the world, barely making it from one day to the next. While the band’s ninth album — the vital, reflective Smoke & Fiction — feels less fatalistic, Cervenka and Doe are cognizant that the end is nearing for X when they hop on a Zoom call with Billboard in the midst of their last-ever tour.
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“I hope people will come see us play, because — not to be weird — we may never play your town again. But that’s true every night, right?” says Cervenka, calling in from her house in SoCal, wearing a puppy t-shirt but still looking unmistakably punk. “Just a reminder: Life is short, but it’s up to people to listen to the record or come see us if they want. Or not. We’re really happy with this record. And that’s its own reward, no matter what happens.”
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Critics and fans seem to agree with her. Responses to Smoke & Fiction have been overwhelmingly positive; the album even hit the top 10 of Billboard’s Top Album Sales chart, marking their best showing ever on that tally.
“We did three days at Sunset Sound, which is a great studio,” says Doe, speaking in front of a mishmash of drawings, paintings, photos and books from his house in Austin. “Like a lot of what I think are good rock n’ roll records, it was made in less than a month — three weeks, maybe.”
Below, the band takes Billboard through their decision to make Smoke & Fiction their final album/tour, what their creative process is like these days (Cervenka periodically jots down words in a notebook during our conversation) and what they think about the changing musical landscape of L.A.
2020’s Alphabetland was the first X album in decades, but you couldn’t tour behind it because of the pandemic. Is that part of what made you want to do another one?
Cervenka: For me, it was. Plus, we could — we just had the option, so we did it.
Doe: I have a little different story. I remember maybe November of 2022, I heard from somebody, maybe our manager, “You know, we’re making a record.” And I said, “Huh. I figured I would be in on that.” My head was twisting back and forth like a like a cockatoo or something. Anyway, I said, “Cool, let’s do it,” and Exene and I got to work. The real luxury is that we played four or five of the songs all year in 2023, so going into the studio in January this year was quick. We got it done.
So some of these songs you road-tested, but for the other ones, how long did it take you to write them?
Cervenka: Well, there isn’t like a starting and an ending point. Some of the lyrics of the songs I wrote a really long time ago, like 15 years ago or longer, and some of them I wrote in the studio. You just constantly write and constantly come up with musical ideas and keep touring and coming up with arrangement ideas on the fly. Then you practice.
Doe: As Exene said, the first single and video, “Big Black X,” that was written in the studio, which is uncharacteristic for us. It was uncharacteristic to write it in the studio, because we don’t like to take a stack of money and set it on fire. Some people love that, but I don’t. Some of the situations that prompted the stories [on the album] are from 30-40 years ago.
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I did want to ask about “Big Black X,” because there are some interesting lyrics in there – you mention hanging out at Errol Flynn’s rundown mansion back in the day. Was there a particular memory or experience that made you want to include that in a song?
Cervenka: Well, it’s a place in the Hollywood Hills that people used to go and hang out and drink and party and stuff. It was fenced off [by a] chain link fence, you had to climb up this hillside to get to it. It was just a place to sit and drink. There wasn’t anything about it. It was ruins, you know? It was almost like a small town thing. Like, “let’s go to the haunted house.” You make up these myths about places when you’re young. It was just something to do. Maybe there wasn’t a show that night, or maybe it was after a show. We just had to find each other — because nobody had phones or anything — so you just had to find out where people were and just go and see who was there.
Doe: The song started as a as a prose piece that Exene wrote a couple of pages of, and we didn’t want to repeat ourselves by having a spoken word piece at the end of the record, like we did on Alphabetland with “All the Time in the World.” I just really loved it and thought it would make a great song. And at that point it seemed clear that this could be our last record, just because it was reflective, a lot of the lyrics. So we started putting it into a lyrical form, and [at first] we had different music that was kind of epic stadium [rock]. And I hate – well, I don’t hate it — I don’t do stadium rock very well. The lyrics were sort of strident, like, “We knew the future and also the gutter.” It’s like, we didn’t know the future. We knew the gutter. So we switched that around. It turned out that we had an inkling; the future caught up to what we might have envisioned, as far as punk rock coming to the masses, or punk rock being still being an underground, but there’s a lot of pretty popular bands now that are definitely influenced by punk rock.
Do you think there’s still an L.A. punk scene? Or do you think it’s the city has just changed too much to foster a creative music culture?
Cervenka: Yeah, the L.A. punk scene is the next neighborhood over from the hippie scene and the Beatnik scene and the jazz scene. They don’t exist. None of that exists. It exists for a little while. Then it goes away. In Venice [Calif.], there was a really incredible writing scene. The legacy of that is still there, but those people that were there writing in the ‘50s and early ‘60s and stuff, they’re gone. What is there is that whenever people have ideas and create things, it lives forever, and people find that. They find the essence of it and they say, “Let’s create our own thing.” I would hate it if people were just haunting the same places over and over. I would love it if L.A. was still the way it was, because it was really amazing, but I think people have to create their own version of whatever it was we created and be unique and original and come up with their own idea. Because I wouldn’t want to be young and then going, “Let’s recreate the punk scene from the ’70.”
Doe: I’m sure there’s a bunch of punk rock bands that live and play in L.A.
Cervenka: Oh, for sure, but that’s not the same thing.
Doe: It’s just a different version. L.A.’s got enough people that it’s always going to have a number of really vital rock n’ roll-based music scenes.
Certainly cities like L.A. and New York have gotten much more expensive.
Cervenka: The cities are not what they used to be. Let’s just put it that way.
Has technology changed how you write songs or make records?
Cervenka: That’s how I make records, right here [holds up her notebook and several pens]. I do not use any technology to make a record, except I might sing a song in the phone to John. We do have to email each other.
Doe: I send voice memos to the band of bass and me singing. They listen to it probably once or twice, and then we get to the rehearsal studio and figure it out. I don’t know how much good that does. It changes a lot. But bass is a terrific tool for writing songs because it leaves a lot of space for people.
When you’re working on these songs, do you hem and haw over them, second guessing yourself?
Doe: Yeah, your brain is not your friend, especially in recording. You just have to be intuitive and feel it from your heart and your chest and know somehow what’s right. But that’s hard.
How do you decide who sings what vocal parts?
Doe: I think it’s determined by the lyrics, whoever wrote the majority of the lyrics, and then you just trial-and-error work it out.
Cervenka: Yeah, I think that the songs I sing are the ones that wrote the majority of the lyrics, and the ones that John sings are the ones he wrote the lyrics. But that’s not always the case.
Doe: I would say Exene wrote most of the lyrics for “Sweet Til the Bitter End,” “Smoke and Fiction” and “Winding Up the Time,” but it was clear that there was room for call and answer, so we did that.
Cervenka: I think it also depends on what the key the song is in. There’s certain songs that I’m not going to sing because it’s a lower note.
John: Fun fact: “Flip Side” was written in a different key, but I wanted Exene to be the lead, and I would sing harmony. I’d sing around her, so we moved the key up. And same thing with “The Struggle Is Surreal.”
I know X hasn’t been active all these years, but your debut came out 44 years ago and you started playing a few years before that. Does it feel like that long to you – almost a half century?
Cervenka: I don’t know what that feels like. I think that I just try to stay in the moment. I don’t know. I don’t know anything about time. I guess it does. I guess it doesn’t. I don’t know.
Doe: Since it’s the only thing that I’ve done for almost 50 years, I would say it feels exactly like that. But there’s all this other life that goes around around that. We played a show outside in Chicago, and it was a total sweat fest. It was hot and humid, and toward the end of the show, I said, “I don’t know if I feel like I’m 25 or 85” because I kind of felt like both, just jumping around and playing this punk rock show. But I mean, even when I was 25, if you play hard and you really give it your all — which we do — you’re exhausted.
One thing we hear a lot from artists is how difficult the touring market is these days. As you do this tour, have you found that to be the case?
Cervenka: No, that’s not true for us as much. But yes, the price of gas and the price of hotels and the price of food and the amount of people able to go to shows has changed markedly in the last couple years. So it is a little harder. The festivals do compete a lot with the club stuff, but this is our last club tour where we’re going from city to city, club to club, van ride to van ride. But people are turning out for the shows and we don’t have that problem right now. I don’t know. I mean, I don’t know how people can afford to go out at all, you know? But somehow, they do.
Doe: We’re incredibly fortunate because we have this history. We have a very loyal fan base. It’s a sweet spot for us: people either say, “You changed my life” or “you saved my life” or “I don’t know who you are.” So the people that know us and have seen us, they know that we put on a good show, and they’re very dedicated.
I saw you back in the late ‘00s and it absolutely knocked me out. I still think about it. Very excited to check out your New York show.
Doe: We’re playing the fancy place: [Manhattan’s] Town Hall. Which is funny, because I used to get pretty freaked out about playing sit-down venues. And now, since we’ve done it enough, it’s not so bad. I mean, I like to sit down. I don’t necessarily like standing for an entire show.
It is a lot. But it can be awkward. I saw a show at Radio City – which is a fancy, sit-down venue – that Jack White played, and he kind of yelled at the audience for not standing. But it can be hard to stand when the seats are so close together.
Doe: That’s just f–king stupid. [laughs] You don’t berate the audience. If you’re playing a quiet song, you don’t yell at the audience to shut up — either they’re interested enough to listen to what you’re doing, or they’re motivated enough to stand up and do it. Oh well. We all make mistakes.
It’s true, we all make mistakes. And his new record is amazing. So this is billed as your final album and tour. Of course, we’ve heard that from a lot of bands who then return to do more tours. Is there a chance of that?
Cervenka: Well, define tour. Are we going to travel around America, endlessly, getting in and out of a van, in and out of the motel, back and forth to a club at this age? Up and down the stairs to the dressing room and lug our equipment and our suitcases around? No, no, we’re not going to keep doing that. We’re going to do it to the end of the year, and then we’ll reassess. We have festival dreams for next year and Little Stevie’s garage rock cruise in May. I would be happy if we could do a couple of festivals and that, but we’ll see what happens.
Doe: And we might just do a residency. We’ll find like a Bowery Ballroom and we’ll have 20 dates instead of 80.
Cervenka: Maybe. We don’t know.
So it’s not the end of the band, but you’re done with the schlepping around and staying in sh-tty hotels.
Cervenka: Hope so.
What is your day-to-day like? When you’re not music-making, what are you doing with your time?
Cervenka: Well, I have a very old dog that I adopted from a friend who could no longer care for her, and she’s blind, and she needs a lot of care. So I take care of her. I do housework, yard work, laundry, cooking, you know, just all the things normal people do all day. Just the crap of life. I don’t have a very exciting life. I do make art, and I do have friends, but I don’t really go out much. And I like having a quiet life. I live alone. I like that. And I’m pretty reflective. I have some little creative projects. But basically, since I don’t have to do anything when I have time off, I try not to, because I’m so busy when we’re working. I’m not one of those people that goes crazy unless they have a project in front of me. I’m not on the phone all the time trying to book the next thing that I want to do. I just hang out at home.
Doe: I try to be creative. I agree that it is project-driven, but I do have a monthly poetry workshop that I get on a Zoom call with six or seven people that I know. And pretty much every day, I go visit my horse and ride and take care of her. My wife and I go out on occasion. We saw a great movie about the making of Fitzcarraldo.
Was that Burden of Dreams? I love that one.
Doe: Yes, Werner Herzog never disappoints when he starts talking about [adopts German accent] “In nature, I just see chaos and murder.” He’s so awesome. And Les Blank, his abilities as a documentarian are unmatched.
I’ll go to a record store. I try to stay current with some of the some new records. I like the new Iron & Wine record. It’s really good. There’s a couple songs that he obviously listened to Nick Drake a lot, but that’s cool, because he’s so talented. Sunny War’s new record I like a lot. And Skating Polly is a band that Exene brought to our attention. Actually, I just watched a couple videos of a band from Baltimore called Angel Du$t.They’re pretty f–king insane. Very Henry Rollins, Black Flag influenced. There was this one song where he said, “All right, all the women have to come up and sing a verse.” And all these young girls were just getting up and diving off stage. In this three-minute, two-minute song, there were probably 10 different people. It was great.
Maybe you should do that on your tour.
Doe: No.
Cervenka: I don’t like to divide people by their imaginary genders.
There probably aren’t too many celebrities left on Snoop Dogg’s bucket list, but he checked a major one off earlier this year when he met Paul McCartney for the first time.
Fresh off performing at the Olympics’ Closing Ceremony, Snoop Dogg and Dr. Dre recently sat down with Complex, and The Doggfather reflected on having the chance to link up with The Beatles legend, where the respect was mutual.
“I did a little concert for somebody in Hollywood. Paul McCartney was there. I never met him before, but I’m a f–king fan of The Beatles,” he began. “I know Jimmy [Iovine] know him, I know Dre know him. I’m in the back smoking and they’re like, ‘Sir Paul would like to meet you.’ I’m like, ‘Oh for real? Hold on.’
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Snoop continued, noting he didn’t know McCartney is also a cannabis connoisseur. “I put the blunt out, cuz walk in the room like, ‘Don’t put that down!’ He give me a hug and he meet me and I’m like, ‘F–k, Paul McCartney know who the f–k Snoop Dogg is!’” recalled the rapper. “This is Paul McCartney, he knows who I am. That’s the experience I love is when the people you respect, respect you.”
“F–k yeah,” he exclaimed when asked about potentially working with Paul. “In a heartbeat, ‘Ebony & Ivory,’ ‘The Girl Is Mine.’ What do you want to do? Like a motherf—-r?”
A photo of Snoop and Paul emerged in April from the Jimmy Buffett Tribute concert, which appears to be the event that the West Coast icon is referencing.
After once passing on the opportunity to collaborate with Stevie Wonder, Dr. Dre is open to locking in with the music icon. “You know what? It’s crazy because I bumped into Stevie Wonder a couple times,” Dre said. “He called me. He pulled up on me in the restaurant, ‘I heard you been talking about me?!’ … He’s one of my heroes and I would absolutely go in there with him … I always taught maybe you shouldn’t meet your heroes.”
While Dre hasn’t been in the studio with Stevie, Snoop reminded him he did co-produce a record for Busta Rhymes titled “Through the Storm,” which featured vocals from Wonder on 2006’s The Big Bang. “[It’s] probably gonna happen. I have to have that experience,” Dre concluded of working with Wonder down the line.
Snoop Dogg chimed in, recalling a hilarious time when he was in the studio with Wonder and Pharrell, and he got Skateboard P so high that he just left him in the studio with Stevie. “I’m like, ‘What you want me to do?’ I ain’t no producer,” Snoop said.
Snoop and Dr. Dre are gearing up to deliver their first full-length collaborative project since 1993’s Doggystyle with Missionary, which they’re promising to release before Santa Claus comes down chimneys across the globe.
Watch the full interview below.
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Just one week before the planned kick-off of a headlining U.S. tour with Fear Factory, Twizted and Black Satellite, hard rockers Coal Chamber were forced to postpone the outing following singer Dez Fafara’s emergency hospitalization over the weekend.
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The 58-year-old vocalist apologized to fans in a lengthy statement about having to press pause on the Fiend of the Fans tour — scheduled to launch on Friday (August 23) in Las Vegas and run through a Sept. 29 show in Denver — but said a recent unspecified health crisis forced his hand.
“With a heavy heart, let me tell you a story about life taking a turn, I’m writing to you from my bed. I’ve been running 6 miles daily, I’ve been rehearsing two hours daily in my home studio and excited to hit the road, I’m excited to get on a bus with my brothers and sister and my crew. I’ d never felt better and as you all know, I fought back hard after long haul COVID tried to kill me,” Fafara wrote in the post.
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“Saturday morning I woke up and I was coming up my stairs. I saw flashes in my eyes. I passed out and my wife revived me. My vitals were through the roof, and I was sheet white and vomiting, and the whole world was spinning,” he continued. “[My wife] Anahstasia called 911. I ended up in the back of an ambulance and did nine hours in the ER testing all my vitals including taking X-rays of my heart and lungs. My doctor has advised me to get a cat scan, and until further testing, I am on bedrest and must postpone the Tour. Our agent sprung into action to rebook this tour for March 2025, and until we can figure out what the f–k medically is happening.”
Fafara said the tour is now scheduled to hit the road in March 2025 under the same name. “This tour postponement is surreal, I was looking forward to playing with my band and connecting with fans, friends and family on the road,” Fafara wrote. “I want to take a moment to thank everybody for their outpouring of love and outpouring of calls and texts checking on me. It seems like the word spread and the whole industry has been ringing my phone since Sunday; musicians, agents and managers and I really really appreciate it.”
As of now, the re-routed outing will begin with a March 5 show at the Summit in Denver and run through an April 18 gig at the Myth Live in Maplewood, MN.
Fafara ended his note with an uplifting message about resilience and an promise to keep fans in the loop on developments. “Kiss your loved ones, no one is promised tomorrow. I’ll fight my way back to be with you all onstage you can be sure of that as well I’ll keep you all updated on my socials as to what’s going on,” the singer said. “Apologies if this news causes you to rearrange your schedules to attend the concert with us and I want to say thank you in advance. We are all truly in the dark and I’m looking forward to finding out what’s going on. HAIL.”
See Fafara’s post and the rescheduled tour dates below.
Are you ready for “One More Time”… one more time? Blink-182 drummer Travis Barker sent fans’ heart racing over the weekend when he teased new music from the punk-pop trio in a post on X in which he promised that fresh tracks are almost ready to go. After tweeting “Who’s ready for One More Time […]
Coldplay is the midst of the third European leg of the Music of the Spheres World Tour, which has also taken the British quartet to Asia and North and South America, with 11 shows scheduled in Australia and New Zealand later this year. In all of that globe-trotting, the band has made Boxscore history, building […]
If you’ve always dreamed of sitting down to a meal with Metallica singer/guitarist James Hetfield you’re in luck. The metal legend is offering up a private dinner for you and up to three of your friends in a charity auction to support the Adaptive Sports Foundation. Explore See latest videos, charts and news See latest […]
St. Vincent provided one of the rare high points at Crypto.com Arena for the home team L.A. Sparks on Thursday night (Aug. 15) with her fiery rendition of the National Anthem. The shape-shifting indie rocker hit all the tricky high notes of the notoriously hard-to-sing “Star-Spangled Banner,” and even though she had her trusty signature […]
Jack Russell, the former frontman of 1980s and ’90s glam rockers Great White, has died at age 63.
The news comes from the Instagram page for Jack Russell’s Great White, which is the band name the frontman toured under after the group disbanded in 2001.
“With tremendous sadness, we announce the loss of our beloved Jack Patrick Russell — father, husband, cousin, uncle, and friend,” the statement begins, adding that the singer “passed peacefully” surrounded by his wife Heather Ann, son Matthew Hucko and other family and friends. “Jack is loved and remembered for his sense of humor, exceptional zest for life, and unshakeable contribution to rock and roll where his legacy will forever live and thrive.”
The family is asking for privacy and shared that details of a public memorial would be announced at a later date.
On the Instagram page for Great White, Russell’s original bandmates shared their “deepest condolences to the family of Jack Russell. We hope they take comfort in knowing Jack’s incredible voice will live on forever.” The ended the statement: “Rest In Peace, to one of rock’s biggest champions.”
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Great White landed six songs on the Billboard Hot 100 in the late ’80s and early ’90s, including the top five smash “Once Bitten Twice Shy,” which peaked at No. 5 in 1989 and whose music video was in heavy rotation on MTV. The song’s album, 1989’s …Twice Shy, was a top 10 hit on the Billboard 200 chart, peaking at No. 9.
Following the group’s end in 2001, the lead singer hit the road as Jack Russell’s Great White — most infamously headlining Rhode Island’s The Station nightclub in 2003, when pyrotechnics started a fire that killed 100 people, including bandmate Ty Longley, and injuring 230. Russell’s tour manager, Daniel Biechele, pleaded guilty to 100 counts of involuntary manslaughter in 2006 and served two years in prison of a 15-year sentence. The owners of The Station, Jeffrey and Michael Derderian, pleaded no contest, with Michael serving almost three years in prison and Jeffrey being sentenced to community service. The band also reached settlements with victims in several lawsuits.
Last month, Russell’s Instagram page had announced his retirement from touring after diagnoses of Lewy Body Dementia and Multiple System Atrophy. “Words cannot express my gratitude for the many years of memories, love, and support,” the retirement announcement read. “Thank you for letting me live my dreams.”
Find the family and band statements below.
Halsey has made a habit of deftly bouncing between genres lately and their latest song is no exception. The singer dropped the roiling, rocking single “Lonely Is the Muse” on Thursday (Aug. 15), a pointed, lacerating broadside against those who’ve tried to put them in a box and profit from exploiting her body and soul. […]