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electrasev5nwrites · 7 months

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Ninja Daily: AIC 37

The Kiri delegation arrived at the boundary outside the Fire Daimyo's palace in the middle of a downpour. Gaara stoically endured the change from sunshine to rain. Utakata tossed his hand up to use his sleeve to shield his hair, lip curling in distaste.

Aiko made deliberate eye contact with a drenched man who was vaguely familiar. He was at the head of a small group of armed men who looked like a mix of samurai and shinobi.

"Mizukage-sama," he greeted. "We are honored by your presence." He dropped into a perfectly respectful bow which inadvertently flashed the bald spot on the top of his head. It was quite shiny and showed that his head had a lump.

"Ask him why his head is misshapen," Sanbi urged.

"Fumi-san," Aiko said instead, feeling relatively certain that this was the highest samurai retainer in Fire Country. She had once escorted his family to the capital for a visit, years and a dimension back. "Thank you for coming out to escort us. Shall we?"

Utakata gave her a look. It was a positive one, probably based on his extremely incorrect assumption that she had studied important persons before coming in order to make a good impression.

The walk to the palace itself took about 15 minutes, though the tour of the gardens was somewhat abridged due to weather. Given the damp circumstances, they were led to a guest area and given some time to refresh themselves before their meeting. One of the attendants broke off to drop into a deep bow outside the room. He was still there when the door closed, despite the rest of Fire Country's representatives trailing away.

Utakata immediately went to the restroom and began examining the provided beauty supplies. Aiko gave him a fond smile and tugged a towel off the rack in order to pat at her own hair. She then used the same towel on Gaara, who bore the attention with a resigned sort of grace. While Utakata experimentally rubbed a high grade of camellia oil between his hands to warm it up, Aiko finger-combed her bangs to lay straight and checked that her clothes looked fine.

By the standards of any court, she was wildly underdressed. She considered, not for the first time, if she should put on some armor or a kimono. Either intimidation or beauty, one or the other would convey the gravitas of her station a bit better.

'I should add more of that type of thing to my wardrobe,' Aiko mused. She pursed her lips and looked away from the woman in the mirror, dissatisfied. She was pretty enough, but the reflection didn't convey power and authority by any metric. Aiko's hair was neat enough, but totally plain. She had a pale, drawn face and was clearly a little underweight. Her outfit was fine as a signature look and for an easy transition from the office to the battlefield, but it didn't do her any favors when dealing with civilian royalty.

Maybe a combination would be a good idea. Some type of visible armor combined with a pretty kimono, to show both status and her position.

But for now, she was what she was, since she wasn't willing to take 3 hours trying to put a kimono on by herself and she hadn't brought one, anyway.

She tossed her hair back and strode towards the door. "I guess we're pretty enough, let's go. I'm sure the Daimyo and his court won't be judgmental elitists or anything," Aiko said dryly.

Utakata covered his mouth with his sleeve. He didn't answer, but his eyes betrayed that he was amused as he fell in line.

The attendant was still waiting directly outside. He bowed nearly to his knees and then rushed to stay ahead of Aiko, guiding her with a strange, servile sort of hobbling mien.

It didn't take long to reach their destination. The room was large, at least 30 mats, with lines of cushions burdened with courtiers. The Daimyo himself was at the head of the room, flanked by someone she should probably recognize on his left and his wife on his right. The Daimyo's receiving area was open to the air, with a view of a pond. She looked long enough to see a turtle bob up to peer inquisitively at the gray sky before Aiko turned her attention to business.

"Hi-Kuni no Daimyo-sama," she greeted. She placed her fingers on the floor in front of her cushion and bowed low. "This one is honored by the invitation and most gracious welcome. Gray skies cannot cloud the beauty of Hi Kuni."

She could almost sense Utakata's incredulity, but she couldn't see him. He and Gaara were seated behind her, on the bare floor.

"Kiri no Mizukage-sama," he said in return. His bow was equally deep. She felt a spark of relief and satisfaction that she was apparently on equal terms, despite civilian distaste for the burakumin. "This one thanks you for your travels far from your ocean."

They went back and forth with the mandatory pleasantries, until they could sit back and let the Daimyo's Minister of Finance bring up the bounty and Orochimaru. It would have been gauche for her to seem to ask for money, and it was below the Daimyo to speak of coin. The conversation was bland and proper, and they had quickly managed to confirm that the promise still held and that Fire Country would be eternally grateful for her service.

That put Aiko's hackles up a little bit. She didn't like the implication of 'service' in this context. She was not a- okay, yes, she was a citizen of Fire Country and had sworn to serve it, but they had no idea about that. They only knew her as a foreign warlord.

She let it go, however, and let the Minister of Finance escort her out, where they could have a more candid discussion that involved numbers and bank routing.

'Money, money, money.'

She tried not to look too smug. This would more than make up for the income lost through giving up her drug running. Well. 6 months of it, anyway, and it was a good trade off effort-wise. Killing Orochimaru was a one-time affair.

...She crossed her fingers.

"Do you have reason to believe he might return?"

'No,' Aiko had to admit. 'Except that it would be really awful and inconvenient and rude, so I think it sounds like classic Orochimaru.'

Sanbi gave a doubtful little hum. "In that case, perhaps any follow-up murdering should be done by another party. Your itinerary is very full."

'It's not murder,' Aiko thought defensively.

"Why not?"

...It was murder. She felt her lips flatten into a thin line. 'The word 'murder' makes killing people sound so unpleasant. Don't be gauche.'

"-zukage-sama."

She jerked back to attention, although the Minister didn't seem to have noticed her inattention. They had arrived at an elegant little office, where a glossy table of pale wood was waiting with neat piles of paperwork and thick seating cushions. She inclined her head slightly and swept in to take her seat first, hovering for a moment to be sure she'd guessed right before gracefully folding her legs.

They went through some more pleasantries, and then Aiko gestured for Utakata to give an envelope to the Minister. The men exchanged it with careful bows and both hands in an elegant dance of social nicety. Aiko wondered if she looked half that graceful, and then decided that she probably did not.

The envelope had their routing number discreetly at the end of a flowery letter designed to distract from the routing number, even though the financial information was the only information being conveyed. It wouldn't have been very elegant to show up with a photocopy of page 1 of their bank book.

"There is one small matter of curiousity." The Minister said, as though it had just occurred to him and was not a mandated topic.

Aiko made a politely interested face and tilted her head slightly. "Yes, Nagase-san?"

"The encounter with the criminal was in Rice Country, was it not?" The man had a carefully neutral tone.

"That's true," Aiko confirmed.

"I see." He gave a little bow. "Forgive my impertinence in asking, but we were under the impression that Orochimaru-san had been using property in Fire Country."

...She tried not to stare. "I believe that he used some facilities in Fire Country," Aiko confirmed.

'Did they know he was still operating in their borders? Or did Konoha mention it?'

"This is grave news indeed," Nagase intoned. "The idea that such a dangerous person was operating within our sovereign country is of great concern to the Daimyo. Can you detail these locations?"

"Why would they ask you this?" Sanbi put an unflattering amount of stress on that question. "Shouldn't they communicate with their kage?"

'I don't appreciate that tone, but you're right.'

"I'm sorry to say that I no longer have the necessary details," Aiko lied gracefully. She allowed her tone to sound apologetic. "I found some information in Rice Country, and passed it into Konohagakure's care. I am certain that they will communicate further with the office of the Daimyo."

Whatever was going on, she was not getting in the middle of it.

"Of course," he said, and she had the distinct impression that he did not believe she had not memorized the information, which was rude and correct. "As foreigners cannot possess property in Fire Country, there would be no reason for you to be concerned with the details." He gave her a thin smile.

She had to work to not react to that provocative wording. There was no way that wasn't a thinly-veiled jab against what the Daimyo apparently believed were her home ownership ambitions in Fire Country.

Whatever. She wasn't here to make friends, she was here to collect on a bill. So she tried to smooth it over and correct that impression. "What an interesting policy," Aiko said diplomatically. "I can see the utility of ensuring that foreign nationals do not buy homes and farmland that locals need. In fact, Kirigakure does not allow non-citizens to obtain property in the capital without applying for approval."

Nagase nodded. "One of many benefits. Fire Country has many cultural and natural resources to protect. Diluting our citizenry with outside influence would harm our heritage. We have a very thorough policy to discourage economically motivated migration. Only natural-born citizens may own and sell property in Fire Country."

Her smile felt a bit strained. That sounded a lot like he thought keeping non-citizens out was inherently good. Which rubbed her the wrong way.

"That sounds bigoted," Sanbi said, intrigued. "Correct?"

'Yeah, that's fucked up. If somebody resides, pays taxes, and obeys the law, I don't see why their country of origin should matter.'

"Is that so?" Aiko asked, in mild disbelief. "The Land of Fire forbids sale and property ownership to naturalized citizens?"

If they had said it would be awkward for a foreign political leader to possess land, that would have made some sense. Nobody wanted foreign warlords making sneaky inroads. And nobody trusted her in particular, for gross anti-Kiri reasoning.

"In the interest of fairness, you have stolen a neighboring country."

Aiko nobly pretended not to hear Sanbi's gross mischaracterization of her involvement of the extremely minor details in the change of management of Wave Country.

Nagase had nodded, as if this was a totally uncontroversial policy. "Fire Country has a storied history. To protect it, property rights are restricted to those who can trace their ancestry within our borders."

Aiko narrowed her eyes, just a bit. Wow, a category that Aiko belonged to. What a tragic legal coincidence.

Gaara, who was currently residing in a foreign country in an apprenticeship, frowned. He was probably well-aware that Kirigakure did not have that restriction.

Nagase's eyes darted to Gaara, and then away. He began to sweat a little. It was a little late to read the air and realize he'd annoyed his guests.

"Oh, so it's even worse," Sanbi said in a tone of realization. "Immigrants cannot own property at all even after gaining citizenship. I wonder how many generations this policy applies to."

'I'm lowkey offended that my home country has worse property regulations than Kiri.'

Aiko blinked and nodded, forcing mild interest onto her face. "Of course," she murmured. "The preservation of local culture is an invaluable pursuit."

"Really?" Sanbi asked.

'I'm going to spite them, I'm throwing him off my scent.'

Sanbi made a relieved sound.

That lack of faith was mildly insulting. Of course she was going to fuck these people over. Sanbi was right, though, that it would be an absolute nightmare if she tried to have a second home in Fire Country. Daughter of a Hokage or not, she was still a foreign military leader of a historically hostile nation.

"I believe you shall find a way to make them regret this ill-considered policy. Inspiring regret and misfortune is your personal calling," Sanbi said.

He was definitely provoking her. She tossed her hair and focused on the rest of the discussion, which was cautiously bland and ended with a guarantee for a transfer by the end of the business day. They went back to their rooms. She went into the bathroom and washed her hands, and then went to Wave Country to meet with the pencil queen.

Shimizu-sama had prepared notes and a table, with hot tea waiting. "Mizukage-sama, thank you for your valuable time," she said. It was brisk and polite.

"Excuse my rudeness," Aiko said, stepping up onto the tatami and sitting at the waiting spot. "Was your escort agreeable?"

"There were more casualties than anticipated, particularly a very large quantity of small and hungry fish." The older woman glanced up and took a sip of her own tea. "However, there were no significant inconveniences and we made excellent time. Perhaps I have even arranged a political marriage for my daughter which would be advantageous."

Aiko waited a moment for the punchline of that strange joke. But Shimizu appeared to be serious.

...fish? Her chuunin darlings had gone from the Shimizu family home to the capital city of Wave and racked up a significant marine body count?

Aiko opened her mouth to ask. She closed it again. There wasn't time for that. "I am honored by your kind words," she went with. "As for the day's business, if we might be so gauche as to go directly to business."

"We may," Shimizu agreed. "The Daimyo is ill recently."

"That's deeply unfortunate," said Aiko, who had not personally poisoned any Daimyo to make him suspicious of his potential successors, and definitely didn't suspect anything from her civilian allies. "In such times, the guidance of one's family and trusted advisors is paramount."

"Of course," Shimizu agreed. "Wave is blessed by the wise guidance of many senior officials. In order to deal with these trying times, there has been some administrative changes to best utilize everyone's talents."

"A clever idea," Aiko said politely.

"I cannot help but think that certain courtiers who now have lessened duties but possess much experience might be significant assets. It is a shame that their considerable abilities are not being utilized."

"Oh," said Aiko, as if she had not expected this. "I am lacking in leadership. Perhaps I could request some personnel from the Daimyo. It would be an honor to host such august persons."

"What a lovely idea," Shimizu said. She had a sharp little smile, just for a moment. "I can think of some people whose expertise would be a great benefit to Kirigakure."

"Joint administration between Wave and Kirigakure could only benefit our countries," said Aiko, who was planning to give exactly zero influence to displaced nobility being shunted away from court where they might interfere with the change in administration. It was mildly insulting to be used as the desolate island political banishment site, but it was also funny and she appreciated that. The tourism slogan "Kirigakure, where dreams come to die," had a kind of ring to it.

"How should I make contact regarding this issue?"

"It would be easy for the Daimyo to make this decision, were you to request personnel." Shimizu poured another steaming cup of tea. "I suggest that you contact his representative Bara Nodoko, and request certain types of experts. It might even be an honor if you were to request them by name."

"Oh, can you provide names?" Aiko asked idly. "With my poor familiarity with the political situation, I would hate to make mistakes."

Shimizu gave a nice little nod. "By chance, I can," she said. "Through extreme good luck, I happen to have a written list of courtiers here. If I might make notes by certain names..."

"Please do," Aiko said, and drank her second cup of tea. "I'll be certain to let the Daimyo know who passed such interesting information to my students." Once she had her neat little list of people who Shimizu wanted out of the capital and away from any influence, Aiko went back to Fire Country and got ready for bed.

They got up hideously early for breakfast. Aiko recieved a tray that contained several polite notes and a copy of a completed bank transfer form. After they collected their things from their rooms, they were politely escorted back to the border of Fire Country. Aiko let her escorts touch either arm, and hiraishin'd them away.

"Aiko-sama," Utakata said slowly. He took his hand away and frowned at their surroundings. "This is not your office."

"It isn't," Aiko agreed. She watched the person sitting in reception make eye contact and turn white behind her glasses. "It's city hall in a little farming town outside of Konohagakure." She patted Gaara's hand and then pulled away.

"Why?" Utakata said flatly.

"I need to do some paperwork," Aiko said sensibly. "Why else would I be here?"

Gaara, who caught on fast, tilted his head. "Is this the town closest to the base where Orochimaru had been doing business?"

"It is," Aiko agreed. She flashed him a smile and stepped forward towards the reception desk. The woman sitting behind it adjusted her neat blue neckerchief as if it was armor. "I need to put in a property ownership claim."

"Foreign residents can't own property in Fire Country," Gaara said, as if she might have forgotten.

She shook her head. "He didn't say a thing about native-born citizens who live abroad."

"A critical error in judgment," Utakata said flatly.

"You love me," Aiko reminded him. She turned to the woman behind the desk, who was stone-still and very professional-looking. "Hello, I'm here to enquire about a property outside of town, about 8km to the west. It was previously owned by Orochimaru-san, who forfeited his ownership to me when I collected on the bounty for his capture or neutralization."

"Please take a number," the city hall employee said, on professional reflex. She appeared to immediately regret it, flushing slightly red. But she didn't back down, either.

Aiko gave her a slight frown and leaned over slightly to pull a numbered ticket. It said 3. The office appeared to be empty, but… she could take a seat, if that was appropriate? She took a step back.

The light above the desk dinged.

The worker looked at her screen. It lit up the faint hint of forming crow's lines outside her eyes. "Number 3," she called. "I can see you now at desk number 1."

Aiko could not help but glance around to confirm what she already knew.

'There is only one desk in this room.'

But the only desk in the room did have a big black 1 painted on the front, so Aiko took one step forward. "I'm here to ask about the title for a piece of land in this jurisdiction."

The woman glanced at Aiko, Utakata, and then tilted her head down to look at Gaara. Her steely demeanor faltered at whatever she saw on him. "Ano…" She swallowed, and seemed to recover her nerve. "Do you happen to have the exact address? I'll need to get the records."

Aiko rattled it off, and the woman wrote it on a note. She gave them a professional, if slightly strained smile, and invited them to have a seat while she excused herself to the archives.

The chair creaked when Aiko sat down. It was the only sound other than heel clicks fading into the distance.

"Why would you want this land?" Gaara asked.

"Spite." Utakata took a seat without a sound.

"No," Gaara dismissed. His bangs flopped in front of his face when he shook his head. "If this was merely spite, she would exercise her pettiness in a more convenient way. I suspect there will be profit. Maliciousness alone is too impractical to inspire the decision to claim the property. It would be a diplomatic nightmare for Aiko-shishou to possess a second home so close to another nation's capital."

"Crimetown," Aiko said absently.

Utakata repeated that far too loudly. She gave him a scolding look, because really, he should know to behave better in public.

"You will sell the compound quickly, then," Gaara confirmed.

Aiko winked at him. "Yes. To whom?"

A line formed between his lack of eyebrows. He stared at her. He was probably compiling everything he knew about her and who she might know with Fire Country citizenship. "You don't have a specific buyer yet," he said slowly. "Your candidates…" He looked scandalized.

"Crimetown," Aiko repeated cheerfully. This time Gaara clearly understood that she was making a proposal, not slandering Konoha.

He sighed heavily and looked at the ceiling.

"Surely you know some Fire Country citizens in good standing, of strong moral character, who would be good contacts for Kirigakure and not cause any trouble or scandal," Utakata said. He might have been pleading.

"Yes, many," Aiko agreed. "But I don't want to sell to any of them. I want to create crimetown smack in the middle of Konoha and the capital and make sure they can't do anything about it."

"One reasonable person," Utakata said. He was definitely begging. "Someone analogous to Shimizu-sama, for example."

"I know a narcotics dealer who has pet tigers," Aiko said idly. "He could use a nice big space for a big cat sanctuary."

"Someone corrupt, among the nobility," Utakata switched tacts. "We can find someone who has financial need, fading status, and exchange goodwill for farmland that will revive their prospects."

"Could be a full zoo, actually," Aiko mused. "That would provide a really good explanation about all the people who stay there, and people who come to see the animals would make it easier to visit discreetly on other business."

"Number 3, I can see you at desk 1."

Aiko stood and sauntered back to the desk. The same woman was there, with a photocopied piece of paper and a small folder.

"Here is the requested information," she said. Aiko took it when it was extended. "If this paperwork is properly filled out we can file your request."

Aiko eyed her.

The office worker, who was not interested in telling the Mizukage that she could not buy a nightmare factory nearby, met her gaze fairly steadily. "It's all included," she said. "Is there anything else?"

"Yes, I'd also like the form to register a bill of sale, and contact information for some local Notaries Public that your office recommends." Aiko played idly with the pen tied to the desk. "I'd also like information about registering townships."

Utakata sighed loudly.

The older woman didn't even blink, much less prevaricate. Those documents were obtained readily from a filing cabinet under the desk that was probably full of all sorts of blank documents.

Aiko pursed her lips once more as these were handed to her without a hint of commentary or hesitation.

This 30-something year old clerk really wasn't going to say a damn thing about a foreign military dictator in her office asking for paperwork it was legally impossible for her to fill out, as far as any reasonable person would guess. Not a word. She hadn't let on that she recognized any of them, despite their headbands and fairly distinctive appearances. Aiko had fully expected her to get her supervisor, at least.

"I respect you," Aiko said. "Keep up the good work." And then she nodded and left, taking the time to make sure her coat flared behind her.

#vapors #uzumaki aiko #electrasev5n #ninja daily #fanfiction #naruto fanfiction #clarity #AIC #Aiko in Canon

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cyarsk52-20 · 8 months

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In the storied history of rock 'n' roll, how many classic albums truly have no weak songs? Even the Beatles' Sgt. Pepper's Lonely Hearts Club Band, ranked by many as the greatest album ever recorded, has one less-than-stellar track in "Good Morning Good Morning." The greatest records aren't necessarily the most consistent, but these 25 albums beg to be played from start to finish.

The 1960s remain perhaps the greatest decade in music history, with dozens of perfect albums solidifying rock as the sound of a generation. The '60s also saw plenty of flawless debut albums, such as the Jimi Hendrix Experience's Are You Experienced, The Doors' eponymous album and King Crimson's revolutionary In the Court of the Crimson King.

READ MORE: 15 Maligned '90s Rock Albums That Deserve a Second Chance

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You'll see a small handful of 21st century albums in this list too, and if you don't see your favorite modern masterpiece, be sure to check our list of 25 Legendary Metal Albums With No Weak Songs.

See the full gallery of 25 Legendary Rock Albums With No Weak Songs below.

25 LEGENDARY ROCK ALBUMS WITH NO WEAK SONGS

These legendary rock albums have no filler.

Gallery Credit: Loudwire StaffAC/DC, 'Highway to Hell'

Albert / Atlantic

AC/DC, 'Highway to Hell'

AC/DC’s Highway to Hell was the last album the band would record in the ‘70s and also the last with iconic singer Bon Scott. If their career had ended here, it would’ve been an admirable run. Of course, “Highway to Hell” was perhaps the biggest statement from the group yet, but let’s not forget about the other nine tracks here. “Girls Got Rhythm,” “Touch Too Much,” “Shot Down in Flames” and “Beating Around the Bush” all represent the band’s cheeky attitude toward the fairer sex while “Night Prowler” paraded their tough guy image.Alice in Chains, 'Dirt'

Columbia

Alice in Chains, 'Dirt'

If the public at large still remained oblivious to the grunge community’s pervasive drug abuse, then Alice in Chains went ahead and told them all about it on 1992’s Dirt. Undisguised examples such as “Sickman,” “Junkhead,” “God Smack” and “Angry Chair” were terrifying and mesmerizing in equal measures, and similarly gloomy issues such as depression, war and mortality pervaded other key tracks “Them Bones,” “Rooster” and “Would.” All of which might have made AIC’s sophomore album a downer and a slump, if not for the haunting beauty of Cantrell and Staley’s vocal harmonies and the musical exorcism of their demons.The Beatles, 'Magical Mystery Tour'

Parlophone / Capitol

The Beatles, 'Magical Mystery Tour'

The Beatles have more iconic albums than, essentially, any band in history. However, even Sgt. Pepper's has "Good Morning Good Morning" and Abbey Road has "Mean Mr. Mustard." Magical Mystery Tour is remarkably consistent from beginning to end, boasting iconic stoner cuts "I Am the Walrus" and "Strawberry Fields Forever."David Bowie, 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars'

RCA

David Bowie, 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars'

The master of reinvention bowled yet another strike in 1972, creating his most iconic alter ego in Ziggy Stardust. Nobody can mess with Bowie's creativity, and Ziggy Stardust is, frankly, unfuckwithable.Deep Purple, 'In Rock'

Harvest

Deep Purple, 'In Rock'

Shaking off the ‘60s, Ritchie Blackmore took his guitar and bashed down the door, rebuilding the framework from the moment the needle touched the record as “Speed King” sounded the proto-metal alarm. Top to bottom, In Rock is a treasure trove and deservedly puts the members faces on a redone Mount Rushmore on the cover. “Child in Time” was one of the first true hard rocking songs that saw wailing high notes enter the fold and establish the blueprint that would later become the heavy metal singing staple.Deftones, 'White Pony'

Maverick

Deftones, 'White Pony'

After generating plenty of buzz from their previous releases, the music world finally caught up with Deftones on their 2000 album White Pony. The Terry Date-produced record became one of the defining albums of 2000, fully realizing the potential of the band’s atmospheric quiet-loud dynamic with great aplomb. The monster radio hit was “Change (In the House of Flies),” a creepy little ditty that put Chino Moreno’s vocal capabilities on full display.The Doors, 'The Doors'

Elektra

The Doors, 'The Doors'

When's the last time a rock band released a perfect debut album? With The Door's eponymous LP, they instantly became '60s rock royalty and Jim Morrison was a definitive poet of the decade. Bookended by the classics "Break on Through" and "The End," there's zero room for fluff in this iconic album.Fleetwood Mac, 'Rumours'

Warner

Fleetwood Mac, 'Rumours'

It's one of the few albums with a perfect score from nearly every critic, and Fleetwood Mac were more than deserving. It wasn't until their 11th album that Fleetwood Mac created their masterwork, Rumours, giving the softer side of rock some devastatingly heavy emotional weight.Guns N' Roses, 'Appetite for Destruction'

Geffen

Guns N' Roses, 'Appetite for Destruction'

After slowly working its way up the charts over the course of a year, Appetite for Destruction finally overtook the No. 1 spot on the charts and went on to sell over 30 million copies. Guns N’ Roses were branded “the most dangerous band in the world” with an attitude that was unrivaled. From the all-time opener “Welcome to the Jungle” along with timeless classics “Paradise City” and “Sweet Child O’ Mine,” the album is packed start to finish with. The raw attitude and fevered aggression is felt on “Out Ta Get Me” and “Nightrain” while “Rocket Queen” closes it out in impassioned style.The Jimi Hendrix Experience, 'Are You Experienced'

Track

The Jimi Hendrix Experience, 'Are You Experienced'

Reaching back toward the glory days of rock, one of the most perfect albums ever recorded is the Jimi Hendrix Experience’s Are You Experienced. The psychedelic masterwork gave the world immortal cuts such as “Foxy Lady” (or "Foxey Lady" as it was sometimes stylized), “Fire” and “Are You Experienced.” It doesn’t even matter if you picked up with original North American edition or the original U.K. and international edition — you’re guaranteed an album with no lame songs.King Crimson, ‘In the Court of the Crimson King’

Island

King Crimson, ‘In the Court of the Crimson King’

King Crimson are one of progressive rock’s charter bands, and their 1969 debut, In the Court of the Crimson King, is one of the style’s cornerstones. At the time, there was nothing more terrifying than the album’s first number, “21st Century Schizoid Man,” which married Greg Lake’s distorted voice, Robert Fripp’s dissonant guitar, and Ian McDonald’s honking saxophone (!) into a deeply paranoid, unsettling sonic maelstrom.Led Zeppelin, 'Led Zeppelin IV'

Atlantic

Led Zeppelin, 'Led Zeppelin IV'

Is there any better album side than Side 1 of Led Zeppelin's 1971 classic, Led Zeppelin IV? You start with the undeniable groove of "Black Dog" followed by the unabashed rock fury of "Rock and Roll," dig into folksy "The Battle of Evermore" with Plant and female vocalist Sandy Denny, then finish out the side with the legendary epic "Stairway to Heaven." But Zeppelin weren't done, with an amazing Side 2 that included "Misty Mountain Hop," "Four Sticks," "Going to California" and "When the Levee Breaks."Nirvana, 'Nevermind'

DGC

Nirvana, 'Nevermind'

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Epic

Pearl Jam, 'Ten'

According to some troublemaking observers, Pearl Jam crashed the grunge party thrown by Nirvana with the rather more classic rock-steeped (as opposed to punk-based) sound of 1991’s Diamond-certified Ten. But there’s no disputing the fact that the group composed of former Green River and Mother Love Bone members Gossard and Ament had more than earned its Seattle birthright. What’s more, now classic songs such as “Even Flow,” “Alive” and “Jeremy” (all released one month prior to Nevermind, incidentally) did just as much to codify grunge’s signature sound among the masses as Kurt’s creations, making Pearl Jam’s magnum opus a worthy cornerstone of alternative rock’s rising tide.Pink Floyd, 'The Dark Side of the Moon'

Harvest

Pink Floyd, 'The Dark Side of the Moon'

Rock albums do not get more perfect than this. The Dark Side of the Moon still holds the record for longest number of consecutive weeks on the Billboard 200 chart with 927 (that's over 17 years!). The conceptual masterpiece must be listened to from front to back, with absolutely no exceptions.Queens of the Stone Age, 'Like Clockwork'

Matador

Queens of the Stone Age, 'Like Clockwork'

Queens of the Stone Age’s …Like Clockwork is the biggest creative step of the band’s two-decade history. Blending elements of rockabilly, dark blues, stoner rock and psychedelic experimentation. Though …Like Clockwork features guest performances from Elton John, Trent Reznor, Dave Grohl and others, the creative spotlight is placed directly on QOTSA, who created a timeless masterpiece with their sixth album. Birthed out of a near-death experience for Josh Homme, …Like Clockwork reaches classic Radiohead levels of artsy brilliance and mass appeal.Radiohead, 'OK Computer'

Parlophone / Capitol

Radiohead, 'OK Computer'

Yeah, "Creep" is good and all, but how about "Paranoid Android" and "Karma Police"? Radiohead's OK Computer brought '90s art rock to its zenith, giving fans a flawless record that made the band's first two records, somehow, feel like child's play.Rage Against the Machine, 'Rage Against the Machine'

Epic

Rage Against the Machine, 'Rage Against the Machine'

Rage Against the Machine's 1992 debut disc didn't exactly blow up out of the gate. In fact, it was almost two years before MTV picked up on the song "Freedom," the fourth single from the disc. But once they did, fans began to embrace the album as a whole. Songs such as the blistering anthem "Killing in the Name," the hard-hitting "Bullet in My Head" and the powerful "Bombtrack" helped make the band's self-titled debut a true masterpiece that influenced other acts for years to come.Rainbow, 'Rising'

Oyster / Polydor

Rainbow, 'Rising'

The crowning achievement from Rainbow came in 1976 with the release of Rising. Boasting just six tracks, the album is arguably pound-for-pound Ritchie Blackmore’s greatest work. His trailblazing riffing is found on “Starstruck” and “Run With the Wolf,” but his neoclassical efforts brought out the best in his writing. “Stargazer” is the quintessential Blackmore track, melding his influences into a towering epic with heavy orchestration and Dio’s magical lyricism and one of the most masterfully arranged songs in all of rock. “A Light in the Black” is a scorcher that somehow manages to follow “Stargazer,” bursting with power and ending the album on a devastating note.The Rolling Stones, 'Exile on Main St.'

Rolling Stones

The Rolling Stones, 'Exile on Main St.'

Not even the Beatles released a more solid album from front to back than The Rolling Stones' Exile on Main St. "Happy," "Tumbling Dice"... just take your pick. The Stones didn't even miss a beat when they went country with "Sweet Virginia."Rush, 'Permanent Waves'

Anthem

Rush, 'Permanent Waves'

Celebrating the first day of 1980, Rush released Permanent Waves to the masses. The follow-up to the other-wordly progressive Hemispheres, the group stripped down their approach considerably, infusing unforgettable hooks in “The Spirit of Radio” and “Freewill.” Rush still retained their progressive roots to the tune of “Jacob’s Ladder” and “Natural Science” and showcased their lighter side on “Different Strings.”Soundgarden, 'Superunknown'

A&M

Soundgarden, 'Superunknown'

After proving they could move millions of copies on their own terms with Badmotorfinger, Soundgarden proved they could streamline their thorny, inimitable songwriting just enough to do it again on an even larger scale, with the stunning Superunknown. Sacrificing none of their mold-shattering individuality, the quartet simply fine-tuned virtually every song here — “My Wave,” “Fell On Black Days,” the title track — into a potential single. And the tunes that were actually chosen as official singles, primarily the muscular “Spoonman” and psychedelic nightmare “Black Hole Sun,” went on to define the grunge era, even as it neared its conclusion and fell on black days of its own making.Van Halen, 'Van Halen'

Warner

Van Halen, 'Van Halen'

When Van Halen unleashed their debut album, the guitar work laid down by Eddie Van Halen quite literally set the world on fire. More or less redefining lead guitar playing in one album, the record is stacked with party-time anthems like “Runnin’ With the Devil,” “Ain’t Talkin’ ‘Bout Love,” “Jamie’s Cryin’” and the Ray Davies cover of “You Really Got Me.” Maybe David Lee Roth isn’t the best technical singer, but he oozes charisma and unbridled, reckless youth. Of course, nothing would be the same again after Eddie’s signature “Eruption” solo.Weezer, 'Blue Album'

DGC

Weezer, 'Blue Album'

With Weezer's debut album, Rivers Cuomo became the voice of every outcast toiling on a guitar in the parents' basements. Not one note on the Blue Album can be changed, from anthemic bangers like "Say It Ain't So" to tearjerkers like "The World Has Turned and Left Me Here."The Who, 'Who's Next'

Track / Decca

The Who, 'Who's Next'

Bookended by the classic and powerful opening and closing tracks, "Baba O'Riley" and "Won't Get Fooled Again," respectively, Who's Next is perhaps the Who's best studio album. The disc also features standout tracks such as "Bargain" and "Behind Blue Eyes."

25 LEGENDARY METAL ALBUMS WITH NO WEAK SONGS

Behemoth, 'The Satanist'

Metal Blade

Behemoth, 'The Satanist'

The Satanist is, very simply, a vile masterpiece; a wicked and nefarious plunge into the war between heaven and hell. From the iconic opening chords of “Blow Your Trumpets Gabriel” and the relentless double kick attack of “Ora Pro Nobis Lucifer,” to the classic rock solos and malevolent choral ambience of “O Father O Satan O Sun!,” Behemoth’s 2014 album sits in its own class entirely when it comes to 2010s metal. The Satanist will forever reside with pivotal albums such as Reign in Blood and Altars of Madness, immortalized in congealed vomit and callous ash.Between the Buried and Me, 'Colors'

Victory

Between the Buried and Me, 'Colors'

Between the Buried and Me’s Colors is the progressive act’s magnum opus as they severed ties with their metalcore contemporaries for good. The title is befitting as the album incorporates styles of music from well outside the rock / metal pantheon, entertaining country and polka moments amidst their mind-expanding technicality and Genesis-inspired, cinematic parts that seem to be the glue holding each track together as navigating these twists and turns can sometimes feel disjointed to the green listener. If you’re looking for a musical journey, punch your ticket with “Ants of the Sky,” “White Walls” and “Sun of Nothing.”Black Sabbath, ‘Master of Reality’

Vertigo

Black Sabbath, ‘Master of Reality’

On Black Sabbath's stoner classic Master of Reality, Tony Iommi took his riffing brawn to new depths, tuning down to C#, giving songs like the chugging “Children of the Grave” and the lurching churn of “Into the Void” a considerable boost. A threat to religion (“After Forever”) and red-eyed (“Sweet Leaf”), Black Sabbath exemplified rock ‘n’ roll’s perceived dangers with a crushing new sound they owned exclusive rights to.Death, 'Human'

Relativity/Relapse

Death, 'Human'

Human quickly became the gold standard of death metal, clocking in at just under 35 minutes but packing enough into its span to be heralded as one of the finest releases in the genre’s ever-widening canon. Technicality met brutality with deft balance on songs such as “Together as One” and “Suicide Machine.” Mastermind Chuck Schuldiner’s lyrics were venturing away from aimless gore, favoring the horrors of reality when pen met paper and his visceral voice conveyed their ugly message.Dio, 'Holy Diver'

Warner Bros

Dio, 'Holy Diver'

After impressive yet brief runs with Rainbow and Black Sabbath, Ronnie James Dio pulled off the hat trick with the Dio band, making his entrance with the vaunted Holy Diver. The title track and the synth-charged “Rainbow in the Dark” are the obvious standouts, but the rest of the album’s tracks aren’t far behind with Vivian Campbell unleashing a menacing riffstorm on “Gypsy” and “Stand Up and Shout.” The less aggressive but equally captivating “Don’t Talk to Strangers” captures Dio’s lyrical essence at its best alongside “Invisible.”Dissection, 'Storm of the Light's Bane'

Nuclear Blast

Dissection, 'Storm of the Light's Bane'

No band has pulled off such striking melody in black metal like Dissection. The Swedes’ Storm of the Light’s Bane is a cornerstone of the style, marrying sinister lead guitar work with the frozen tundra riffing upon which the demon rides on the heralded monochromatic album cover. If you want to show an outsider what malevolent evil is in sonic form, point to the mid-section of “Where Dead Angels Lie” and just about all of “Thorns of Crimson Death.”Emperor, 'Anthems to the Welkin at Dusk'

Candlelight / Century Black

Emperor, 'Anthems to the Welkin at Dusk'

While a good deal of black metal was dialed into bedroom production values and shock value Satanism, Emperor’s valedictorian nature manifested to author black metal’s most defining moment in the form of Anthems to the Welkin at Dusk. Hurricane-force riffs and thrilling synths cacophonously dance to the more philosophical and wondrous lyrics eked out as torn shrieks or elegant cleans. This album maintained the violent dissonance of Norway’s black metal instigators while presenting overtly complex and multidimensional arrangements and consideration and will never be matched.Ghost, 'Opus Eponymous'

Rise Above

Ghost, 'Opus Eponymous'

Ghost immediately made waves with their Opus Eponymous debut, initially released to little fanfare, but ballooned in popularity as word of mouth spread about this mysterious act. Playing a straightforward, Blue Oyster Cult-inspired hybrid of rock and metal, Ghost enamored fans with the honey-throated voice of Papa Emeritus I and their celebratory hymns of the occult. While the band has experienced unfathomed success since, tracks such as “Elizabeth,” “Ritual” and “Stand by Him” remain as powerful as they were in 2010.Gojira, 'From Mars to Sirius'

Listenable Records

Gojira, 'From Mars to Sirius'

Gojira’s signature sense of groove and progressiveness ultimately fall into the nebulous death metal realm, but the French quartet truly became a subgenre of their own on From Mars to Sirius. A potent album bursting with an onslaught of suffocating riffs seesaw with delicate, gorgeous atmosphere. “The Heaviest Matter in the Universe” says it all in the title, followed up by the all-time riffing frenzy found in “Flying Whales,” arguably the band’s best moment.Iron Maiden, 'Seventh Son of a Seventh Son'

EMI

Iron Maiden, 'Seventh Son of a Seventh Son'

Following Somewhere in Time, Maiden toned down the use of synthesizers, leaving them in tact for style over substance on Seventh Son of a Seventh Son. The loose concept record details a born prophet as introduced by the frenetic “Moonchild.” Spiderweb lead playing dominates tracks such as “The Evil That Men Do” and the back half of the dazzling title track while Bruce Dickinson is at the forefront of songs like the vocally daunting “Infinite Dreams.” The single “Can I Play With Madness” is the most straightforward song here, but to perfect effect offering a fun reprieve from the challenging work elsewhere.Judas Priest, 'Painkiller'

Columbia

Judas Priest, 'Painkiller'

After releasing Turbo and Ram it Down, the last thing Priest fans expected was the piston-pumping Painkiller. The title track is one of the most devastating songs in the entirety of the metal canon with Halford’s piercing falsettos taking the backseat only while Downing and Tipton trade screaming solos. Be it the rock-steady, cruising pace of “Hell Patrol,” “Night Crawler,” or anything else here, in 1990, the Priest was BACK!King Diamond, 'Abigail'

Roadrunner

King Diamond, 'Abigail'

No one tells better ghost stories than Kim Bendix Petersen — a.k.a. King Diamond — and with 1987's Abigail, the erstwhile Mercyful Fate frontman delivered his solo masterpiece. In longtime Fate bandmate Michael Denner and the fresh blood (no pun intended) brought by Andy LaRocque, the King found the perfect twin-guitar team to give flight on metallic wings to his gothic storytelling talents.Mastodon, 'Crack the Skye'

Reprise

Mastodon, 'Crack the Skye'

As Mastodon’s stock continued to climb, they strayed from the more unpredictable and downright wild moments of Blood Mountain, authoring a new concept with a more concentrated progressive metal tinge on Crack the Skye. The record’s kaleidoscopic effect was felt from the opening moments of the mystical “Oblivion,” riding this wave through the rest of the album with heavier deviations in “Divinations” and moments of pure psychedelia on “Ghost of Karelia.”Megadeth, 'Rust in Peace'

Capitol

Megadeth, 'Rust in Peace'

Armed with a new lineup now featuring renowned axeman Marty Friedman and drummer Nick Menza, Megadeth’s Dave Mustaine and David Ellefson went back to work to record their game-changing fourth album, Rust in Peace. With an already established affinity for technical thrills, the band didn’t just raise the bar, they built a new one entirely. The wild tempo changes from previous records found a new charm with more seamless transitions than erraticism. The opening combo of “Holy Wars… the Punishment Due” and “Hangar 18” signaled thrash was firmly in a new direction as the onslaught of serpentine arrangements and heroic solo battles continued on other standouts such as “Five Magics” and “Tornado of Souls.”Metallica, ‘…And Justice for All’

Elektra

Metallica, ‘…And Justice for All’

Newsted or no Newsted, Metallica brought their compositions to a new level on ...And Justice for All, crafting more complex and innovative songs too good for a metal Grammy. There's no hint of weakness anywhere on Metallica's fourth album, even with no song clocking in at under five minutes in length.Morbid Angel, 'Altars of Madness'

Earache

Morbid Angel, 'Altars of Madness'

Survey a group of metalheads and ask them what the greatest death metal album ever recorded is and odds are you’ll find many who mention Morbid Angel’s iconoclastic debut, Altars of Madness. Like a death metal Tony Iommi, Trey Azagthoth commanded tectonic riffs to the tune of “Maze of Torment” and “Immortal Rites,” while David Vincent’s demonic barking blasphemed its way through nearly 40 labyrinthine minutes.Opeth, 'Blackwater Park'

Koch Records

Opeth, 'Blackwater Park'

Most Opeth aficionados consider Blackwater Park to be the high point of the band’s discography, seamlessly blending their opposing musical sides into a well-woven tapestry. Rather than contrasting the light and dark sides like before, the styles stepped on each others’ toes, allowing more breathing room in the composition, unfurling a new facet of this always evolving group.Pantera, 'Vulgar Display of Power'

Atco

Pantera, 'Vulgar Display of Power'

Following their brilliant and defining Cowboys From Hell, Pantera shed the last of their traditional metal sound in favor of the fully-fledged groove that changed the shape of heavy metal throughout the decade and beyond. Vulgar Display of Power is best known for the anthemic “Walk” and Philip Anselmo’s conquer-all attitude, but there’s plenty more driving this record as Dimebag battered listeners on “A New Level” and “Fucking Hostile.” The band’s sense of hooks were never far from reach, with opener “Mouth for War” showing they still held the trad metal aesthetics (not to be mistaken for sound) from which they were born.Queensryche, 'Operation: Mindcrime'

EMI

Queensryche, 'Operation: Mindcrime'

Operation: Mindcrime is a rarity in that it can be considered a truly flawless album in every aspect. The lyrics, music and Geoff Tate’s voice have a bombastic synergy that saw Queensrÿche reach their creative maximum in 1988. The story is a flashback from the character Nikki, who is a heroin addict manipulated by Dr. X, the leader of a revolution. Nikki is brainwashed by Dr. X and becomes an assassin for the radical group’s plans for social and economic change. Later, Nikki is conflicted by his actions after he gains affection for Sister Mary. In the end, he wakes in the hospital as the album comes full circle.Sepultura, 'Arise'

Roadrunner

Sepultura, 'Arise'

Arguably the quintessential Sepultura record, the marriage of technicality with stuttered groove throughout Arise offered moments present in the band’s existing catalog and also hinted at their future development that would come on the hardcore-leaning ‘Chaos A.D.’Slayer, 'Seasons in the Abyss'

Def Jam

Slayer, 'Seasons in the Abyss'

Perhaps more vicious than even the lauded Reign in Blood, Slayer's fifth album, Seasons in the Abyss, brought the thrash legends back to full speed after successfully experimenting with slower tempos on South of Heaven. "War Ensemble" and "Dead Skin Mask" rank as some of Slayer's most brutal tracks, and Jeff Hanneman's work proves that he's the greatest riff writer in thrash history.Sleep, 'Dopesmoker'

Tee Pee

Sleep, 'Dopesmoker'

Okay, okay... so Dopesmoker is one long track, but there's no weakness to be exploited on this stoner masterpiece. The 12th fret on a Les Paul has never sounded so good.Suicidal Tendencies, ‘Lights, Camera, Revolution’

Epic

Suicidal Tendencies, ‘Lights, Camera, Revolution’

You can't bring Suicidal Tendencies down, nor can you find a weak track on the crossover thrash classic Lights... Camera... Revolution!. The album is Suicidal's true coming out party into the thrash world, trading Pepsi for funk thanks in part to Robert Trujillo.System of a Down, 'Toxicity'

American Recordings / Columbia Records

System of a Down, 'Toxicity'

System of a Down found success in the least likely of places. Spastic, abrasive, sometimes nonsensical and other times all too poignant, the quartet lit the fuse to the sonic powder keg that is Toxicity. “Chop Suey!” and its head-scratching lyrics found favor with radio, lighting up the airwaves and sending System of a Down on a massive upward trajectory. The title track and the rhythmic juggernaut “Aerials” furthered this momentum, all helping to propel Toxicity to a No. 1 debut on the Billboard 200 chart.Tool, 'Ænima'

Zoo

Tool, 'Ænima'

Tool displayed their off-color brand of humor cut with spirituality and intelligence on the title of their sophomore record, Ænima. Combining the word ‘anima’ (a Latin word for ‘soul’) and the medical procedure enima, they dove straight into a worldly sense in their music, accented by Middle-Eastern drumming. The push and pull of the familiar grooves often take a back seat to palm-muted, delicate guitar work for a greater sense of dynamism as made evident by songs such as “H.” and the title track. New bassist Justin Chancellor displayed his chops on “Forty Six & 2,” one of the album’s most popular tracks along with the winding “Pushit.”

Filed Under: AC/DC, Alice in Chains, Deep Purple, Deftones, Guns N' Roses, Led Zeppelin, Pearl Jam, Pink Floyd, Soundgarden, The Beatles, Van Halen

Categories: Galleries, Lists, News, Original Features, Rock

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SEE PHOTOS OF ALICE IN CHAINS’ LAYNE STALEY THROUGH THE YEARS

Lauryn SchaffnerUpdated: August 22, 2023

Do you remember the first time you heard "Man in the Box"? What it was like when the vocals exploded into a raspy, roaring frenzy when the chorus hit?

"Feeeeeeeeed my eyes!"

Layne Staley was one of rock's strongest vocalists, and perhaps one of the most underrated as well. Though Alice in Chains had their fair share of success during their prime, Staley seems to have become the lost voice from that era.

He was a tortured soul from the start, but a kind one nonetheless. Every account of the singer's personality is a positive one, like the time he let his eventual guitarist Jerry Cantrell live with him when he had nowhere else to go.

READ MORE: 5 Reasons We Love Alice In Chains' Layne Staley

Staley's onstage presence never appeared cocky, despite his vocal capabilities. Screaming Trees and Mad Season drummer Barrett Martin said, “Layne’s voice was so powerful that I could hear his voice coming off his body...Out of his chest [was] louder than what was coming out of the monitors.”

As we've unfortunately seen too many times with great talent, often comes great demons. It seems as if tragedy especially plagues musicians from the grunge era. First was Andrew Wood, then Kurt Cobain, then Staley, Scott Weiland and most recently, Chris Cornell.

Though Staley didn't take his own life, his story wasn't any less devastating. He had a rough breakup with a longterm girlfriend, who ended up passing away shortly after they parted. The media was not kind to him, so he isolated himself in his final years. He battled drug addiction throughout his career, and it eventually won. He died alone at 34 years old.

To celebrate the Alice in Chains frontman's life, we've compiled a gallery of photos from him throughout the years below. You can see Staley from his first band Sleze, to his glam phase, to his final televised performance with Alice when they played MTV Unplugged. There aren't many photos of him in the years to follow, but this is how we remember him.

SEE PHOTOS OF ALICE IN CHAINS' LAYNE STALEY THROUGH THE YEARS

Photos of the Alice In Chains legend.

Gallery Credit: Lauryn SchaffnerLayne Staley, 1985

YouTube - Johnny Bacolas

Layne Staley, 1985

SlezeLayne Staley, 1986

YouTube - Johnny Bacolas

Layne Staley, 1986

Alice N' ChainsLayne Staley, 1988

YouTube - ShirleyCobain

Layne Staley, 1988

Layne Staley, 1989

YouTube - seaofsorrow17

Layne Staley, 1989

Layne Staley, 1990

Annamaria DiSanto, Getty Images

Layne Staley, 1990

Layne Staley, 1991

Ron Galella, Getty Images

Layne Staley, 1991

Layne Staley, 1992

Jeffrey Mayer, Getty Images

Layne Staley, 1992

Layne Staley, 1993

Frank Micelotta Archive, Getty Images

Layne Staley, 1993

Layne Staley, 1995

YouTube - MadSeasonVEVO

Layne Staley, 1995

Layne Staley, 1996

YouTube - Alice in Chains

Layne Staley, 1996

TOP 66 HARD ROCK + METAL FRONTMEN OF ALL TIME

See Loudwire's picks for the Top 66 Hard Rock + Metal Frontmen of All Time

Gallery Credit: VariousTop 66 Hard Rock + Metal Frontmen of All Time

Mark Davis, Getty Images / Karl Walter, Getty Images / Fox Photos, Getty Images / Paul Kane, Getty Images

Top 66 Hard Rock + Metal Frontmen of All Time

Click through the gallery to see our picks for the Top 66 Hard Rock + Metal Frontmen of All Time.66. Nergal (Behemoth)

Liz Ramanand, Loudwire

66. Nergal (Behemoth)

Behemoth’s fearless leader Nergal has a mission statement of taking his music and message of Satanism around the world. The Polish legends’ live act comes across more as a ritual than a traditional metal show, with Nergal at its crux. His vein-popping bark spews blasphemies as his wide-eyed gaze pierces fans, especially when serving communion to the ones at the barrier. His grand vision is translated across the studio, stage and highly artful music videos, making him one of extreme metal’s most revered assets up front.65. Bobby Blitz (Overkill)

Liz Ramanand, Loudwire

65. Bobby Blitz (Overkill)

Fronting one of thrash’s most consistent and prolific acts is Bobby Blitz. The Jersey boy gives Overkill every bit of their “put ‘em up” attitude with darting vocal phrasing and chest-beating lyrics. Resting a leaning mic stand against his shoulder, Blitz is too cool onstage, directing traffic with flurries of hand motions, igniting furious circle pits with high pitched wails across unrelenting riffage. Despite being in the back half of his 50s, Blitz’s quirky but convincing voice has shown no signs of wear.64. David Draiman (Disturbed)

Kathy Flynn, WickedGoddessPhotography.com

64. David Draiman (Disturbed)

Disturbed’s David Draiman is one of rock’s most enthusiastic frontmen, delivering empowering words with decisive performances. His signature mix of grit with a glimmering clean tone is one of the most immediately recognizable voices in the business. Whether it’s the hard enunciation on tracks like “Down With the Sickness” or the haunting cleans on the Simon & Garfunkel cover “The Sound of Silence,” Draiman’s power is undeniable.63. Mikael Akerfeldt (Opeth)

Kathy Flynn, WickedGoddessPhotography.com

63. Mikael Akerfeldt (Opeth)

Opeth mastermind Mikael Akerfeldt is equally lauded for his dual-threat voice as he is his brilliant songcraft. Though he no longer utilizes growling on new material, Akerfeldt was arguably the best to ever do it with clean enunciation amidst the gut-checked bellowing. Over the years he’s grown increasingly stronger on the clean side of his voice, beautifully haunting at times and remarkably calming at others. Akerfeldt’s sense of humor is a nice juxtaposition of the heady prog and his dry wit is on display every night onstage.62. Frank Mullen (Suffocation)

Photo By: Scott Kinkade

62. Frank Mullen (Suffocation)

Suffocation’s Frank Mullen is one of the most entertaining vocalists, slicing and dicing alongside earth-churning riffs with his infamous hand chop. He pioneered the death growl, never straying from his subterranean bellowing for a moment and weaves in and out of the band’s serpentine song structures and erratic tempo changes. His banter is top notch, delivered with a biting bit of sarcasm and spit-take moments, playing on the barbaric imagery of songs like “Thrones of Blood” and “Entrails of You.”61. Randy Blythe (Lamb of God)

Liz Ramanand, Loudwire

61. Randy Blythe (Lamb of God)

Launching himself off stage monitors and screaming like a starved banshee, Lamb of God’s Randy Blythe puts on an electrifying show. At times, he looks like Philip Anselmo at his peak, recklessly stomping around and contorting himself as he empties his lungs with his signature growling style. Blythe’s lyrics are often layered with meaning, sometimes personal and other times commentary, set against the band’s brand of melody meets brawny groove.60. Barney Greenway (Napalm Death)

Photo By: Kevin Estrada

60. Barney Greenway (Napalm Death)

Napalm Death’s Barney Greenway is a complete maniac onstage, barking out socio-political condemnations amidst flurries of seeming tantrums. Between lines, his hands are often flying in all directions, like he’s shadow boxing a ghost and honestly seems to get in a good cardio workout. His vocal style has been imitated by countless singers, but none manage to conjure the sheer maddening level of rage of Greenway either in the studio or onstage. 59. Chino Moreno (Deftones)

Raphael Dias, Getty Images

59. Chino Moreno (Deftones)

Chino Moreno is a man with plenty of light and shade in his vocal approach as well as his temperament onstage. The Deftones frontman is capable of crafting calm, airy moods against the band’s more ethereal moments, only to shatter the tranquility with high shrieks set to more jarring rhythms. Always an insightful lyricist, fans can spend hours dissecting Moreno’s true intentions, adding to the already dense nature of the Deftones’ music.58. Devin Townsend (Devin Townsend Project / Strapping Young Lad)

Liz Ramanand, Loudwire

58. Devin Townsend (Devin Townsend Project / Strapping Young Lad)

Devin Townsend is a remarkably unique character, now known for delivering thrill-seeking, comedic performances and a bit more of a lighthearted mood than his earlier days in Strapping Young Lad. Devy used to be downright terrifying in SYL with a whirlwind of mood changes, but ever since starting the Devin Townsend Project, he plays more of a ringleader than fiery preacher. Always delivering honest albums that align with his mindset at the time, Townsend can either be soothing with rest-on-a-cloud type meditative cleans or destructive with vocal cord-testing anger.57. Scott Weiland (Stone Temple Pilots)

MJ Kim, Getty Images

57. Scott Weiland (Stone Temple Pilots)

Late Stone Temple Pilots singer Scott Weiland was one of grunge’s defining frontmen. Initially employing his deep baritone croon, Weiland branched out as the band explored different sonic territories, demonstrating his versatility and adaptability. Known for wielding a megaphone onstage, the singer was impossible to take your eyes off, losing himself in slinky dance moves. He also went on to join a cast of former Guns N’ Roses members in Velvet Revolver, delivering new age classic songs like “Slither.”56. Geddy Lee (Rush)

Kevin Winter, Getty Images

56. Geddy Lee (Rush)

What can’t Geddy Lee do? The Rush mainman is not only responsible for laying down some of prog’s busiest bass licks, but some of the most ear-shattering high notes and daunting delivery. Additionally, he triggers samples and plays the synthesizer live all while locking down the other two roles with flawless execution. Lee uses a direct input live and often subs the traditional amplifier setup with something quirky like rotisserie chicken ovens or laundry machines, adding to the appeal of Rush’s live show.55. Klaus Meine (Scorpions)

Dominik Bindl, Getty Images

55. Klaus Meine (Scorpions)

Despite pushing 70 years old, Klaus Meine is still one of rock’s most active frontmen onstage. Always in motion, often running up the catwalk in tandem with his bandmates or shaking the tambourine, the Scorpions singer has been getting it done for over four decades. His distinguished beloved German accent has added even more emphasis to hooks on ageless classics like “Bad Boys Running Wild,” “Rock You Like a Hurricane,” “Blackout” and so many more.54. Greg Puciato (The Dillinger Escape Plan)

Liz Ramanand, Loudwire

54. Greg Puciato (The Dillinger Escape Plan)

A Dillinger Escape Plan show is a dangerous place to be for both the band and fans. At the front if Greg Puciato, an absolute wildman who is a blur the entire set, often monkeying around on rafters and anything else scalable. Blood is not uncommon as Puciato often ducks and dodges instruments whipped around by his bandmates and he regularly is found screaming into the mic as he’s passed along amongst fellow crowdsurfers in the audience.53. David Coverdale (Whitesnake / Deep Purple)

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53. David Coverdale (Whitesnake / Deep Purple)

In 1973, few acts had the world in their hands like Deep Purple, so replacing an already iconic singer as a complete unknown would prove to be the ultimate test. David Coverdale was tapped as the band’s new vocalist, sharing mic time with bassist Glenn Hughes, and immediately captivated fans with the critically-acclaimed ‘Burn.’ His bluesy tone and overall grit was a perfect marriage for the band and he continued on after DP’s demise, forming Whitesnake, who went on to release a series of hit records of their own. Coverdale’s lyrical imagery was dripping with sex appeal, which he echoed onstage with sensual prowess as one of rock’s all-time greats.52. Chuck Schuldiner (Death)

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52. Chuck Schuldiner (Death)

Death mainman Chuck Schuldiner possessed one of the most visceral, throat-ripping voices in death metal, adapting his style to fit whatever new alley he took the death metal machine down. Evil Chuck also had a fairly intelligible delivery without sacrificing any sort of grit, putting his imaginative lyrics at the forefront whether they were drenched in gore in the early days or wallowing in more cerebral realms as Death evolved.51. Serj Tankian (System of a Down)

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51. Serj Tankian (System of a Down)

System of a Down’s Serj Tankian is one of the most unique frontmen across the metal and rock spectrum, seemingly flipping a switch between maddening rage in verses to operatic beauty in choruses. While System were complete game changers when breaking ground with albums like 'Toxicity,' Serj is also a well-respected solo artist harping more on the progressive and clean-sung aspects that made System so different.50. Jonathan Davis (Korn)

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50. Jonathan Davis (Korn)

Jonathan Davis is one of metal’s most energetic frontmen, putting conviction behind his every word. Korn’s lyrics are typically quite personal and dark, so Davis is bearing his soul as he clutches on to his custom mic stand. His voice varies between sinister and psychotic, feeding the music that tries mightily to reduce everything to rubble. 49. H.R. (Bad Brains)

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49. H.R. (Bad Brains)

Bad Brains are pioneers of hardcore punk music, and their frontman H.R. is one of rock's most dynamic live performers. Check out early '80s footage of him throwing his body around the stage, and what you'll see is pure energy and fearlessness.48. Oderus Urungus (GWAR)

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48. Oderus Urungus (GWAR)

GWAR front-thing Oderus Urungus had to leave Earth to go back to his home planet Scumdogia, but his time spent here was as one of the most engaging metal frontmen ever. While the band’s music is greatly underappreciated, Oderus kept the focus on himself and everyone he wanted to and did kill. His personality transcended the band as he became an underground icon that was able to infiltrate the mainstream.47. Al Jourgensen (Ministry)

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47. Al Jourgensen (Ministry)

Ministry mainman Al Jourgensen has collected some of the wildest stories in rock history all while pioneering industrial music. One of the most revered producers, Jourgensen would write the band’s music during bouts of consciousness and rigorously tour despite the challenges it presented him as someone who hates playing live. While Uncle Al was hardly ever sober onstage, he somehow pulled it together every night and delivered ferocious performances that gave the band a reputation as a must-see live act.46. Mike Patton (Faith No More)

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46. Mike Patton (Faith No More)

Faith No More singer Mike Patton is one of rock's most eclectic frontmen, always leaving everyone wondering what he’ll do next. His stage attire is ever-changing and always raises at least one eyebrow as his dynamic range traverses the oddities and intricacies of Faith No More’s music. The unhinged vocalist can let his voice soar and croon with the best of them as well as unleash some downright terrifying and abrasive screams and howls. 45. Glenn Danzig (Misfits / Danzig)

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45. Glenn Danzig (Misfits / Danzig)

Glenn Danzig has fronted three noteworthy bands: The Misfits, Samhain and Danzig. Serving as the chief songwriter during his time in the Misfits, Danzig created horror punk and became one of punk’s defining icons. He furthered this and developed a bluesier style of singing as he ran through a variety of lyrics influences ranging from horror to sex. Danzig is a fireball onstage, never stopping to take a breath and constantly engaging an already raucous crowd to deliver unforgettable performances.44. Chris Cornell (Soundgarden)

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44. Chris Cornell (Soundgarden)

Chris Cornell blazed trails with two of rock’s biggest bands, Soundgarden and Audioslave. The former is one of the biggest bands to break out of the 1990s grunge scene. His genre-defining voice takes the gritty grunge element and combines it with a tone that harkens back to some of the most powerful rock singers from the ‘70s. His work with Audioslave is equally impressive with his soulful voice dominating the beginning of the new millennium.43. Henry Rollins (Black Flag)

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43. Henry Rollins (Black Flag)

Following a guest spot onstage at a Black Flag show, Henry Rollins was asked to be the revolutionary hardcore act's new frontman. His imposing stage demeanor was the perfect fit for Black Flag’s intensity and the band soon became one of the most menacing live acts around. Black Flag created a nervous energy live with Rollins taking on most of that responsibility. The feeling was that violence could break out at any moment, which couldn’t be more in line for a hardcore show.42. Tom Araya (Slayer)

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42. Tom Araya (Slayer)

Slayer were one of those bands parents were terrified to see their kids listening to when they first came on the scene in the '80s. Things only got darker as the band delved more and more into the Satanic and sinister realms with Tom Araya dishing out controversy with his darting style. The singer-bassist has a palpable aggression that conveyed that Slayer said what they meant and meant what they said.41. Peter Steele (Type O Negative)

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41. Peter Steele (Type O Negative)

Late Type O Negative frontman Peter Steele was inimitable. His dark sarcasm and raunchy sense of humor was one shared with his Type O bandmates, adding charming wit amidst the typical doom and gloom of the band’s music. Known for taunting the crowd (exemplified in the fake live album ‘The Origin of the Feces’), his interaction with fans was playful and ultimately one of gratitude behind his sly grin. Steele’s hulking stature was especially imposing, especially during the reckless Carnivore days.40. Marilyn Manson

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40. Marilyn Manson

One of the most controversial frontmen ever, Marilyn Manson was a dangerous figure in the mid-’90s with incendiary live performances and lyrics that kept parents up at night. Always trying to turn everything on its head, few have made more waves than Manson, whether it was his intention or not. His sinister voice is chilling, rounding out the industrial tinge to his brand of metal. 39. Layne Staley (Alice in Chains)

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39. Layne Staley (Alice in Chains)

The Alice in Chains sound is so distinct because of Layne Staley’s crooning wail, combining elements of grunge and forging it in a metallic furnace to create one of the most dynamic groups to come out of the ‘90s. His lyrics dealt with addiction and depression, which was a well-documented part of the singer’s relatively short life. Staley has inspired countless singers and transcended quite divisive boundaries that existed between two genres at the time.38. King Diamond

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38. King Diamond

King Diamond is the complete package. He’s got the makeup, the stage design, horror concepts and possibly the most unmistakable voice in all of heavy metal. Every show and every album is theatrical from top to bottom, providing visuals in his shows to go along with the chilling music. After a lengthy hiatus due to back issues and a host of heart problems, King Diamond is back and tearing up the stage with his shows serving as a time capsule to those halcyon metal days.37. Rob Zombie

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37. Rob Zombie

Taking the idea of performing live means becoming a master of ceremonies. With his gritty voice and industrial flavored groove, Rob Zombie treats his shows like an event and it certainly comes across so when watching the singer tear through his set. While he takes tremendous influence from Alice Cooper, their co-headlining tour together proved that he truly sets himself apart as a unique frontman, even when placed side-by-side with one of his idols.36. Dee Snider (Twisted Sister)

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36. Dee Snider (Twisted Sister)

Twisted Sister exist because of their persistence and unparalleled stage presence. Frontman Dee Snider can take a bulk of this credit, doing anything it took to make it. Playing over 2000 shows with the band before their first album came out, Twisted Sister were built for the stage. Snider is an absolute maniac who leaves everything on the stage, screaming his head off and running around with more energy than the sun. His lyrics are personal and positive, bringing even more fun to the band.35. Eddie Vedder (Pearl Jam)

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35. Eddie Vedder (Pearl Jam)

Eddie Vedder’s voice helped define grunge and is at the forefront of one of the genre’s biggest bands. The singer is built for the stage, performing sets often consisting of 30-40 songs. This is quite a taxing demand to put on anyone’s vocal cords for just one night, much less years and years of touring. Vedder shows no signs of slowing down, going out night after night proving he is among the best in class as far as rock singers go.34. Joey Ramone (Ramones)

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34. Joey Ramone (Ramones)

Joey Ramone seemed like an unlikely rock star until he threw on a leather jacket and dedicated his voice to a microphone. Both were inseparable from Joey once he became the heart of the Ramones, leading the seminal punk rock band for 22 years. One of rock’s true icons, Joey’s voice barrels through countless punk anthems but was also characterized by a softer side which brought unparalleled warmth into the hard-nosed genre he helped create.33. Perry Farrell (Jane's Addiction)

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33. Perry Farrell (Jane's Addiction)

A true showman, Perry Farrell of Jane’s Addiction is an animal onstage, throwing down some strange moves to the band’s alchemical brew of alternative rock peppered with metal and psychedelia. Music like that certainly calls for a wild man behind the mic. Farrell can sing, scream, and shout always bursting at the seems with energy and unpredictability. 32. Billie Joe Armstrong (Green Day)

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32. Billie Joe Armstrong (Green Day)

As frontman for Green Day, Billie Joe Armstrong has written some of the catchiest rock songs of all time. And when it comes to a live show, the singer turns into a circus ringleader, maintaining an energy that few can match onstage.31. Anthony Kiedis (Red Hot Chili Peppers)

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31. Anthony Kiedis (Red Hot Chili Peppers)

Anthony Kiedis invented a unique style of singing without even trying. The Red Hot Chili Peppers leader darts throughout a song, sticking the listener with rhymes brandishing the smooth flow of a rap or reggae vocalist and the energy of a rock superstar. Kiedis possesses an unteachable charisma and gravitational pull. You can’t help but admire his individuality and penchant for performance, drawing out a brilliant vocal blueprint no frontman has been able to replicate.30. Paul Stanley (KISS)

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30. Paul Stanley (KISS)

The ‘Starchild’ of KISS, Paul Stanley is one of rock’s greatest entertainers. His voice has filled arenas across the globe along with his infamous stage banter, that can sometimes be even more entertaining than the music, and that’s really saying something! Stanley is one of the band’s chief-songwriters, penning some of the most successful hits of all time across all of music. The unmistakable voice has a certain charm to it with its anthemic intentions that has the ability to connect with an audience.29. Corey Taylor (Slipknot / Stone Sour)

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29. Corey Taylor (Slipknot / Stone Sour)

Slipknot have grown into one of metal’s biggest acts, which is staggering considered the extremity of the band. The Iowa natives have been relentless over the course of their career, putting on one of the most entertaining and dangerous live performances you can see. Corey Taylor’s visceral barks and clean sung hooks counterplay to give Slipknot depth in addition to him being an absolute madman onstage. He's also proven to be a great rock singer as frontman of Stone Sour.28. Zack de la Rocha (Rage Against the Machine)

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28. Zack de la Rocha (Rage Against the Machine)

Zack de la Rocha is pure electricity on the mic. While fronting Rage Against the Machine he pummeled his audience with sophisticated street poetry perfectly weaved around some of rock’s all-time greatest riffs. Zack’s presence is intangible, supercharging his gift to make you listen and contemplate the meaning behind his every word. He’s the unchecked king of the rap/rock hybrid and can preach to an audience of millions with the silver tongue of history’s great revolutionaries. 27. Dave Grohl (Foo Fighters)

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27. Dave Grohl (Foo Fighters)

When you're in one of the biggest bands in the world and it all falls apart, it's hard to recover. But Dave Grohl didn't miss a beat when he went from drummer of Nirvana to frontman of Foo Fighters. He's now one of the biggest rock stars on the planet, and deservedly so.26. Till Lindemann (Rammstein)

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26. Till Lindemann (Rammstein)

Rammstein’s shows are downright dangerous. You’d be hard-pressed to find more fire at a controlled burn than at one of the German industrialists live performances. Hulking frontman Till Lindemann takes on the brunt of danger, affixing flamethrowers to his face, doing flips on stage with flames shooting out of his boots, and wearing giant metal wings shooting fire. Get the point? His low voice is tailored perfectly for the band, with a lovable accent and lyrics replete with comedic sexual innuendo.25. Ian MacKaye (Minor Threat / Fugazi)

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25. Ian MacKaye (Minor Threat / Fugazi)

Not only did Ian MacKaye front two of rock’s most influential bands, he pretty much started the “straight edge” movement of clean living in the hardcore scene. As singer for Minor Threat, MacKaye was an early pioneer of hardcore music, while as frontman for Fugazi (who technically are still on hiatus), he took DIY to new heights by selling hundreds of thousands of albums via his own label, Dischord Records, and charging only $5 for concert tickets.24. Maynard James Keenan (Tool)

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24. Maynard James Keenan (Tool)

Maynard James Keenan is a songwriter’s songwriter. Possessing one of rock’s most dynamic voices, Maynard can be the most soothing, aggressive or distressing vocalist on the planet according to his mood. His live performances are just as captivating and schizophrenic, whether he’s fronting his own holy trilogy of celebrated bands; Tool, A Perfect Circle and Puscifer. Maynard’s lyrics are also some of the most layered and dissected in rock history, providing the bedrock for countless individuals’ personal philosophies.23. Ian Gillan (Deep Purple)

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23. Ian Gillan (Deep Purple)

Longtime Deep Purple singer Ian Gillan helped the band become the unstoppable force they were in the 1970s. Following the departure of Rod Evans after the band made a conscious decision to get heavier, Gillan was selected as his replacement and the band started their rock domination. Gillan’s gruff voice and ability to belt out some high screams like in “Child in Time” also kick-started what would become the definition of heavy metal vocals. 22. Roger Daltrey (The Who)

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22. Roger Daltrey (The Who)

Sure, guitarist Pete Townshend is the Who's chief songwriter, but you need a strong voice to sing some of the most powerful rock anthems of all time. And Roger Daltrey has been the ultimate lead singer -- plus he twirls a mic like none other!21. Joe Strummer (The Clash)

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21. Joe Strummer (The Clash)

As primary frontman for the group known as “The Only Band That Matters,” Joe Strummer helped lead the Clash to legendary status in just a few short years. The raspy voiced singer-guitarist provided the antithesis of the arena-rock crooners of the late ‘70s and early ‘80s, taking on sociopolitical injustices and delivering some of the greatest punk songs ever written.20. Trent Reznor (Nine Inch Nails)

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20. Trent Reznor (Nine Inch Nails)

Nine Inch Nails mastermind Trent Reznor is the complete package when it comes to evaluating a frontman. Reznor is a spectacle to behold live as his unbridled nervous energy brings conviction to the performance and presentation of his industrial mastery. He can tweak the knobs in the studio, is a multi-instrumentalist, and is the sole creative force behind the band. What more can anyone ask for?19. Johnny Rotten (The Sex Pistols / PiL)

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19. Johnny Rotten (The Sex Pistols / PiL)

Perhaps the most rebellious and rambunctious frontman on this whole list, Johnny Rotten was the face of the punk rock revolution of the late '70s. As John Lydon, he also has fronted the innovative post-punk band Public Image Ltd for more than 30 years.18. Lemmy Kilmister (Motorhead)

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18. Lemmy Kilmister (Motorhead)

All Lemmy needs to do is walk onstage and the crowd goes absolutely wild. While other musicians are considered godlike, Lemmy is God. Rock’s most uncompromising musician has been the driving force behind Motorhead for 40 years, with an unflinching discography that sounds like, well, Motorhead! The band is its own genre and Lemmy’s gravely voice, dirty bass playing, and outlaw lyrics defines it all.17. Steven Tyler (Aerosmith)

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17. Steven Tyler (Aerosmith)

Aerosmith frontman Steven Tyler is one of the most entertaining singers in rock. A jitterbug onstage, Tyler is always bouncing around and delivering his soulful and bluesy vocals over Aerosmith’s timeless brand. He could flip the switch going from energetic and charismatic to somber and beautiful. Just listen to “Train Kept a Rollin’” and “Dream On” back to back and you’ve got a pretty full spectrum representing Tyler.16. David Lee Roth (Van Halen)

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16. David Lee Roth (Van Halen)

David Lee Roth is a man who needs no introduction. His legendary performances coupled with over the top flashy stagewear helped Van Halen set the world on fire. Whether it was doing split jumps over drum risers or martial art demonstrations with his katana, which once infamously whacked him in the head, Diamond Dave did it all. Roth’s unique voice is playful, perfectly suited for Van Halen’s feel-good rock ‘n’ roll. 15. Philip Anselmo (Pantera / Down)

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15. Philip Anselmo (Pantera / Down)

Pantera flew the flag for heavy metal in the 1990s, bringing a dominating groove to the genre. Philip Anselmo provided an intimidating presence vocally, with aggressive and angsty lyrics and his famed banshee-like howls. He was an imposing frontman, often jumping off equipment onstage, matching the intensity of Pantera’s music. Anselmo also experienced success with his sludge band Down and has been involved in several other projects, as well.14. Alice Cooper

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14. Alice Cooper

When Alice Cooper started to perform live, he quickly gained a reputation for being a threat to society. He was beheaded onstage nightly, performed with giant snakes, and created a stunning visual show that would help set the bar for rock ‘n’ roll. Eventually branching away from the Alice Cooper band and retaining the moniker for solo purposes, Alice is still terrorizing stages around the world.13. Kurt Cobain (Nirvana)

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13. Kurt Cobain (Nirvana)

Nirvana frontman Kurt Cobain became the voice of a generation and brought rock’s most dominant movement of the ‘90s into the mainstream. Kurt’s incredible songwriting skill, iconic yell, highly experimental style and chaotic stage presence personified what the world was looking for in music at the time. Kurt��s compositions feel untouched by time and there has arguably been no rock star more influential despite two decades having passed since his death.12. Bon Scott (AC/DC)

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12. Bon Scott (AC/DC)

AC/DC legend Bon Scott helped define the Australian rock group with his energetic stage presence and nasal toned voice. His lyrics were full of tongue-in-cheek sexual innuendo and being a straight-up badass. Embracing all that is rock ‘n’ roll, Scott was fan's singer that had the ability to connect with so many at such a basic level through his music. He helped make the average rock fan feel like AC/DC were just like them with the same problems and the same outlook on how to have fun.11. Jimi Hendrix

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11. Jimi Hendrix

There is no master of the guitar like Jimi Hendrix, but what often gets overlooked is how captivating of a frontman Hendrix was. While his voice was nothing remarkable by technical standards, it is impossible to imagine anything else over Jimi’s music. The soulfulness of his voice was in perfect harmony with the acid-rock he created and brought out the best in his live performances. Also a showman, Hendrix famously lit his guitar on fire and played a guitar solo with his teeth.10. Brian Johnson (AC/DC)

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10. Brian Johnson (AC/DC)

Following the passing of AC/DC legend Bon Scott, it seemed insurmountable for anyone else to front the band. When remembering Scott’s praise of Geordie singer Brian Johnson, the guys got in contact with him and brought him in to audition for AC/DC. A few days later he was accepted into the band and they went on to record ‘Back in Black.’ Johnson’s style is unmistakable and he propelled AC/DC to unimaginable new heights.9. James Hetfield (Metallica)

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9. James Hetfield (Metallica)

How many frontmen can rock a stadium on an open platform stage surrounded by fans on every side? Who knows, but James Hetfield definitely can! Oh, and he does it from behind his guitar, too. His gritty style matches Metallica’s unhinged approach to relentless thrashing fury, which only gets more intense when the band plays live. Crowd engagement is paramount in metal, and few engage more than Hetfield.8. Axl Rose (Guns N' Roses)

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8. Axl Rose (Guns N' Roses)

Guns N’ Roses wild man Axl Rose is one of rock’s most dangerous frontmen. The band debuted with one of the best rock albums in history with the incendiary Axl leading the charge with his wide-ranging voice and scathing lyrics. The band has lived on the edge from the beginning and Axl quickly gained a reputation as one of rock's most unpredictable live performers.7. Ozzy Osbourne (Black Sabbath)

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7. Ozzy Osbourne (Black Sabbath)

When Ozzy Osbourne responded to an ad for a singer, it turned out the other members of the band were his high school enemies. This unlikely union allowed Ozzy’s definitive voice put a stamp on the first true heavy metal band with Black Sabbath, but he didn’t stop there. The Prince of Darkness formed a solo band after his ousting from Black Sabbath and went on to enjoy one of the most successful careers of anyone not only in rock, but in all of music.6. Iggy Pop (The Stooges)

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6. Iggy Pop (The Stooges)

Iggy Pop could very well be the best live performer on this whole list. Known as the Godfather of Punk, Iggy just about invented every daring thing you see a frontman do onstage, whether it's stage diving, crowd surfing or just performing with reckless abandon. He’s still going strong into his late 60s as both frontman of the influential band The Stooges and as a solo act.5. Ronnie James Dio (Rainbow / Black Sabbath / Dio)

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5. Ronnie James Dio (Rainbow / Black Sabbath / Dio)

Ronnie James Dio fronted not one, not two, but three of rock and metal’s greatest bands of all time (Rainbow, Black Sabbath and Dio) with a voice that could level a house all the way until the end. His lyrics were filled with fantasy, providing an escape to a world that almost seemed real. He helped shape heavy metal and influenced countless singers, but will never be replicated.4. Rob Halford (Judas Priest)

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4. Rob Halford (Judas Priest)

Few singers possess the range of Judas Priest’s Rob Halford. The dynamic singer can provide a soft, low croon all the way to some of the metal genre’s finest screams. Halford is the Metal God and nobody is going to argue against that. He defined the heavy metal look with the leather and studs back in the mid-‘70s and is still in top shape to this day.3. Robert Plant (Led Zeppelin)

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3. Robert Plant (Led Zeppelin)

Famed Led Zeppelin singer Robert Plant was a unique entity at the time, employing higher singing that helped pave the way for what became the staple of heavy metal vocals. The often bare-chested singer helped the band lead an assault on crowds, bringing soulful performances and an engaging smile that reflected the energy of the seminal rock band’s music. 2. Bruce Dickinson (Iron Maiden)

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2. Bruce Dickinson (Iron Maiden)

Iron Maiden’s ��air raid siren” Bruce Dickinson is a fountain of youth, showing absolutely no signs of age as Iron Maiden inch closer to four decades of pure traditional heavy metal. Dickinson is an athlete of a frontman, running wing to wing across the stage, never missing a note and seemingly never out of breath. Always trying to perform to the furthest person in the audience, he is the consummate frontman and more than deserving of this spot on the list.1. Freddie Mercury (Queen)

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1. Freddie Mercury (Queen)

Rock music has and will never see another frontman like Queen’s Freddie Mercury. The man had absolutely everything essential in making the perfect rock star. Mercury’s vocal and songwriting skills were at the very least, phenomenal. Perhaps no band in recent history can claim the number of true anthems that Queen were able to pen. Freddie’s stage presence was unmatched, his influence feels infinite and most importantly, he was an individual; a type of singularity that could trigger the Big Bang. Every musician has their weak spots, but Freddie never showed a hint of instability in his art. He was simply born to rock and he takes the No. 1 spot on our list.

Filed Under: Alice in Chains, Layne Staley

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