On March 22, two days before Fall Out Boy released their eighth album, So Much (For) Stardust, frontman Patrick Stump and bassist Pete Wentz graced the front of U.K. magazine Kerrang with a short-and-sweet cover line: "The saviours return."

It's a fitting sentiment for the foursome, who haven't released an album since 2018's experimental MANIA. And while some may argue the term "saviors," Fall Out Boy's decades-long success as mainstream rock artists — particularly, a group who started out as pop-punk —  is practically unmatched among their peers.

Fall Out Boy's endurance, of course, stems from the music. So Much (For) Stardust will add 13 new tracks to their catalog, but as Wentz told Kerrang, "this is the start of a new thing."  

In celebration of their latest album, GRAMMY.com looks back on the songs that have made Fall Out Boy both global sensations and musical masterminds.

Fall Out Boy will be performing as part of A GRAMMY Salute To The Beach Boys on April 9. Click here for more details on the special.

"Grand Theft Autumn / Where Is Your Boy" (2003)

Although "Dead On Arrival" marked Fall Out Boy's major label debut single, "Grand Theft Autumn" first hinted at the band's commercial potential. (They had independently released two EPs before Take This To Your Grave.) While it didn't chart, it featured more polished production than its predecessor, and its undulating chorus is as catchy as FOB hooks come.

Its lyrics of unrequited love are also arguably more straightforward than many other songs in their discography. But, there's still plenty of Fall Out Boy-esque quips, including one that pokes fun at their budding fame: "Someday I'll appreciate in value/ Get off my ass and call you, the meantime, I'll sport my/ Brand new fashion of waking up with pants on/ At four in the afternoon." 

"Saturday" (2003)

Anyone who has seen Fall Out Boy live knows that "Saturday" is an essential part of their catalog, as it has served as their set closer for almost every show since 2003.

Perhaps that's because it's one of their most autobiographical songs, with Stump referencing his and Pete's  "mess of youthful innocence" as they navigated band life in their early 20s. Or maybe it's because it was one of the first songs to show off Stump's impressive vocal range. Whatever the case, there's no denying it will forever be one of FOB's classics.

"Chicago Is So Two Years Ago" (2003)

Since forming in a Chicago suburb in 2001, Fall Out Boy have been adamant about honoring their hometown, whether that's in the form of a song called "Lake Effect Kid" or a headlining show at Wrigley Field. The tributes began with "Chicago Is So Two Years Ago" — which is more about a scorned past relationship in the city than the city itself, but is nevertheless about where they came from.

And while the lyrics are oh-so-FOB (i.e. "She took me down and said, 'Boys like you are overrated/ So save your breath'"), the song's arc makes it a signature piece of the band's puzzle. According to a 2013 interview with Alternative Press, Stump and Wentz fought over just about every lyric — and 20 years later, it's seemingly a band and a fan favorite.

"Sugar We're Goin' Down" (2005)

After hardly making waves with their first studio album, Fall Out Boy proved to be a force to be reckoned with upon releasing the lead single from their second album, From Under the Cork Tree. Today, "Sugar We're Down" isn't just known as their defining song — it's one of the defining songs of the emo music era.

"Sugar, We're Goin' Down" is lyrically as abstract and quirky as Fall Out Boy's first releases, but its soaring chorus and roaring guitars presented a new magnetism that helped establish FOB as a pop-punk mainstay. What's more, it's been dubbed as a "game-changer" for the genre and is part of just about every "Best Pop-Punk Songs Of All Time" list out there.

One could argue that "Sugar, We're Goin' Down" took Fall Out Boy from the underground to a household name, as the song reached the top 10 of the all-genre Billboard Hot 100. While some people may never understand the antlered man in the music video or the instant-classic line "A loaded God complex/ Cock it and pull it," there's no denying that "Sugar, We're Goin' Down" is absolutely legendary.

"Sophomore Slump or Comeback of the Year" (2005)

From Under the Cork Tree put Fall Out Boy's knack for witty lyricism on overdrive, both in the songs' lyrics and their titles. That's especially true on "Sophomore Slump or Comeback of the Year," whose title directly acknowledges the theory that second albums are a make-or-break moment for an artist. And while "Sugar, We're Goin' Down" almost instantly proved the album to be a win for FOB, "Sophomore Slump" delivered a cheeky confidence that makes their wit even more appealing.

"We're the therapists pumping through your speakers/ Delivering just what you need/ We're well-read and poised/ We're the best boys," Stump sings on the opening verse, which takes a direct shot at anyone who didn't believe that they were destined for success. "No matter what they say/ Don't believe a word." 

"This Ain't a Scene, It's an Arms Race" (2007)

Perhaps surprisingly, "This Ain't a Scene, It's an Arms Race" is Fall Out Boy's biggest chart hit to date. The single landed at No. 2 on the Hot 100 in early 2007 — and as the first song from their third LP, Infinity on High, "This Ain't a Scene" proved that their sophomore success was no fluke.

The irony of it all? The song is a commentary on their freshly minted reign over the pop-punk scene. "Bandwagon's full, please catch another," Stump sings on the second pre-chorus.

"Thnks fr th Mmrs" (2007)

Just two months after scoring a smash with "This Ain't a Scene," Fall Out Boy released what would become another staple in their discography with "Thnks fr th Mmrs." Every aspect of the song is classic FOB, from the haunting melody of its verses to the clever metaphor-heavy lyrics, like "Been looking forward to the future/ But my eyesight is going bad."

Like many songs on Infinity on High, "Thnks fr th Mmrs" featured commentary on fame and their now-mainstream status — down to the song's title, which reportedly mocks their label's request for shorter song titles than their traditional verbose names. And with a music video that features Kim Kardashian, it was very clear FOB knew the game they were now playing.

"Hum Hallelujah" (2007)

Pete Wentz started out as the band's primary songwriter, and his complex, metaphorical lyrics are often pure magic. "Hum Hallelujah" might be one of his most personal displays of his songwriting prowess.

It's believed that "Hum Hallelujah" was inspired by Wentz's suicide attempt, during which he once recalled to MTV News that he was listening to Leonard Cohen's "Hallelujah"; it's also believed that the song touches on Wentz's experience with bipolar disorder. No matter how heavy the story behind the song is, though, he managed to craft a quintessential FOB-esque lyrical masterpiece: "My words are my faith, to hell with our good name."

"What a Catch, Donnie" (2009)

One of the only ballads in FOB's catalog, there are many reasons why "What a Catch, Donnie" is special: It highlights Stump's voice in stunning fashion; the cadence of the chorus makes it a classic sing-and-sway-along anthem; Elvis Costello features on the bridge.

But it's the ending of the song that makes "What a Catch" so memorable and celebratory. The band recruited their treasured peers (and fellow Decaydance Records artists) to sing reprises of some of their classics, including Panic! at the Disco's Brendon Urie singing "Dance, Dance" and Cobra Starship's Gabe Saporta doing "Grand Theft Autumn/Where Is Your Boy."

"The Disloyal Order of Water Buffaloes" (2008)

Sure, by now, Fall Out Boy has countless rock anthems to their name. But at the time Folie à Deux was released, there wasn't anything quite like "The Disloyal Order of Water Buffaloes" in their catalog.

Starting with a balladic intro, reverberating guitars eventually make way into a pounding drum that will send chills down your spine. The 4-minute track just continues to become more and more euphoric, complete with a chant-along bridge of what Wentz has called one of his favorite (and most relatable) lyrics he's ever written: "Detox just to retox."

Though it never fully got its due as a single, it has on stage — and it's hard not to argue that it's a FOB essential.

"My Songs Know What You Did In The Dark (Light Em Up)" (2013)

After a solid streak of hits from 2005-2009, Fall Out Boy did the one thing that every fan dreads: declared a hiatus. Fortunately for FOB diehards, there was a return after about four years — and it was epic.

"My Songs Know What You Did In The Dark (Light Em Up)" is easily one of the most anthemic songs FOB have ever released, from the stimulating "Oh-oh-oh-oh-oh-oh" chants to the explosive chorus with the belt-able climax, "I'm on fire!"

The song also ushered in a new era for the band, literally and figuratively. While its lyrics make several references to their return ("I just gotta get you out the cage, I'm a young lover's rage/ Gonna need a spark to ignite"), "My Songs" introduced a stadium-ready sound that FOB continued on megahits like "The Phoenix," "Centuries" and "Irresistible" — and eventually manifested in two headlining shows at Wrigley Field (including one this summer) and a stadium trek with Green Day in 2021.

"Save Rock and Roll" (2013)

Among all of the dynamic rock tracks that are featured on Save Rock and Roll, it may seem a bit erroneous to choose "Save Rock and Roll" as an essential Fall Out Boy song. But at the same time, its differences are what make it essential.

Another one of the few ballads in their discography, "Save Rock and Roll" is a stunning display of both Stump's vocals and FOB's musicality beyond guitar-driven anthems. It wasn't created for commercial success, and that's exactly the point of the song — declaring that they'll always be making music that holds true to their rock roots and the passion within that.

"Save Rock and Roll" clearly means something to Fall Out Boy themselves, as it's been a setlist mainstay since 2016. Plus, the song features Elton John — how many bands get to say that?

"Uma Thurman" (2015)

How can you tell that a band is pure genius? They turn "the Munsters" theme song into a rock anthem.

That's exactly what Fall Out Boy did with "Uma Thurman," one of two brilliant reimaginings on American Beauty/American Psycho ("Centuries" features an interpolation of Suzanne Vega's '80s hit, "Tom's Diner"). The "Munsters" sample provides a unique surf rock vibe FOB's music hadn't seen before, but with a grungy flair that stays true to their aesthetic.

The song's lyrics are just as clever as "the Munsters"-sampled hook, too. Inspired by the titular actress herself, FOB flipped Thurman's iconic roles in Pulp Fiction and Kill Bill into a narrative about capturing the affection of a badass woman. (And unlike their From Under the Cork Tree cut "Our Lawyer Made Us Change the Name of This Song So We Wouldn't Get Sued," they got permission from Thurman to use her namesake — a move she once called "incredibly chivalrous.")  

"Wilson (Expensive Mistakes)" (2018)

Fall Out Boy kicked off their seventh studio album with a rather startling lead single, the EDM-laced "Young and Menace." But by the time they reached their fifth single from the LP, it was clear "Young and Menace" was meant to provide more shock value than a teaser for what was to come.

"Wilson (Expensive Mistakes)" is arguably the most reminiscent of the pop-punk style FOB honed in the mid-2000s, but with the arena-ready echoes — both vocal and instrumental — that they introduced upon their return in 2013. And lyrically, it doesn't get much more Fall Out Boy (or, frankly, more emo) than "I'll stop wearing black when they make a darker color." 

"Love From the Other Side" (2023)

At this point, Fall Out Boy has shown that they know how to make an entrance — and "Love From the Other Side," their first single in over two years, was no exception.

Before Stump's thunderous vocals begin, a burning guitar line and racing drums set the stage for a triumphant return. And once the chorus kicks in, we've heard everything that makes Fall Out Boy great: self-effacing lyrics, soaring vocals, face-melting instrumentals, and a hook that makes you want to shout it from the rooftops. 

"Love From the Other Side" proves that Fall Out Boy hasn't lost their touch musically or commercially. The song scored the group their first No. 1 on Billboard's Alternative Airplay chart, which also marked a chart record as the longest run from a first-charting song to a No. 1 at 17 years and nine months. To think that FOB is still achieving new feats after all the hits they've scored in that time — they've certainly appreciated in value.

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The rock scene may no longer be the dominant force it once was — blink-182's One More Time... is the only Billboard 200 chart-topper this year to predominantly fall under this category. But 2023 has still been an interesting and eventful period for those who like their guitar music turned up to eleven.

Over the past 12 months, we've had the two biggest groups of the Swinging Sixties returning to the fray in style, a new European invasion, and a wave of blockbuster albums that may well go down as modern classics. And then there's the revivals which will no doubt spark nostalgia in any kids of the 2000s, a resurgence in all-star line-ups, and a residency that could possibly change how we experience live music.

As we gear up for the holiday season, here's a look at 10 trends that defined rock music in 2023.

European Rock Traveled To America

From Lacuna Coil and Gojira to Volbeat and Rammstein, the Billboard charts aren't exactly strangers to European rock. But 2023 was the year when the continent appeared to band together for a mini invasion. Italian quartet Måneskin continued their remarkable journey from Eurovision Song Contest winners to bona fide rock gods with a Best New Artist nod at the 2023 GRAMMYs, a top 20 placing on the Billboard 200 albums chart for third album Rush!, and a Best Rock Video win at the MTV VMAs.

Masked metalers Ghost scored a fourth consecutive Top 10 entry on the Billboard 200 with covers EP Phantomime, also landing a Best Metal Performance GRAMMY nomination for its cover of Iron Maiden's "Phantom of the Opera," (alongside Disturbed's "Bad Man," Metallica's "72 Seasons," Slipknot's "Hive Mind," and Spiritbox's "Jaded"). While fellow Swedes Avatar bagged their first Mainstream Rock No. 1 with "The Dirt I'm Buried In," a highly melodic meditation on mortality which combines funky post-punk with freewheeling guitar solos that sound like they've escaped from 1980s Sunset Strip.

Age Proved To Be Nothing But A Number

The theory that rock and roll is a young man's game was blown apart in 2023. Fronted by 80-year-old Mick Jagger, The Rolling Stones reached No.3 on the Billboard 200 thanks to arguably their finest album in 40 years, Hackney Diamonds, with lead single "Angry" also picking up a Best Rock Song GRAMMY nod alongside Olivia Rodrigo's "aallad of a homeschooled girl," Queens of the Stone Age's "Emotion Sickness," Boygenius' "Not Strong Enough," and Foo Fighters' "Rescued." (The latter two will also battle it out with Arctic Monkeys' "Sculpture of Anything Goes," Black Pumas' "More than a Love Song," and Metallica's "Lux Aeterna" for Best Rock Performance.)

The eternally shirtless Iggy Pop, a relative spring chicken at 76, delivered a late-career classic, too, with the star-studded Every Loser. And Bruce Springsteen, KISS, and Paul McCartney all proved they weren't ready for the slippers and cocoa life yet by embarking on lengthy world tours.

Death Was No Barrier To Hits

Jimmy Buffett sadly headed for that tropical paradise in the sky this year. But having already recorded 32nd studio effort, Equal Strain on All Parts, the margarita obsessive was able to posthumously score his first new entry on the Billboard Rock Chart since 1982's "It's Midnight And I'm Not Famous Yet."

But he isn't the only artist to have recently achieved success from beyond the grave. Linkin Park reached the U.S. Top 40 with "Lost," a track recorded for 2003 sophomore Meteora, but which only saw the light of day six years after frontman Chester Bennington's passing.

Perhaps most unexpectedly of all, The Beatles topped the U.K. charts for the first time since 1969 thanks to "Now and Then," a psychedelic tear-jerker in which surviving members McCartney and Ringo Starr brought previously unheard recordings from George Harrison and John Lennon back to life.

The Giants Stayed Giant

Foo Fighters also overcame the death of a core member on what many rock fans would consider this year's most eagerly awaited album. Drummer Taylor Hawkins, who passed away in early 2022, doesn't feature on the poignant but vibrant But Here We Are. Yet the two-time GRAMMY nominated LP still proved to be a fitting tribute as well as an encouraging sign that Dave Grohl and co. can extend their legacy:lead single "Rescued" became their 12th number one on Billboard's Main Rock Chart.

The Best Rock Album category for the 2024 GRAMMYs proves that veterans were alive and mighty in 2023. Along with the Foos' latest LP, the nominees include another Grohl-affiliated band,, Queens of the Stone Age's first album in six years, In Times New Roman..., Paramore's This Is Why, Metallica's 72 Seasons and Greta Van Fleet's Starcatcher.. (Metallica's 72 Seasons also struck gold with its singles, three of which landed at No. 1 on Billboard's Mainstream Rock chart, where lead single "Lux Æterna" spent 11 consecutive weeks on top.)

Of course, we also have to give a shout-out to U2. Not for March's Songs of Surrender album (for which they re-recorded 40 of their biggest and best tracks), but for the immersive, eye-popping Las Vegas residency at The Sphere which potentially reinvented the future of live music.

The Rock Supergroup Continued To Thrive

2023 spawned several new rock supergroups including Mantra of the Cosmos (Shaun Ryder, Zak Starkey and Andy Bell), Lol Tolhurst x Budgie x Jacknife Lee, and Better Lovers (various members of The Dillinger Escape Plan and Every Time I Die). But it was an already established all-star line-up that took the GRAMMY nominations by storm.

Consisting of Phoebe Bridgers, Lucy Dacus, and Julien Baker, boygenius bagged a remarkable seven nods at the 2024 ceremony. Throw in a well-received headline set at Coachella, U.S. Top 50 follow-up EP, and even a "Saturday Night Live" showing alongside Timothée Chalamet, and the trio couldn't have asked for a better way to continue what they started together in 2018.

The Early 2000s Enjoyed A Revival

The cyclical nature of the music industry meant that the era of choppy bangs and super-skinny jeans was always going to come back into fashion. And following throwbacks from the likes of Olivia Rodrigo and Willow, the original punk-pop brigade returned this year to prove they could still mosh with the best of them.

Possibly the defining nasal voice of his generation, Tom DeLonge headed back into the studio with blink-182 for the first time in 12 years, with the resulting One More Time... topping the Billboard 200. Linkin Park ("Lost"), Papa Roach ("Cut the Line"), and a reunited Staind ("Lowest in Me") all scored No. 1s on the Mainstream Rock Airplay Chart, while Sum 41, Bowling For Soup, and Good Charlotte were just a few of the high school favorites who helped cement When We Were Young as the millennial's dream festival.

The Emo Scene Went Back To Its Roots

After channeling the new wave and synth-pop of the 1980s on predecessor After Laughter, Paramore returned from a six-year absence with a record which harked back to their mid-2000s beginnings. But it wasn't their own feisty brand of punk-pop that Best Rock Album GRAMMY nominee This Is Why resembled. Instead, its nervy indie rock took its cues, as frontwoman Hayley Williams freely admits, from touring buddies Bloc Party.

Paramore weren't the only emo favorites to rediscover their roots. Fall Out Boy reunited with Under the Cork Tree producer Neal Avron and old label Fueled By Ramen on the dynamic So Much (for) Stardust. And while Taking Back Sunday further veered away from their signature sound, the Long Islanders still embraced the past by naming seventh LP 152 after the North Carolina highway stretch they used to frequent as teens.

Country Artists Tapped Into Rock Sensibilities

We're used to seeing rock musicians going a little bit country: see everyone from Steven Tyler and Bon Jovi to Darius Rucker and Aaron Lewis. But the opposite direction is usually rarer. In 2023, however, it seemed as though every Nashville favorite was suddenly picking up the air guitar.

Zach Bryan repositioned himself as Gen-Z's answer to Bruce Springsteen with the heartland rock of his eponymous Billboard 200 chart-topper (which is up for Best Country Album at the 2024 GRAMMYs alongside Kelsea Ballerini's Rolling Up the Welcome Mat, Brothers Osborne's self-titled LP, Tyler Childers' Rustin' in the Rain, and Lainey Wilson's Bell Bottom Country). Meanwhile, Hitmaker HARDY — who first cut his teeth penning hits for Florida Georgia Line and Blake Shelton — leaned into the sounds of hard rock and nu-metal on his second studio LP, The Mockingbird & the Crow.

But few committed more to the crossover than the one of country's greatest living legends. Dolly Parton roped in a whole host of hellraisers and headbangers including Richie Sambora, Joan Jett & The Blackhearts, and Rob Halford, for the 30-track Rockstar — her first rock-oriented project of her glittering 49-album career.

Post-Grunge Reunions Were Abundant

Fans of the mopey '90s scene known as post-grunge had all their dreams come true this year thanks to several unexpected reunions. Turn-of-the-century chart-toppers Staind and Matchbox Twenty both returned with new albums after more than a decade away. Creed, meanwhile, announced they'd be headlining next year's Summer of '99 cruise after a similar amount of time out of the spotlight.

The insatiable appetite for all things nostalgia, of course, means that any band — no matter how fleeting their fame — can stage a lucrative comeback. Take Dogstar, for example, the unfashionable outfit boasting Hollywood nice guy Keanu Reeves. Twenty-three years after appearing to call it a day, the Los Angeles trio surprised everyone by hitting the Bottlerock Napa Valley Festival before dropping a belated third LP, Somewhere Between the Power Lines and Palm Trees and embarking on a headlining national tour.

The New Generation Gave The Old Their Dues

Say what you want about today's musical generation, but they know to pay respect where it's due., Olivia Rodrigo, for example, doffed her cap to '90s alt-rock favorites The Breeders by inviting them to open on her 2024 world tour.

New working-class hero Sam Fender invited fellow Newcastle native Brian Johnson to perform two AC/DC classics at his hometown stadium show. While ever-changing Japanese kawaii metalers Babymetal debuted their latest incarnation on "Metali," a collaboration with one of their musical idols, Rage Against the Machine's Tom Morello.

Whether new artists are teaming up with the old or veterans are continuing to receive their flowers, 2023 proved that rock is alive and well.

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Across 2023, we've been treated to a shower of fantastic reissues, remixes and/or expansions. From the Beatles' Red and Blue albums, to Pink Floyd's The Dark Side of the Moon, to the Who's Who's Next, the list is far too massive to fit into a single article.

And, happily, it's not over yet: from now until Christmas, there are plenty more reissues to savor — whether they be mere vinyl represses, or lavish plumbings of the source material replete with outtakes.

As you prepare your holiday shopping list, don't sleep on these 15 reissues for the fellow music fanatic in your life — or pick up a bundle for yourself!

X-Ray Spex - Conscious Consumer (Vinyl Reissue)

Whether you view them through the lens of Black woman power or simply their unforgettable, snarling anthems, English punks X-Ray Spex made an indelible mark with their debut 1978 album, Germfree Adolescents.

Seventeen years later, they made a less-discussed reunion album, 1995's Conscious Consumer — which has been unavailable over the next 27 years. After you (re)visit Germfree Adolescents, pick up this special vinyl reissue, remastered from the original tape.

That's out Dec. 15; pre-order it here.

Fall Out Boy - Take This to Your Grave (20th Anniversary Edition)

Released the year before their breakthrough 2005 album From Under the Cork Tree — the one with "Dance, Dance" and "Sugar, We're Goin Down" on it — Fall Out Boy's Take This to Your Grave remains notable and earwormy. The 2004 album aged rather well, and contains fan favorites like "Dead on Arrival."

Revisit the two-time GRAMMY nominees' Myspace-era gem with its 20th anniversary edition, which features a 36-page coffee table book and two unreleased demos: "Colorado Song" and "Jakus Song." It's available Dec. 15.

Coheed and Cambria - Live at the Starland Ballroom

Coheed and Cambria is more than a long-running rock band; they're a sci-fi multimedia universe, as well as a preternaturally tight live band.

Proof positive of the latter is Live at the Starland Ballroom, a document of a performance at the Starland Ballroom in Sayreville, New Jersey, in 2004 — that hasn't been on vinyl until now. Grab it here; it dropped Nov. 24, for Record Store Day Black Friday.

Joni Mitchell - Court and Spark Demos

Post-aneurysm recovery, Joni Mitchell's on a well-deserved victory lap. But it's far more rewarding to analyze her as a musical genius than simply shower her with icon-status accolades.

Joni Mitchell Archives – Vol. 3: The Asylum Years (1972–1975), from last October, is a terrific way to do just that; its unvarnished alternate versions strip away the '70s gloss to spellbinding effect.

Which is no exception regarding the Court and Spark demos, which got a standalone release for RSD Black Friday.

P!NK - TRUSTFALL (Deluxe Edition)

The dependable Pink returned in 2023 with the well-regarded TRUSTFALL, and it's already getting an expanded presentation.

Its Deluxe Edition is filled with six previously unheard live recordings from her 2023 Summer Carnival Stadium Tour. Therein, you can find two new singles, including "Dreaming," a collaboration with Marshmello and Sting. Pre-order it today.

Snoop Dogg - Doggystyle (30th Anniversary Edition)

After his star-making turn on Dr. Dre's The Chronic, 16-time GRAMMY nominee Snoop Dogg stepped out with his revolutionary, Dre-assisted debut album, Doggystyle.

Permeated with hedonistic, debaucherous fun, the 1993 classic only furthered G-funk's momentum as a force within hip-hop.

Revisit — or discover — the album via this 30-year anniversary reissue, available now on streaming and vinyl.

As per the latter, the record is available special color variants, including a gold foil cover and clear/cloudy blue vinyl via Walmart, a clear and black smoke vinyl via Amazon and a green and black smoke vinyl via indie retailers.

Alicia Keys - The Diary of Alicia Keys 20

Alicia Keys has scored an incredible 15 GRAMMYs and 31 nominations — and if that run didn't exactly begin with 2003's The Diary of Alicia Keys, that album certainly cemented her royalty.

Her heralded second album, which features classics like "Karma," "If I Was Your Woman"/"Walk On By" and "Diary," is being reissued on Dec. 1 — expanded to 24 tracks, and featuring an unreleased song, "Golden Child."

The Sound of Music (Super Deluxe Edition Boxed Set)

Fifty-seven years has done nothing to dim the appeal of 1965's The Sound of Music — both the flick and its indelible soundtrack.

Re-immerse yourself in classics like "My Favorite Things" via The Sound of Music (Super Deluxe Edition Boxed Set), which arrives Dec. 1.

The box contains more than 40 previously unreleased tracks, collecting every musical element from the film for the first time, along with instrumentals for every song, demos and rare outtakes from the cast.

Furthermore, an audio Blu-ray features the full score in hi-res plus a new Dolby Atmos mix of the original soundtrack. And the whole shebang is housed in a 64-page hardbound book with liner notes from film preservationist Mike Matessino.

ABBA - The Visitors (Deluxe Edition)

With their eighth album, 1981's The Visitors, the Swedish masterminds — and five-time GRAMMY nominees — stepped away from lighter fare and examined themselves more deeply than ever.

The result was heralded as their most mature album to date — and has been repackaged before, with a Deluxe Edition in 2012.

This (quite belated) 40th anniversary edition continues its evolution in the marketplace. And better late than never: The Visitors was their final album until their 2021 farewell, Voyage, and on those terms alone, deserves reexamination.

Aretha Franklin - A Portrait of the Queen 1970-1974

Rolling Stone didn't recently declare Aretha Franklin the greatest singer of all time for no reason: in 2023, there's nary a pretender to the Queen of Soul's throne.

A Portrait of the Queen 1970-1974 compiles her first five albums of the 1970s: This Girl's In Love With You, Spirit in the Dark, Young Gifted and Black, Hey Now Hey (The Other Side of the Sky), and Let Me In Your Life.

Each has been remastered from the analog master tapes. The vinyl version has a bonus disc of session alternates, outtakes & demos. Both CD and vinyl versions are packaged with booklets featuring sleeve notes by Gail Mitchell and David Nathan. Grab it on Dec. 1.

Fela Kuti - Box Set #6

From the great beyond, Fela Kuti has done music journalists a solid in simply numbering his boxes. But this isn't just any Kuti box: it's curated by the one and only Idris Elba, who turned in a monumental performance as Stringer Bell on "The Wire."

The fifth go-round contains the Afrobeat giant's albums Open & Close, Music of Many Colors, Stalemate, I Go Shout Plenty!!!, Live In Amsterdam (2xLP), and Opposite People. It includes a 24 page booklet featuring lyrics, commentaries by Afrobeat historian Chris May, and never-before-seen photos.

The box is only available in a limited edition of 5,000 worldwide, so act fast: it's also available on Dec. 1.

Kate Bush - Hounds of Love (The Baskerville Edition) / Hounds of Love (The Boxes of Lost Sea)

Kate Bush rocketed back into the public consciousness in 2022, via "Stranger Things." The lovefest continues unabated with these two editions of Hounds of Love, which features that signature song: "Running Up That Hill (A Deal with God.)

There is no new audio on either edition; they feature distinctive packaging, and the latter splits the album into two boxes. Read on here, and pre-order them via Bush's site; they arrive Dec. 1.

The Rolling Stones - December's Children (And Everybody's), Got Live If You Want It! And The Rolling Stones No. 2 (Vinyl Reissues)

These three '60s Stones albums have slipped between the cracks over the years — but if you love the world-renowned rock legends in its infancy, they're essential listens.

No. 2 is their second album from 1965; the same year's December's Children is the last of their early songs to lean heavily on covers; Got Live If You Want It! is an early live document capturing the early hysteria swarming around the band.

On Dec. 1, they're reissued on 180g vinyl; for more information and to order, visit here.

Pink Floyd - Atom Heart Mother (Special Edition)

No, it's not half as famous as The Dark Side of the Moon or The Wall — but 1970's lumpy Atom Heart Mother certainly has its partisans.

Rediscover a hidden corner of the Floyd catalog — the one between Ummagumma and Meddle — via this special edition, which features newly discovered live footage from more than half a century ago.

The Black Crowes - The Southern Harmony and Musical Companion

After endless fraternal infighting, the Black Crowes are back — can they keep it together?

In the meantime, their second album, 1992's The Southern Harmony and Musical Companion, remains a stellar slice of roots rock — as a sprawling, three-disc Super Deluxe Edition bears out. If you're a bird of this feather, don't miss it when it arrives on Dec. 15. 

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At first glance, the worlds of rock and dance music might appear diametrically opposed. Dig a little deeper, though, and the two genres share more than just a love for all-black outfits.

In recent years, a wave of dance stars have embraced their inner mosher by collaborating with their favorite metal, post-hardcore, emo, and pop-punk artists, creating a mutant sound with a foot in both spaces. Just this month, Canada's dark bass maestro Rezz released a winkingly titled EP, It's Not A Phase, which channels the punk and metal she loved as a teen. (On release day, she posted an old photo in front of a My Chemical Romance poster, with the caption, "this one's for everyone who had an emo phase.") 

The EP followed Illenium's self-titled album in April — which features several of the Denver producer's rock heroes — while the likes of Marshmello, Kayzo and Excision have also tried their hands at rock/dance collaborations. For DJ-producers who grew up on raw guitars and tear-the-house-down vocals, it's a natural next step. 

Of course, this mixing of worlds is not just a recent phenomenon. For decades, dance artists have remixed, borrowed from, and occasionally collaborated with their rock counterparts. From the punkish ferocity of the Prodigy's 1997 album The Fat of the Land to Justice's Slipknot-sampling "Genesis" ten years later, the examples are endless. 

In the decade since the EDM boom minted a new generation of superstars, crossover collaborations have increasingly positioned the dance artist in the lead. In honor of this phenomenon, we're head-banging our way through eight of the best. 

deadmau5 feat. Gerard Way — "Professional Griefers" (2012)

Back in 2012, as EDM was taking over America, deadmau5 was busy touring an early iteration of his eye-popping 'Cube' show and preparing to release his sixth studio album, > album title goes here <. Ahead of the LP, the producer born Joel Zimmerman released "Professional Griefers," a hard-charging dance-rock stomper featuring My Chemical Romance vocalist Gerard Way.

While fans had already heard an instrumental version of the track in deadmau5's live shows, Way's vampy vocals brought the rock swagger, even as the production remained resolutely electronic. To celebrate the release, the collaborators appeared as gamers piloting a UFC battle between two giant mau5-headed robots in what Zimmerman told SPIN was "one of the highest-budget electronic music videos of all time." And yes, it's as extra as it sounds. 

Steve Aoki feat. Fall Out Boy — "Back To Earth" (2014)

Steve Aoki is one of dance music's most voracious collaborators, teaming up with everyone from will.i.am to Louis Tomlinson to Backstreet Boys. He's also a punk rocker from way back, having jumped between hardcore bands as a singer and guitarist in his pre-fame life.

These passions have intersected throughout Aoki's DJ/producer career in his collaborations with Linkin Park and blink-182, as well as Rifoki, the straight-up hardcore band he formed with Sir Bob Cornelius Rifo of the Bloody Beetroots. 

In 2014, Aoki joined forces with pop-punk favorites Fall Out Boy on "Back To Earth," which featured on his collab-stacked album, Neon Future I. In an interview with Billboard, Aoki explained that the band worked on their live instrumentation in a separate studio before he added the dance elements, and the result was "one of my favorite rock collaborations." 

The Bloody Beetroots feat. Jason Butler — "Crash" (2017)

Like his friend and collaborator Steve Aoki, the Bloody Beetroots' masked leader Sir Bob Cornelius Rifo is a punk at heart. That raucous spirit was present on the breakout Aoki/Beetroots team-up, "Warp 1.9" (2009), then turned up to 11 in their aforementioned hardcore band, Rifoki.

In 2017, after a few years away from the limelight, Sir Rifo delivered the third Bloody Beetroots album, The Great Electronic Swindle, featuring guests like Jane's Addiction frontman Perry Farrell, GRAMMY-nominated singer-songwriter Greta Svabo Bech, and Australian rock band Jet. 

On "Crash," the Italian producer hooked up with post-hardcore singer Jason Butler, of Letlive and Fever 333, to make a heavy, distorted and shouty head-banger that honors both of their styles. In true punk fashion, it's over and out in just over two minutes. 

Kayzo & Underoath — "Wasted Space" (2018)

Few DJ-producers relish the opportunity to slam together dance music and rock quite like Houston-born Kayzo. For his 2019 album, Unleashed, the rising star secured some of his favorite metal, hardcore and pop-punk acts as guests, including Of Mice & Men, Boys of Fall, Blessthefall, and Alex Gaskarth of All Time Low.

One of the album's standouts, "Wasted Space," pairs Kayzo with Underoath, the Florida metalcore outfit who previously collaborated with Rezz on her 2019 release, "Falling." The collaboration is equal parts metal — with dueling vocalists Aaron Gillespie and Spencer Chamberlain at full-tilt — and shuddering bass drops built for an EDM main stage. 

Marshmello feat. A Day To Remember — "Rescue Me" (2019)

Perma-helmeted producer Marshmello has enjoyed a whirlwind decade, with a famously prolific output that includes several dance and pop hits. In 2019, he surprised fans by announcing a team-up with Florida four-piece A Day To Remember, whose metalcore meets pop-punk sound is a far cry from Marshmello's usual vibe.

Their collaboration, "Rescue Me," finds an easy middle ground between crunching rock guitars, frontman Jeremy McKinnon's impassioned vocals, and Marshmello's skittering trap-pop beats. In an interview with Kerrang! Radio, McKinnon recalled his surprise at how quickly Marshmello shared the chorus on socials, adding that he wishes rock artists could be as spontaneous. 

Illenium and All Time Low — "Back To You" (2023)

Hot on the heels of his first GRAMMY nomination in 2022, Denver-based phenom Illenium got back in the studio to make another album straight from the heart. The producer's self-titled fifth LP took inspiration from his teenage years listening to the likes of blink-182 and Linkin Park, while staying true to his own bass-heavy aesthetic.

Thanks to his stadium-filling stature, Illenium assembled a starry lineup of guests, including pop-punk royalty Avril Lavigne and Travis Barker on "Eyes Wide Shut" and metalcore band Motionless in White on "Nothing Ever After." Early fan favorite "Back To You" features the full force of pop-punkers All Time Low going up against Illenium's furious drops — and achieving perfect harmony. 

Excision, Wooli, and The Devil Wears Prada — "Reasons" (2023)

Fellow bass lovers Excision and Wooli are frequently paired, whether they're going back-to-back as DJs or co-producing EPs like 2019's Evolution and 2023's Titans. This time around, the collaborators decided to try something outside their comfort zone, calling up Ohioan metalcore band The Devil Wears Prada to bring their distinctive grit to "Reasons."

In contrast to more pop-leaning entries on this list, "Reasons" is unapologetically heavy from the halfway mark, morphing back-and-forth from metalcore theatrics to hard-hitting wubs. In a statement, The Devil Wears Prada described this team-up as "uncharted territory" for the band, and their gamble paid off. 

Rezz, Tim Henson, and Silverstein — "Dreamstate" (2023)

In a statement accompanying her new EP, It's Not A Phase, Rezz notes that she "grew up listening to bands exclusively, and over time developed an understanding of what it was about those songs that I loved." 

That innate grasp of rock dynamics is on full display throughout Rezz's most vocal-driven release to date, with guest turns from the likes of Alice Glass, Johnny Goth, and Raven Gray. On "Dreamstate," Rezz embraces her inner emo kid with the help of Canadian post-hardcore band Silverstein and metal guitar prodigy Tim Henson, undergirding her guests' contributions with dark, stabbing bass.

"I listened to a bunch of Silverstein growing up, so it felt nostalgic to me," Rezz told Front Row Live Ent., before admitting that it was "the hardest song I've ever mixed." The extra sweat resulted in a one-of-a-kind collaboration, proving once again that dance music and rock are a potent mix — one with plenty of fuel left in the tank.

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There appeared to be something in the pop-punk waters in 2003. Barely a month went by without a bunch of angsty white guys sporting skinny jeans, button ups and choppy bangs releasing a career landmark. 

For some, 2003 saw the debut album that introduced their talents to the world. For others, it was the long deserved mainstream breakthrough after years of toiling on the punk circuit. And for one particular band, their 2003 release was the chance to show they could offer more than toilet humor. But all no doubt benefited from the commercial resurgence of the genre spearheaded a year previously by the likes of Good Charlotte, Simple Plan and Jimmy Eat World.  Here's a look at 10 albums released in 2003 now old enough to throw themselves head first into a mosh pit.  

Fall Out Boy – Take This to Your Grave 

Fall Out Boy were still only on the cusp of adulthood when they recorded debut Take This to Your Grave in conditions producer Sean O'Keefe would compare with going to war. That mix of youthful exuberance and constant creative tension, however, would produce a genuine game-changer. 

Drawing upon their love of pop culture and sardonic sense of humor, the quartet tackled typical adolescent themes of alienation, disillusionment and unrequited love like few of their peers had done before. Take This to Your Grave fused  the heavy riffs and unclean vocals of the band's Chicago hardcore beginnings with pop-punk melodies into  a self-described softcore sound. The album was the beginning of Fall Out Boy's prolific catalog and essentially set the blueprint for every regular Warped Tour act that followed. 

Dashboard Confessional – A Mark, a Mission, a Brand, a Scar

Thrust into the limelight via a well-received "MTV Unplugged" session and surprise win at the VMAs, cult favorites Dashboard Confessional had to deal with a new weight of expectation for their third album. 

Those who'd meticulously pored over Chris Carrabba's previous musical diary entries may have been worried when the one-man-band hired a permanent trio of backing musicians as well as hotshot producer Gil Norton (Pixies, Foo Fighters). Yet as its earnest title hints at, A Mark, a Mission, a Brand, a Scar largely sticks to the compelling stream-of-consciousness heartbreak and dynamic quiet/loud emo-rock that turned the frontman into the burgeoning scene's ultimate poster boy.  

Yellowcard – Ocean Avenue 

Seemingly unconcerned with any sellout accusations, Yellowcard relocated from Florida to Los Angeles in 2000, a move which eventually paid off when they landed a deal with Capitol Records. Boasting several songs inspired by their Jacksonville hometown, including the Top 40 title track described by Billboard as the soundtrack to "thousands of overnight camp romances," their fourth studio album suggested the band were keen to show they hadn't entirely abandoned their roots. 

Ocean Avenue doesn't deviate too much from their intriguing previous template, either, with Sean Mackin once again proving electric violins and power punk can make for surprisingly harmonious bedfellows. But ruminations on growing older ("Twentythree") and fatherhood ("Life of a Salesman") also hinted that the ever-changing outfit had matured during their time in the bright lights.  

Less Than Jake – Anthem

Spawning only their second Top 40 single ("The Science of Selling Yourself Short") and charting at a career high of No.45, Anthem remains legendary skate punks Less Than Jake's commercial peak. The band's fifth album is full of energetic cautionary tales, both fitting in with and warning the thriving pop-punk scene.  

That shouldn’t come as too much of a surprise considering it features a collaboration with Billy Bragg, a Cheap Trick cover and the production talents of Rob Cavallo (the man behind Green Day's monster-selling Dookie). Gainesville's finest also demote their famous horn section to bit-players, although the fast and furious "Best Wishes to Your Black Lung" proved they could still be integral to the band’s sound.  

Alkaline Trio – Good Mourning

You could always rely on doom merchants Alkaline Trio to put the warped in Warped Tour. And Good Mourning — their first album with now-longtime drummer Derek Grant — didn't disappoint. 

The ironically-titled opener "This Could Be Love" is a macabre guide on how to commit the perfect crime of passion ("Step one, slit my throat/Step two, play in my blood"), while "Fatally Yours" boasts a twisted one-liner about a vengeful car-crashing ex ("You told me that you missed me, but you meant with the grill and hood"). The Chicagoans balance all the sadomasochism and misery with surging punk hooks that owe more to the Ramones than the genre’s umpteenth revival.  

The Ataris – So Long, Astoria 

Inspired by punk hero Richard Hell’s theory that "memories are better than life," the Ataris'  breakthrough was largely an emotive exercise in nostalgia. "Summer '79" and "In This Diary" both draw upon frontman Kris Roe's happy Indiana childhood — the album's title actually references favorite film The Goonies. The record is also littered with phrases which appear to have been written for high school graduation speeches ("All You Can Ever Learn Is What You Already Know") and there's even an effective cover of rock's ultimate coming-of-age anthem, Don Henley's "Boys of Summer." 

All the reminiscing worked wonders as So Long, Astoria became the pop-punks' first, and indeed last, Top 40 entry.  

Brand New – Deja Entendu 

Brand New named their second studio effort after the French for "heard before" as a pre-emptive measure against their critics. This would suggest that Deja Entendu mines the same brand of pop-punk and teenage angst as their 2001 debut, yet it's actually a marked departure.

Deja Entendu combines elements of post-hardcore, alternative rock and emo with mature themes of love and death and more film references than a Quentin Tarantino box set: titles include the Home Alone-quoting "Okay I Believe You, But My Tommy Gun Don't" and "Jaws Theme Swimming." It's little wonder that major label Interscope subsequently came calling.  

AFI – Sing the Sorrow 

After five albums of self-produced gothic-tinged hardcore punk, Californian outfit AFI suddenly appeared to make a concerted bid for the mainstream. They leapt from indie label Nitro to major Dreamworks and unleashed their rage inward instead of against the world, hired Butch Vig (the man who guided Nirvana's Nevermind to blockbuster success), and incorporated choirs, string sections and even spoken word.  

Their distinctly Bay Area sound became a multi-layered affair with radio-friendly sheen, and catapulted the scene stalwarts to mainstream success. Sing the Sorrow went all the way to No. 5 on the Billboard 200, but impressively still sounds resolutely AFI.  

Saves the Day – In Reverie  

Saves the Day found themselves mercilessly dumped by Interscope within weeks of their fourth album's release. Yet, without any major support, the 12-track In Reverie charted at a career high of No. 26. 

An intriguing second collaboration with Elliott Smith producer Rob Schnepf, In Reverie shrouds its grisly lyrical imagery (talk of rotting flesh, bottles breaking on faces and veins tied up in knots) in a contrastingly peppy power pop. Saves the Day's sound was inspired by frontman Chris Conley's new-found love of the Beatles. Thankfully, the Princeton outfit bounced back to continue their own magical mystery tour.  

Blink-182 – blink-182

You know a band has got serious when they title an album eponymously. Inspired by all three members’ recent introductions to fatherhood and the experimentation of Tom DeLonge and Travis Barker's side project Box Car Racer, Blink-182's fifth album ditched the puerile lyrics and cartoonish punk that had dominated MTV. 

In their place were soul-searching meditations on failed romances, unexpected ventures into New Romanticism, post-hardcore and gothic pop, and even a guest appearance from the Cure's Robert Smith. Mark Hoppus revealed he wanted the public's reaction to be, "Wait a minute... that's Blink-182." As exemplified by career-best "I Miss You," the surprise was a pleasant one, too. 

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