Though it has been covered countless times by major names from practically every popular genre, Leonard Cohen's "Hallelujah" was not actually a big hit upon its 1984 release.

Appearing on his seventh studio album, Various Positions, "Hallelujah" found its greatest acclaim in cover renditions by the likes of John Cale, Jeff Buckley, Rufus Wainwright, k.d. lang, "The X Factor" winner Alexandra Burke, Pentatonix and plenty more.

Other covers throughout history have been performed by Bob Dylan, Brandi Carlile, Regina Spektor, Willie Nelson, Susan Boyle, Tim Minchin, Myles Kennedy and even U2's Bono.

Get a 60-second history lesson on "Hallelujah" in GRAMMY.com's latest History Of video above. 

Explore "Solid Gold," The Epic '80s Hit Music TV Show | History Of

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Get your queue ready. From folk and outlaw country music, to classic rhythm and blues and hip-hop, there is a robust slate of music documentaries dropping in 2023 that will satisfy any music lover.

For alt-rock fans, the Failure documentary explores the evolution and impact of the influential rock band known for their experimental sound. If hard-hitting country is more your speed, Johnny Cash: The Redemption of an American Icon and "They Called Us Outlaws" offer a no-holds-barred look at the artists who drove the vibrant sound of the genre.

Hip-hop fans can enjoy a deep dive into Nicki Minaj's journey to rap superstardom in her six-part docuseries. Or, take a behind-the-scenes look at the hip-hop group Little Brother and the challenges they faced while striving to become world-famous emcees.

Below, check out this guide to 10 can't-miss music documentaries coming your way in 2023.

Hallelujah: Leonard Cohen, A Journey, A Song

Featuring appearances from Bob Dylan, Brandi Carlile, the late Jeff Buckley and more, this documentary examines the life and times of prolific singer-songwriter Leonard Cohen through the lens of his famous song, "Hallelujah."

Despite its current status as one of the most notable tracks in music history, "Hallelujah" — which was featured on Cohen’s 1984 album, Various Positions — was not an instant hit. It wouldn’t receive global recognition until nearly a decade later, with the release of Buckley's now-ubiquitous cover. While the world may have been slow to embrace the song, Cohen says Dylan immediately saw its greatness.

"It took a long time. I think the song came out in '83 or '84, and then the only person who seemed to recognize the song was Dylan," Cohen said in a 2009 interview with Q TV. "He was doing it in concert. Nobody else recognized the song until quite a long time later… almost 10 years later."

Directed by Daniel Geller and Dayna Goldfine, Hallelujah dives deep into the song’s themes, exploring how artists covering the track have interpreted its meaning. The doc also features exclusive concert footage, performances, and interviews with Cohen's former collaborators.

After a brief theatrical release, Hallelujah: Leonard Cohen, a Journey, a Song is available on DVD and various streaming platforms.

Failure

As Nirvana, Pearl Jam and Soundgarden helped grunge and alt-rock break into the mainstream in the ‘90s, a trio from Los Angeles was also making noise. Failure began to capture attention with the release of their beloved 1994 sophomore album, Magnified. (Nine Inch Nails’ Trent Reznor, Tool’s Maynard Keenan and Stone Temple Pilots' Dean DeLeo are among the group’s most notable fans).

Dropping in 2023, this official documentary offers an in-depth look at the band’s formation, evolution, label issues, impact and influence — with testimonials from Keenan, DeLeo, Paramore lead singer Hayley Williams, Keenan, Motley Crue’s Tommy Lee, Mastodon’s Troy Sanders, and actor/musician Jason Schwartzman.

In the doc, Sanders opens up about what the band meant to both him and his band: "The art that Failure has made is very authentic to me," he says. "In a world of rock ‘n’ roll, I wouldn’t be where I am right now if it weren’t for bands like Failure. I feel my band Mastodon has kind of followed the footsteps that they’ve laid before us." Adds Williams, "I never really heard anything like that. It changed how I thought about music. And it kind of made me — more than ever — want to be in a band."

Johnny Cash: The Redemption Of An American Icon

With appearances from Marty Stuart, Wynonna Judd, Alice Cooper, Tim McGraw, and Sheryl Crow, Johnny Cash: The Redemption of an American Icon focuses on the spiritual and emotional challenges that the country legend faced at the height of his career. This in-depth documentary also includes never-been-heard recordings of Cash as he discussed his darker moments, learning how to navigate fame, reckoning with past failures and recommitting to his Christian faith.

"He was darkness and light living in the same body. And one fought against the other," sister Joanne Cash Yates recounts in the trailer. But, adds Crow, "He faced himself. He faced his temptations. He faced his worldliness and came out wanting to be right with God."

If you missed the documentary’s limited December 2022 release, check it out in January 2023 when it drops on various streaming platforms.

Thriller 40

On the heels of the iconic album's 40th anniversary, GRAMMY-winning documentarian, music historian and author Nelson George announced that he’s hard at work on an official documentary about the making of the King of Pop’s legendary 1982 opus and groundbreaking short film.

"The release of 'Thriller' redefined Michael Jackson, taking him from teen star to adult superstar, who composed memorable songs, sang beautifully and reached the highest level of on-stage performance," George said in a statement. "The album, and the short films they inspired, created a new template for marrying music and image. It’s been a privilege to explore this extraordinary album and revisit its magic."

Featuring exclusive footage and candid interviews, the 2023 documentary will also focus on Jackson’s skyrocketing career at the time of the album’s release and its impact on the world and popular culture.  

"They Called Us Outlaws: Cosmic Cowboys, Honky Tonk Heroes And the Rise of Renegade Troubadours"

Written and directed by Eric Geadelman, "They Called Us Outlaws" is a six-part film that explores the early 1970s origins of the country subgenre and the artists who made it famous: Waylon Jennings, Willie Nelson, Kris Kristofferson and David Allan Coe.

At the time, Jennings and Nelson were upset with the Nashville music scene and its creative limitations. After cutting ties and leaving town to find a better way forward, the two musicians eventually reunited in Texas, where they built a rabid following by playing their own brand of country, on their own terms. That music would become known as "Outlaw Country"— a label that wasn't particularly embraced by many of the genre's artists. 

This 12-hour film series examines the unique circumstances that led to the birth of the sound, as well as the artists' relationship with the "outlaw" label and how it influenced the way they were received. The documentary also features appearances and performances from a stacked lineup of country greats, including Nelson and Kristofferson, Emmylou Harris, Church, Miranda Lambert, as well as singer-songwriters Tyler Childers and Charley Crockett and Guy Clark.

"Nicki: A Six-Part Documentary Series"

To celebrate the 10th anniversary of her debut studio album Pink Friday, GRAMMY-nominated rapper Nicki Minaj announced plans to release a biographical documentary in November 2020 — to the delight of Barbs everywhere. Yet there was no news about the film until July 2022, when Minaj surprised fans by posting a teaser from the project on her Instagram, along with an explanation for the delay:

"Coming out SOONER THANK YOU THINK. I took some time to perfect this very intimate, delicate, electrifying, inspiring body of work," Minaj wrote. "As I decide on a home for this 

project, I can’t help but reflect on what I’m including in this doc. Some things are so personal, it’s scary. It’s like NOTHING you’ve seen before & I need it to be handled with care. Love you so much. Thank you for the continued support."

Executive produced by Minaj, "Nicki" will focus on her personal and professional life, and the challenges of working in a male-dominated music genre. The docuseries was initially set to drop on HBO MAX, but Minaj and Bron, the film’s producers, decided to look elsewhere to find the right home for the docuseries.

May The Lord Watch: The Little Brother Story

In March 2022, fans of Little Brother were treated to a surprise when Phonte released the first trailer for an official documentary about the influential hip-hop group on his Instagram page. "Been working on this one for 5 years and calling it an 'emotional journey' is a big understatement," he wrote in the caption.

Slated for release in 2023, the documentary will include live performances, a behind-the-scenes look at the trio's production process, interviews with Phonte, Big Pooh and producer 9th Wonder, as well as appearances from Questlove, Drake, and Doja Cat, who discuss the group's influence and impact.

Dionne Warwick: Don't Make Me Over

From awards and hit records, to activism and philanthropy, this deep dive into GRAMMY-winning singer Dionne Warwick's life and work is a heartwarming celebration of the icon's astonishing six-decade-long career. The documentary follows Warwick's path to barrier-breaking greatness, touching on her gospel roots and her fateful audition to be a backup singer for Burt Bacharach in the early 1960s — the starting point of her rise to superstardom.

The doc also explores the singer's activism and advocacy for the Black and LGBTQ+ communities, philanthropic work—she's raised millions for AIDS research—and the impact her music had on listeners from all walks of life in the racially divided '60s. 

Dionne Warwick: Don't Make Me Over — which premiered on CNN on New Year’s Day — features appearances from Gladys Knight, Quincy Jones, Bacharach, Elton John, Berry Gordy, Snoop Dogg, Bill Clinton, Alicia Keys, Smokey Robinson, and others.

Biography: Ol’ Dirty Bastard

There have been several unofficial documentaries about the late rapper Ol' Dirty Bastard (born Russell Jones), but 2023 will see the release of "Biography: Ol’ Dirty Bastard," the first-ever film authorized by his estate. Set to be released on A&E Networks, the doc will feature interviews with the Wu-Tang Clan rapper's peers, family, and wife, Icelene Jones — who allowed filmmakers Sam and Jason Pollard to use never-been-seen footage for the two-hour documentary.

“I am thrilled to tell the full story of my husband. With this documentary, the world will learn about the son, the husband, the father, and the artist,” Jones wrote in a statement.

ODB's life was previously dramatized for RZA and Alex Tse's Hulu series, "Wu-Tang: An American Saga," which centers on the group's formative years. And on the film side, RZA has been developing a biopic about the late rapper's life since 2018.

Eno

When setting out to develop a documentary about a musician who has defied convention throughout his five-decade career, director Gary Hustwit knew the standard doc format was out of the question. To capture the distinctive, non-conforming essence of Brian Eno — an original member of Roxy Music and inventor of ambient music and the Microsoft Windows 95 startup sound — Hustwit is utilizing "groundbreaking generative technology" to allow viewers to choose their own ending and plans to release the documentary on multiple platforms. 

The film, which drops in 2023, will also explore areas close to Eno's heart, including creativity, sustainability, and social equality, and offer viewers a glimpse into his personal archive of unreleased music and concert footage.   

A College Of Musical Knowledge: 15 Musical Groups That Act As Hubs For Emerging Talent

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,  Cage, and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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