10 Best Songs With The Word ‘Is’ In The Title

Whether used to challenge perceptions, embrace emotion, or strip an idea down to its rawest form, this small but mighty word has left a significant imprint on the genre. This collection of ten songs highlights just how differently “is” has been wielded, from the bluesy swagger of Roxy Music to the theatrical grandeur of Pink Floyd.

Chicago’s “Does Anybody Really Know What Time It Is?” turned an everyday question into a sly critique of society’s fixation on schedules, wrapped in the band’s signature blend of rock and jazz. Pink Floyd’s “Is There Anybody Out There?” stripped lyrics down to their most essential form, using the phrase to amplify the overwhelming sense of isolation at the heart of The Wall. Frank Zappa took an entirely different approach in “You Are What You Is,” wielding the word as a weapon of satire in a scathing attack on hypocrisy and self-delusion. Roxy Music, ever the architects of artful cool, used “Love Is the Drug” to frame romance as a transaction, setting desire against a pulsing, nightclub-ready groove.

Joe Jackson’s revival of “Is You Is or Is You Ain’t My Baby” leaned into jump blues’ playful ambiguity, capturing the nervous energy of a love teetering on uncertainty. The Doobie Brothers turned “Jesus Is Just Alright” into a full-throttle rock-gospel hybrid, replacing introspection with unwavering conviction. Huey Lewis & The News’ “If This Is It” disguised heartbreak behind sun-soaked harmonies, while Whitesnake’s “Is This Love” took longing and placed it front and center, turning a moment of vulnerability into one of their most enduring ballads. Pat Benatar’s “Love Is a Battlefield” carried defiance in every beat, transforming a simple truth into an anthem of resilience. And with their signature brass section in full swing, Chicago posed a question that had less to do with time and more to do with how little it really mattered.

# 10 – Is This Love – Whitesnake

“Is This Love” was recorded by Whitesnake for their self-titled album, Whitesnake, which was released on April 7, 1987. The song was recorded at Compass Point Studios in Nassau, Bahamas, and later completed at Little Mountain Sound Studios in Vancouver, Canada. Produced by Mike Stone and the band’s frontman, David Coverdale, the track featured Coverdale on lead vocals, John Sykes on guitar, Neil Murray on bass, Aynsley Dunbar on drums, and Don Airey alongside Bill Cuomo on keyboards.

The song was released as a single on October 13, 1987, and became one of Whitesnake’s biggest hits, reaching No. 2 on the Billboard Hot 100 and No. 9 on the UK Singles Chart. It stood out from the band’s hard rock catalog for its power ballad approach, built on a slow, atmospheric arrangement that emphasized Coverdale’s emotional vocal delivery. The song’s success cemented Whitesnake’s place in the mainstream rock scene, and its accompanying music video, featuring actress Tawny Kitaen, played a major role in boosting the song’s popularity during the height of the MTV era.

Read More: David Coverdale: The ClassicRockHistory.com Interview

# 9 – If This Is It – Huey Lewis & The News

“If This Is It” was recorded by Huey Lewis & The News for their third studio album, Sports, which was released on September 15, 1983. The song was recorded at Fantasy Studios in Berkeley, California, with production handled by the band itself. The lineup for the recording featured Huey Lewis on lead vocals and harmonica, Chris Hayes on guitar, Johnny Colla on saxophone and rhythm guitar, Mario Cipollina on bass, Bill Gibson on drums, and Sean Hopper on keyboards.

Released as the fourth single from Sports on July 10, 1984, “If This Is It” became one of the band’s most recognizable tracks, reaching No. 6 on the Billboard Hot 100 and No. 5 on the Adult Contemporary chart. The song’s commercial success further solidified Sports as a defining album of the 1980s, contributing to its status as one of the best-selling rock records of the decade. The accompanying music video, directed by Edd Griles, featured a lighthearted beachside narrative, reinforcing the band’s signature blend of pop-rock sensibilities and humor.

Read More: Complete List Of Huey Lewis And The News Band Members

# 8 – Love Is A Battlefield – Pat Benatar

Pat Benatar recorded “Love Is a Battlefield” for her 1983 live album Live from Earth, marking a departure from her earlier hard rock sound into a more synthesizer-driven pop-rock style. The song was written by Mike Chapman and Holly Knight and produced by Chapman. Unlike most of Benatar’s previous recordings, this track was crafted using a LinnDrum machine for its distinctive percussion, giving it a contemporary edge. The rest of the instrumentation featured Neil Giraldo on guitar and keyboards, Roger Capps on bass, Charlie Giordano on additional keyboards, and Myron Grombacher on drums. The song was recorded in 1983 and released as a single on September 12 of that year.

Commercially, “Love Is a Battlefield” became one of Benatar’s most successful songs, peaking at No. 5 on the Billboard Hot 100 and reaching No. 1 on Billboard’s Rock Tracks chart. It also performed well internationally, topping the charts in the Netherlands and reaching the top 20 in several other countries. The accompanying music video played a crucial role in its success, featuring a rebellious storyline in which Benatar portrays a young woman breaking free from an oppressive home life. The video’s dramatic choreography and narrative elements made it one of the earliest examples of a concept-driven music video, reinforcing its message of defiance and empowerment.

Read More: 10 Most Rocking Pat Benatar Songs

# 7 – Is You Is Or Is You Ain’t My Baby – Joe Jackson

https://en.wikipedia.org/wiki/Is_You_Is_or_Is_You_Ain%27t_My_Baby

Well, we couldn’t leave this one off the list. Joe Jackson’s wonderful swing album album paid extraordinary tribute to this music. A slinky rhythm and a playful sense of uncertainty run through Joe Jackson’s version of “Is You Is or Is You Ain’t My Baby,” a track that found new life on his 1981 album Jumpin’ Jive. By stepping away from his new wave roots and into the rich textures of jump blues, Jackson transformed this Louis Jordan classic into a vibrant revival of 1940s swing. Recorded at Basing Street Studios in London, the track featured Jackson on vocals and piano, backed by a brass-driven ensemble that included Graham Maby on bass, Larry Tolfree on drums, and a horn section comprised of Nick Weldon, Pete Thomas, and Raul Olivera. The production, handled by Jackson himself, leaned into the song’s vintage charm while injecting it with a modern energy that set it apart from his earlier work.

Jackson’s take on “Is You Is or Is You Ain’t My Baby” remained faithful to the original’s themes of romantic ambiguity and frustration, as the lyrics center on a man questioning whether his lover’s affections are true. The repetition of the phrase “Is you is or is you ain’t” amplifies the song’s restless energy, mirroring the way uncertainty lingers in matters of the heart. Lines like “The way you’re actin’ lately makes me doubt” and “Seems my flame in your heart’s done gone out” drive home the internal conflict at play, making it a fitting addition to this list of songs that turn on a moment of questioning and realization.

Read More: Top 10 Joe Jackson Songs

# 6 – Life Is Sweet – Maria Mckee

If a topic works for a Mariah Mckee song, we’re always going to go to the well with her. She is one of the most extraordinary songwriters and musical artists of our time, and for those who have never heard of her or don’t know her music we feel it’s our duty to keep sharing it. That’s what this site has always been about: turning people onto music and celebrating with the ones who know it. This was the title track from her third solo released in 1996.

Read More: 10 Maria McKee Songs That Will Leave You Mesmerized

# 5 – Love Is The Drug – Roxy Music

A pulsing bassline and hypnotic groove propelled Roxy Music’s “Love Is the Drug” into the mainstream, marking a shift toward a more rhythm-driven sound for the band. Recorded at AIR Studios in London and produced by Chris Thomas, the song appeared on Siren, released on October 24, 1975. Bryan Ferry’s suave yet detached vocal delivery combined with Andy Mackay’s saxophone flourishes, John Gustafson’s pulsating bass, and Paul Thompson’s steady drumming created a track that blended art rock with funk influences. The lineup was completed by Phil Manzanera on guitar and Eddie Jobson on keyboards and violin, contributing to the song’s layered and polished production.

Upon its release as a single, “Love Is the Drug” became Roxy Music’s most commercially successful song in the United States, reaching No. 30 on the Billboard Hot 100. In the UK, it climbed to No. 2, cementing the band’s presence on the British charts. The song’s rhythmic precision and sultry atmosphere made it a defining track of mid-’70s rock, influencing later new wave and dance-oriented rock acts. Critics praised the song’s sophisticated yet accessible approach, noting its seamless blend of high-art aesthetics and nightclub-ready energy.

Lyrically, “Love Is the Drug” aligns with this list’s theme through its calculated use of the phrase “is,” particularly in its hook, where love is not just compared to a drug but presented as the ultimate intoxicant. Lines such as “Late that night I parked my car / Staked my place in the singles bar” depict a scene of romantic pursuit framed through the lens of addiction. This exploration of desire and compulsion sets it apart from other songs in this collection, such as “Is You Is or Is You Ain’t My Baby,” which approaches love with uncertainty rather than fixation. Roxy Music’s sleek, almost clinical portrayal of passion in “Love Is the Drug” captures a different dimension of relationships, emphasizing the chase over the emotional stakes.

Read More: Top 10 Roxy Music Songs

# 4 – You Are What You Is – Frank Zappa

Frank Zappa took aim at hypocrisy and societal absurdities with “You Are What You Is,” the title track from his 1981 album You Are What You Is. Recorded at Zappa’s Utility Muffin Research Kitchen studio in California, the song was produced, composed, and arranged entirely by Zappa, reflecting his meticulous approach to both musicianship and satire. The track featured a dense, layered arrangement with Zappa on guitar and vocals, Ike Willis on co-lead vocals, Ray White on rhythm guitar, Scott Thunes on bass, Tommy Mars and Bob Harris on keyboards, and Chad Wackerman on drums, along with additional backing vocals from Moon Zappa and Ed Mann.

“You Are What You Is” took direct aim at social pretension and the absurdities of self-denial, using sharp humor and rapid-fire vocal interplay to highlight its themes. The lyrics criticized people who abandoned their backgrounds in favor of superficial identities, particularly in lines like “Do you know what you are? / You are what you is / And that’s all it is.” The song’s unconventional grammar, emphasized by its title, reinforced Zappa’s irreverent approach, challenging the listener’s expectations while delivering pointed social commentary. Unlike “Love Is the Drug,” which presented love as a literal addiction, Zappa’s track dissected cultural contradictions, making its lyrical focus both biting and comedic.

Read More: A Method in Exploring the Frank Zappa Album’s Catalog

# 3 – Jesus Is Just Alright With Me – The Doobie Brothers

The Doobie Brothers reshaped “Jesus Is Just Alright” into a high-energy rock anthem when they recorded it for their 1972 album Toulouse Street. Originally written by Arthur Reid Reynolds and first recorded by his group The Art Reynolds Singers in 1966, the song had already been covered by The Byrds in 1969 before The Doobie Brothers put their own spin on it. Their version was recorded at Warner Bros. Studios in North Hollywood and produced by Ted Templeman. The band’s lineup for the track featured Tom Johnston on lead vocals and guitar, Patrick Simmons on rhythm guitar and backing vocals, Tiran Porter on bass, and John Hartman and Michael Hossack on drums, reinforcing their signature percussive sound.

Released as a single in 1973, “Jesus Is Just Alright” reached No. 35 on the Billboard Hot 100, gaining traction during the Doobie Brothers’ ascent in the rock world. The song’s gospel roots remained intact, but the band amplified its energy with an urgent vocal performance, layered harmonies, and driving instrumentation. Johnston’s call-and-response delivery, paired with Simmons’ backing vocals, gave the song an almost revival-like intensity, making it a standout among faith-based rock songs of the era. Unlike the laid-back grooves of other Toulouse Street tracks, this song surged forward with an insistence that set it apart.

Lyrically, “Jesus Is Just Alright” is built around its declarative refrain, emphasizing unwavering faith rather than introspection or doubt. The repetition of “Jesus is just alright with me” reinforces the song’s message, relying on rhythm and vocal interplay to drive its impact. Compared to other songs in this list, such as “You Are What You Is,” which takes a critical and ironic stance, The Doobie Brothers’ track is straightforward in its affirmation. Its reliance on repetition and gospel-inspired harmonies also contrasts with the lyrical ambiguity of “Love Is the Drug,” which explores themes of obsession and pursuit. By fusing gospel influence with rock instrumentation, “Jesus Is Just Alright” brought a spiritual message into a mainstream rock context, ensuring its lasting appeal.

Read More: The Doobie Brothers Best Song On Each Studio Album

# 2 – Is There Anybody Out There – Pink Floyd

Few songs capture isolation as effectively as Pink Floyd’s “Is There Anybody Out There?” Recorded as part of The Wall sessions at Super Bear Studios in France and Producers Workshop in Los Angeles, the track was produced by Bob Ezrin, David Gilmour, and Roger Waters. The haunting composition featured Waters on bass and vocals, Gilmour on acoustic guitar, Richard Wright on synthesizers, and Nick Mason on percussion, with additional orchestral elements arranged by Michael Kamen. Unlike many of Pink Floyd’s extended compositions, this track functioned as a brief yet chilling interlude, furthering the narrative of The Wall.

Serving as a pivotal moment in the album’s storyline, “Is There Anybody Out There?” conveyed the protagonist’s increasing emotional detachment. The song opened with a disembodied voice repeatedly asking the titular question, reinforcing the theme of alienation that defined The Wall. A sparse arrangement dominated the track’s first half, with faint sound effects that created an atmosphere of unease. The latter section introduced a classically inspired acoustic guitar solo, providing an unexpected moment of beauty amidst the song’s overwhelming loneliness. This contrast between emptiness and melody heightened the track’s emotional impact, making it one of the most evocative passages on the album.

Lyrically, the song’s title and repeated phrase tied seamlessly into this article’s theme, emphasizing both existential doubt and desperation. Unlike “Jesus Is Just Alright,” which asserted unwavering faith, “Is There Anybody Out There?” questioned whether connection was even possible. Similarly, where “Love Is the Drug” presented desire as an addiction, Pink Floyd’s composition suggested that isolation itself could be equally consuming. The track’s minimalism and atmosphere distinguished it from others on this list, proving that even a few words could carry immense emotional weight.

Read More: 25 Classic Pink Floyd Songs Everyone Should Know

# 1 – Does Anybody Really Know What Time It Is? – Chicago

Chicago established their signature blend of jazz and rock with “Does Anybody Really Know What Time It Is?” a song that captured both the social consciousness and musical ambition of their early years. Written by keyboardist Robert Lamm, the track was recorded for Chicago Transit Authority, the band’s 1969 debut album. The song featured Lamm on lead vocals and keyboards, Terry Kath on guitar, Peter Cetera on bass, and Danny Seraphine on drums, with a dynamic horn section consisting of Lee Loughnane on trumpet, James Pankow on trombone, and Walter Parazaider on saxophone. Produced by James William Guercio, the recording took place at Columbia Recording Studios in New York, reinforcing the band’s polished yet experimental approach to fusing jazz-inflected arrangements with rock instrumentation.

Despite being recorded in the late 1960s, “Does Anybody Really Know What Time It Is?” was not released as a single until October 1970, following the band’s commercial breakthrough. The track became one of Chicago’s earliest hits, reaching No. 7 on the Billboard Hot 100. The song’s upbeat, brass-driven arrangement contrasted with its existential themes, as Lamm’s lyrics questioned society’s obsession with time. The opening spoken-word passage, later omitted from the single release, set the stage for the song’s broader critique, with Lamm recounting an encounter with a stranger who asked him for the time, only to reveal that time itself was irrelevant. This ironic detachment from life’s rigid structures made the song a fitting example of Chicago’s early lyrical depth.

Lyrically, “Does Anybody Really Know What Time It Is?” aligns with this article’s theme by emphasizing the fleeting nature of time and the absurdity of measuring it so rigidly. In contrast to “Is There Anybody Out There?” by Pink Floyd, which evokes isolation and desperation, Chicago’s track takes a more lighthearted yet equally philosophical approach, using a conversational structure to challenge societal norms. Where The Wall depicted emotional detachment, Chicago Transit Authority embraced musical complexity and social commentary without sacrificing accessibility. The song’s recurring refrain—”Does anybody really know what time it is? Does anybody really care?”—reinforced its message, making it a defining moment in Chicago’s catalog and a unique entry in this collection of songs centered around the word “is.”

Read More: Why Jimi Hendrix Called Chicago’s Terry Kath The Best Guitarist In The Universe

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