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

10 Best Songs With The Word 'All' In The Title

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Kiss demands chaos, Free exudes confidence, and Bruce Springsteen fights for something real. Elton John tells a story of love and loss, The Beatles preach unity, and Jimi Hendrix sets the world on fire. Mott the Hoople takes the misfits and gives them an anthem. The artists on this list couldn’t be more different—some chase excess, some chase meaning, and some don’t know what they’re chasing at all. But they all use “all” as something absolute, something that refuses to be ignored.

Kiss delivers “Rock and Roll All Nite” as an unapologetic manifesto of indulgence, while Free swaggers in with “All Right Now,” turning a fleeting romance into a rock ‘n’ roll strut. Springsteen raises the emotional stakes in “Prove It All Night,” making love feel like a battle worth every scar. Elton John takes the word down a far darker road in “All the Young Girls Love Alice,” telling a tragic story of loneliness and rejection. The Beatles, ever the optimists, strip everything down to its core in “All You Need Is Love,” a song that remains both a statement and a question.

Jimi Hendrix takes “All Along the Watchtower” and turns it into a prophecy of chaos, reinventing Dylan’s words with searing urgency. Mott the Hoople’s “All the Young Dudes” arrives like a call to arms, a Bowie-penned anthem that turns disillusionment into defiance. These songs don’t hesitate, don’t hold back, and don’t leave room for doubt. Whether celebrating, pleading, warning, or rebelling, each one demands everything—and refuses to settle for anything less.

# 10 – You Shook Me All Night Long – AC/DC

AC/DC’s “You Shook Me All Night Long” is an electrifying anthem that captures the essence of rock and roll’s raw energy and unapologetic spirit. Released in 1980 on Back in Black, the song marked Brian Johnson’s debut as AC/DC’s lead vocalist following the tragic death of Bon Scott. Built on a foundation of Angus Young’s razor-sharp guitar riffs and a rhythm section that drives with relentless power, the track became one of the most enduring rock songs of all time, solidifying its place in the band’s catalog as a staple of both radio and live performances.

Lyrically, the song revels in themes of passion, desire, and wild abandon, all set against the backdrop of Johnson’s gritty, blues-inflected vocal delivery. The opening line, “She was a fast machine, she kept her motor clean,” sets the tone for a high-octane ride through a night of unrelenting excitement. The chorus, “You shook me all night long,” serves as a powerful refrain, emphasizing the sheer intensity of the experience, both physically and emotionally. Lines like “Working double time on the seduction line” and “Had to cool me down to take another round” reinforce the song’s unfiltered rock and roll bravado, celebrating excess and adrenaline-fueled passion.

Recorded in the Bahamas at Compass Point Studios under the guidance of producer Robert John “Mutt” Lange, Back in Black was crafted as a triumphant return for the band after Scott’s passing. The album became one of the best-selling records in history, and “You Shook Me All Night Long” played a crucial role in that success, reaching No. 35 on the Billboard Hot 100 and becoming a fixture in AC/DC’s live shows. The song’s enduring appeal lies in its perfect balance of blistering guitar work, infectious hooks, and lyrics that embody rock’s rebellious spirit. Its presence on this list is a testament to its ability to shake audiences to their core, night after night.

# 9 – Where Have All The Good Times Gone – The Kinks

Nostalgia and disillusionment collide in Where Have All the Good Times Gone, a song that captures a sense of longing for the past with biting wit and social observation. Released in 1965 as part of The Kink Kontroversy, the track showcases Ray Davies’ sharp lyrical style, blending sarcasm with genuine reflection. The song’s lament—”Ma and Pa look back at all the things they used to do / Didn’t have no money and they always told the truth”—juxtaposes past hardships with a belief that things were somehow better, illustrating a universal yearning for a simpler time.

Recorded at Pye Studios in London, Where Have All the Good Times Gone features the classic Kinks lineup: Ray Davies on lead vocals and rhythm guitar, Dave Davies on lead guitar and backing vocals, Pete Quaife on bass, and Mick Avory on drums. The production, overseen by Shel Talmy, delivers the band’s signature raw energy, with Dave Davies’ stinging guitar work giving the song a punch that underscores its ironic tone. This track shares thematic common ground with other Kinks songs that examine time and change, though here the approach leans more toward resignation rather than rebellion.

Lyrically, the song’s refrain—”Where have all the good times gone?”—is not just a rhetorical question but a commentary on shifting cultural landscapes. The sense of disenchantment it conveys ties it to other songs on this list that explore the passage of time, but what sets it apart is its wry, almost bemused delivery. While other artists have covered the song—most notably David Bowie and Van Halen—the Kinks’ original remains the definitive version, dripping with the distinctly British blend of cynicism and charm that made the band so compelling.

# 8 – All Dead, All Dead – Queen

Queen’s News of the World is often remembered for its bombastic rock anthems, but “All Dead, All Dead” offers a contrasting, deeply personal moment. Written and primarily sung by Brian May, this poignant ballad reflects on loss and memory, with lyrics that carry a somber yet beautifully poetic tone. Lines like “Her ways are always with me” and “I wander all the while” evoke a sense of lingering sorrow, while “But please, you must forgive me” hints at an unresolved emotional weight. Though originally believed to be about the passing of a loved one, May later revealed that the song was inspired by the death of his childhood cat, adding an intimate layer to its melancholic depth.

Recorded between July and September 1977 at Sarm East and Wessex Sound Studios in London, News of the World saw Queen exploring a more stripped-down, raw sound compared to their earlier symphonic rock. Produced by the band and Mike Stone, the album was a critical and commercial success, spawning iconic hits like “We Will Rock You” and “We Are the Champions.” However, “All Dead, All Dead” remains one of its most understated yet emotionally resonant tracks. May’s gentle piano work and soft vocal delivery, combined with Freddie Mercury’s harmonies, create a hauntingly beautiful atmosphere, distinct from the album’s heavier moments. A later version, released in 2017, features Mercury on lead vocals, offering a different interpretation of the song’s sorrowful reflection.

# 7 – Rock And Roll All Night – Kiss

Kiss delivered one of the most recognizable rock anthems of all time with “Rock and Roll All Nite,” a track that perfectly encapsulates the band’s commitment to spectacle, excess, and the unrelenting power of music. Released on Dressed to Kill in 1975, the song became the defining statement of Kiss’s identity, reinforcing their party-hard philosophy with an electrifying chorus that refuses to let up. The track was recorded in February 1975 at Electric Lady Studios in New York City, with Casablanca Records founder Neil Bogart serving as producer alongside the band. The lineup consisted of Paul Stanley on vocals and rhythm guitar, Gene Simmons on vocals and bass, Ace Frehley on lead guitar, and Peter Criss on drums, all contributing to the song’s larger-than-life energy.

Lyrically, “Rock and Roll All Nite” thrives on repetition and simplicity, making it an anthem for uninhibited celebration. The iconic refrain—”I wanna rock and roll all night and party every day”—is not just a lyric but a rallying cry, urging listeners to embrace music as a lifestyle. Elsewhere, the line “You keep on shoutin’, you keep on shoutin’” acts as an invitation to abandon restraint, mirroring the unhinged excitement that defined Kiss’s live shows. The song’s directness and insistence on “all” create a feeling of totality—there are no half-measures here. It’s a message of all-encompassing commitment, one that aligns well with other songs on this list that use “all” to express an unrelenting emotional or thematic pursuit.

While the studio version initially peaked at No. 68 on the Billboard Hot 100, it was the live rendition from Alive! that cemented the song’s legacy, climbing to No. 12 in 1976 and becoming Kiss’s breakthrough hit. The live version, complete with an extended guitar solo and crowd participation, became the definitive take, showcasing Kiss’s ability to transform a song into an experience. The song’s impact can still be felt today, remaining a staple in their setlists and an essential rock anthem. Among the other tracks on this list, “Rock and Roll All Nite” stands apart for its sheer exuberance—where other songs might use “all” to explore devotion, loss, or introspection, Kiss deploys it as an unshakable declaration of joy.

# 6 – All Right Now – Free

Free’s “All Right Now” is a song that captures the raw spirit of blues-infused rock while embodying the thrill of reckless abandon. Released in 1970 on Fire and Water, the track became the defining anthem of the British band’s brief but influential career. The song was recorded in early 1970 at Trident and Island Studios in London, produced by Free alongside engineer Roy Thomas Baker. The lineup consisted of Paul Rodgers on lead vocals, Paul Kossoff on guitar, Andy Fraser on bass and keyboards, and Simon Kirke on drums, each member contributing to the track’s unmistakable groove.

Lyrically, “All Right Now” paints a scene of youthful spontaneity, where the narrator pursues an enticing woman with swagger and self-assurance. The opening lines, “There she stood in the street, smiling from her head to her feet,” immediately set a vibrant, visual tone. As the conversation unfolds, the narrator’s bold approach is met with playful resistance: “She said, ‘Love, Lord above, now you’re trying to trick me in love.’” The lyrics capture a moment of flirtation that is neither too serious nor deeply reflective, aligning the song with the theme of seizing the moment. The use of “all” in the title reinforces this idea of complete and immediate action, much like “Rock and Roll All Nite” by Kiss, which also emphasizes a sense of full immersion—whether in music or revelry. However, while Kiss’s anthem embraces a collective rock ‘n’ roll spirit, Free’s song is more personal, rooted in the chemistry of a fleeting connection.

Commercially, “All Right Now” was a breakthrough, reaching No. 2 on the UK Singles Chart and No. 4 on the Billboard Hot 100 in the United States. Its success cemented Free as a formidable presence in the blues-rock scene, though they would disband just two years later. The song’s legacy endured, earning recognition from BMI for over three million radio plays in the U.S. and securing a place in rock history. The energy of “All Right Now” ensures its lasting appeal, fitting seamlessly into a list of songs where “all” represents more than just a word—it embodies a mindset of boundless confidence and immediacy.

# 5 – Prove It All Night – Bruce Springsteen

With Darkness on the Edge of Town, Bruce Springsteen traded in the youthful exuberance of his earlier work for something grittier, more desperate, and driven by an unshakable sense of determination. Nowhere is that more apparent than in “Prove It All Night,” a song that pulses with the urgency of a man who refuses to let love slip through his fingers. Recorded on September 16, 1977, at The Record Plant in New York City, the song was produced by Springsteen and Jon Landau, with the E Street Band delivering one of their most electrifying performances. Roy Bittan’s cascading piano intro builds into a storm of guitars, while Clarence Clemons’ saxophone, Garry Tallent’s bass, and Max Weinberg’s thunderous drumming create a relentless momentum that mirrors the song’s central theme: love isn’t just about words—it’s about action.

The lyrics paint a picture of a man willing to give everything to prove his devotion. “I’ve been working real hard, trying to get my hands clean,” he confesses, acknowledging both his past and his struggle to be worthy of the one he loves. There’s an ache in lines like, “To buy you a gold ring and a pretty dress of blue,” as if material gestures are all he has left to convince her of his sincerity. But the real weight of the song comes in its repeated plea: “If you want it, you take it, and you pay the price.” Love here isn’t easy or convenient—it’s something you fight for, something you prove. That relentless sense of devotion gives “Prove It All Night” a different kind of intensity compared to other songs on this list. While Free’s “All Right Now” revels in the thrill of the chase and Kiss’s “Rock and Roll All Nite” is about never-ending celebration, Springsteen’s take on “all” is about total commitment—love that demands effort, sacrifice, and an unwavering will.

Released as the album’s lead single, “Prove It All Night” reached No. 33 on the Billboard Hot 100. Though it wasn’t a massive hit, its legacy grew on the stage. In concert, Springsteen often transformed it into an extended showcase, opening with a blistering guitar solo that pushed the song into near-mythic territory. Critics praised its raw energy, with Cash Box highlighting its “strong upfront beat” and Record World calling it “instantly memorable.” Unlike other rock anthems of devotion, this song doesn’t sugarcoat love—it demands proof, every night, without exception.

# 4 – All The Young Girls Love Alice – Elton John

Elton John’s “All the Girls Love Alice,” featured on his 1973 album Goodbye Yellow Brick Road, delves into the tragic life of a young girl grappling with her identity and societal rejection. The song was recorded in May 1973 at the Château d’Hérouville in France, with production by Gus Dudgeon. The lineup included Elton John on vocals and piano, Davey Johnstone on guitar, Dee Murray on bass, and Nigel Olsson on drums.

Lyrically, the song portrays Alice as a sixteen-year-old from a privileged background (“Raised to be a lady by the golden rule / Alice was the spawn of a public school”) who struggles with her sexual orientation and societal expectations. The narrative highlights her inability to connect with boys (“She couldn’t get it on with the boys on the scene”) and her relationships with older women (“All the young girls love Alice… Wait till my husband’s away”). The story culminates in tragedy, as Alice is found dead in the subway, underscoring the perils faced by those marginalized by society.

Musically, the track is driven by a compelling rock arrangement, with Johnstone’s guitar riffs complementing John’s dynamic piano performance. The song’s energetic tempo contrasts with its somber narrative, creating a poignant juxtaposition. While not released as a single, “All the Girls Love Alice” has been recognized for its bold exploration of themes that were considered controversial at the time. In the context of songs featuring the word “all” in their titles, this track stands out for its narrative depth and social commentary, offering a stark contrast to more celebratory songs like “Rock and Roll All Nite” by Kiss.

# 3 – All You Need Is Love – The Beatles

At the height of 1967’s Summer of Love, The Beatles delivered one of their most enduring anthems with “All You Need Is Love,” a song that distilled the era’s utopian ideals into a simple yet profound message. Written primarily by John Lennon and credited to the Lennon-McCartney partnership, the track was commissioned for Our World, the first-ever live, global television broadcast. On June 25, 1967, the band performed the song at EMI Studios in London as part of a historic event watched by an estimated 400 million people across 25 countries. The recording itself began on June 14, 1967, at Olympic Sound Studios in London before moving to EMI Studios for additional overdubs. Produced by George Martin, the track featured an orchestral arrangement that intertwined with The Beatles’ unconventional instrumentation, including Lennon on harpsichord, Paul McCartney on double bass, George Harrison on violin, and Ringo Starr on drums.

Lyrically, “All You Need Is Love” is deceptively simple but deeply resonant. The refrain, “All you need is love,” repeats with hypnotic insistence, reinforcing its universal message. The verses, with lines like “There’s nothing you can do that can’t be done” and “Nothing you can make that can’t be made,” frame love as an all-encompassing force, one that makes anything possible. Unlike songs on this list such as “Prove It All Night” by Bruce Springsteen, which focuses on proving love through action, The Beatles strip away complexity, presenting love as both the answer and the means. In contrast to the rebellious exuberance of “Rock and Roll All Nite” by Kiss, which demands celebration as an escape, “All You Need Is Love” elevates love as a guiding principle, transcending personal desires.

Upon its release on July 7, 1967, the single topped the charts in the UK and the US, cementing its place as one of The Beatles’ most significant cultural statements. The song’s orchestral coda, incorporating musical references such as “La Marseillaise” and Glenn Miller’s “In the Mood,” reinforces its theme of unity. Critics praised the track for its innovation and optimism, and it remains an enduring symbol of peace and love. Among the songs on this list, “All You Need Is Love” stands alone in its grand ambition—it’s not just about love in a personal sense but love as a unifying force that extends across the world.

# 2 – All Along The Watchtower – Jimi Hendrix

Jimi Hendrix’s reinvention of “All Along the Watchtower” took Bob Dylan’s folk song and transformed it into a searing, electrified masterpiece that remains one of the most celebrated covers in rock history. Recorded at Olympic Studios in London, the track took shape over multiple sessions beginning on January 21, 1968. Hendrix, who produced the recording himself, played the majority of the instruments, including bass in later overdubs. Mitch Mitchell provided the song’s dynamic drumming, while Dave Mason contributed 12-string guitar, and Brian Jones of The Rolling Stones added percussion. The production process was meticulous, with Hendrix layering multiple guitar tracks and experimenting with sonic textures that would redefine the song’s impact.

Lyrically, “All Along the Watchtower” is steeped in imagery and mystery, opening with the evocative lines, “There must be some kind of way out of here / Said the joker to the thief.” This exchange immediately sets a tone of urgency, as two figures seem to plot an escape from an uncertain fate. The verse, “Businessmen, they drink my wine / Plowmen dig my earth,” reflects a deep cynicism toward societal structures, a theme that Hendrix amplifies with his haunting guitar work. Unlike “All You Need Is Love” by The Beatles, which delivers a straightforward message of optimism, Hendrix’s song lingers in ambiguity and tension, making it one of the most enigmatic uses of the word “all” in this list.

Released in September 1968 as part of Electric Ladyland, Hendrix’s version of “All Along the Watchtower” outperformed Dylan’s original in commercial success, reaching No. 5 on the UK Singles Chart and No. 20 on the Billboard Hot 100. Bob Dylan himself acknowledged Hendrix’s reinvention, later adapting Hendrix’s arrangement into his own live performances. The song’s apocalyptic energy and groundbreaking production solidified it as one of Hendrix’s defining works.

# 1 – All The Young Dudes – Mott The Hoople

Mott the Hoople’s “All the Young Dudes” is a song that not only saved the band from breaking up but also became an anthem for the glam rock era. Written and produced by David Bowie, the track was recorded on May 14, 1972, at Olympic Studios in London. The lineup featured Ian Hunter on lead vocals and piano, Mick Ralphs on guitar, Pete Overend Watts on bass, Dale Griffin on drums, and Verden Allen on organ. Bowie himself contributed backing vocals, solidifying his influence on the track. Originally, Bowie had offered them “Suffragette City,” but the band declined, leading him to present “All the Young Dudes,” which they immediately recognized as a song that could change their fortunes.

Lyrically, the song captures the disillusionment and rebellious spirit of early 1970s youth culture. The opening line, “Billy rapped all night ’bout his suicide,” immediately introduces themes of alienation and struggle, reflecting a generation searching for meaning. The chorus, “All the young dudes carry the news,” positions its characters as torchbearers of change, passing along messages of defiance and unity. The line, “Funky little boat race,” a reference to British slang for faces, adds an insider element that reinforces a sense of belonging among the song’s subjects. Much like “All the Young Girls Love Alice” by Elton John, which tells a tragic story of youthful rebellion, “All the Young Dudes” presents a group of outcasts navigating a world that doesn’t always understand them. However, while Elton John’s song ends in tragedy, Mott the Hoople’s track turns that discontent into a rallying cry.

Released on July 28, 1972, “All the Young Dudes” reached No. 3 on the UK Singles Chart and No. 37 on the US Billboard Hot 100, giving Mott the Hoople their biggest hit. The song not only revitalized the band’s career but also helped define the glam rock movement alongside artists like Bowie, T. Rex, and Roxy Music.

Read More: Top 10 Mott The Hoople Songs