# 10 – Space Truckin’ – Deep Purple
“Space Truckin’” is the closing track on Machine Head, the iconic 1972 album by Deep Purple. The song stands out not just as a hard rock anthem but as an exhilarating ode to space travel, complete with high-energy riffs and sci-fi-inspired lyrics. Guitarist Ritchie Blackmore was heavily influenced by the half-step riff structure used in the Batman TV theme, and this unique approach shaped the song’s rhythm and feel. Lead vocalist Ian Gillan then took those riffs and wrote lyrics that would transform the song into an interstellar adventure. The song’s narrative revolves around the band “trucking” through the cosmos, having a blast with aliens and dancing across the planets.
Recorded at Montreux, Switzerland, in December 1971 under famously tense conditions—including the burning down of the casino that housed the studio—Machine Head is often seen as one of Deep Purple’s finest works. Produced by the band themselves and engineered by Martin Birch, “Space Truckin’” is the final track on this legendary album, and it offers a bombastic conclusion to the record with its driving rhythm and cosmic energy.
Musically, “Space Truckin’” showcases Deep Purple at their most powerful. Blackmore’s crunchy guitar riff provides the backbone of the song, while keyboardist Jon Lord layers in his signature Hammond organ work, adding an almost orchestral depth to the heavy rock sound. Roger Glover’s thumping bass and Ian Paice’s dynamic drumming give the song its relentless pace, building up to a frenzied crescendo. It’s a quintessential Deep Purple track that highlights their musical prowess and their ability to mix humor, sci-fi themes, and rock intensity into one explosive package.
Lyrically, “Space Truckin’” doesn’t take itself too seriously, adding a fun and imaginative dimension to its depiction of space travel. Gillan sings about “luck on Venus,” “dancing at the Canaveral moonstop,” and “rocking around the Milky Way,” painting a picture of space exploration as one massive rock and roll party. The band members take the listener through the universe in a way only a ’70s rock band could—loud, exuberant, and with the swagger of cosmic travelers who have seen it all.
Read More: Steve Morse Interview: Deep Purple Road Stories
# 9 – Outta Space – Billy Preston
“Outa-Space” is an instrumental track by the legendary musician Billy Preston, featured on his 1971 album I Wrote a Simple Song. The instrumental’s distinctive sound came from Preston’s innovative use of a clavinet run through a wah-wah pedal, creating a futuristic and funky atmosphere. This track was born out of an improvisational session, where Preston was calling out chord changes to his backing band as they jammed. He later added layers of organ and hand claps to give the song its final, spacey texture. The track was so otherworldly that Preston aptly titled it “Outa-Space.”
Initially released as the B-side to the single “I Wrote a Simple Song,” A&M Records had little confidence in the instrumental’s success. However, radio DJs flipped the single, and “Outa-Space” rapidly gained popularity, far outshining its A-side. The track soared to number 2 on the Billboard Hot 100, only being held off the top spot by Bill Withers’ “Lean on Me.” Despite being a B-side, “Outa-Space” dominated the R&B charts, reaching number 1, and it eventually earned Billy Preston a Grammy Award for Best Pop Instrumental Performance in 1972. The instrumental’s popularity extended beyond the U.S., as it also peaked at number 44 on the UK Singles Chart.
“Outa-Space” exemplifies Billy Preston’s unparalleled ability to bridge genres, blending funk, soul, and rock into a groove-heavy space exploration. The song’s spacy, futuristic vibe stands out not just for its innovative use of the clavinet but also for its infectious rhythm, propelled by Preston’s signature keyboard playing and a stellar band featuring David T. Walker on electric guitar, Manuel Kellough on drums, and George Harrison adding guitar and Dobro. Preston’s vision of the future, captured through this track, resonated deeply with listeners and made it an iconic part of early ’70s funk rock.
The legacy of “Outa-Space” reached beyond its initial release, influencing future generations of musicians and finding a place in popular culture. It was notably used in the 1990s by Intel Corporation in commercials promoting their MMX-enabled Pentium processor, further cementing its status as a song that felt like it came from the future. The track remains a timeless example of Preston’s genius and his ability to create music that still feels fresh and forward-thinking decades after its release.
Read More: Top 10 Billy Preston Songs
# 8 – Space Station # 5 – Montrose
“Space Station #5” is a standout track from Montrose’s debut album, Montrose, released in October 1973. This song encapsulates the band’s futuristic and heavy rock sound, showcasing a blend of sci-fi themes with hard rock energy. Written by guitarist Ronnie Montrose and vocalist Sammy Hagar, the track is a space-faring anthem that explores themes of leaving Earth behind and embarking on a cosmic journey to a better future. The song’s title and lyrics reference a fictional space station as a destination in the band’s vision of space travel, making it a perfect fit for this list of the best rock songs about space.
The track is filled with the signature Montrose sound—driven by Ronnie Montrose’s searing guitar work, fueled by his Gibson Les Paul and fuzz-laden effects. The song kicks off with a powerful riff, propelling listeners into a high-energy rock adventure. Hagar’s raw, spirited vocals add a sense of urgency and excitement to the track, giving life to the idea of escaping Earth’s limitations and heading into the great unknown. The song features the rhythm section of Bill Church on bass and Denny Carmassi on drums, providing a solid, hard-hitting foundation for Montrose’s riff-heavy guitars.
Produced by Ted Templeman at Warner Bros. Studios in Los Angeles, Montrose was Ronnie Montrose’s first outing as a bandleader, having previously worked as a session musician for artists like Van Morrison and Edgar Winter. Despite Montrose initially flying under the radar upon release, with “Space Station #5” not receiving the attention it deserved at the time, the album grew in influence over the years, later achieving platinum status. Critics have since hailed the record as one of the pioneering works of American heavy metal, and “Space Station #5” stands as one of its definitive tracks, with its mix of hard-driving rock and space-themed lyrics that transport listeners far beyond Earth.
The lyrics of “Space Station #5” evoke images of a dystopian Earth, urging the listener to leave behind the decayed remnants of the planet and venture into the cosmos: “This old Earth hasn’t really seen its day / It’s here, time to go.” The narrative blends themes of escapism, hope, and survival, aligning perfectly with the concept of using space as a metaphor for freedom and new beginnings. The final refrain, “I move to station number five / See you next time around,” hints at the cyclical nature of existence, reflecting both the human condition and the constant forward motion of time and space. With its heavy riffs and spacey lyrics, “Space Station #5” continues to be a celebrated piece in Montrose’s influential catalog and an essential track in the hard rock genre.
Read More: Complete List Of Montrose Albums And Discography
# 7 – Cygnus X-1 – Rush
“Cygnus X-1” is a space odyssey in the form of progressive rock, crafted by the legendary Canadian trio Rush. The song serves as the final track on their 1977 album A Farewell to Kings and is considered one of the most complex and musically ambitious pieces in their catalog. “Cygnus X-1” is split into multiple parts, with the first section, “Book I: The Voyage,” found on A Farewell to Kings. The second part, “Book II: Hemispheres,” continues the story on their 1978 album Hemispheres. This sprawling track takes listeners on a journey to the mysterious black hole in the constellation of Cygnus, blending science fiction, philosophy, and intense musicianship, making it a fitting addition to any list of the best rock songs about space.
The song opens with a prologue describing the cosmic setting and the mythos surrounding Cygnus X-1, an actual astronomical object known as a black hole. The song’s protagonist embarks on an interstellar voyage aboard a spaceship named the Rocinante (a nod to Don Quixote’s horse). The music shifts from atmospheric to frenetic as the narrative unfolds, capturing the protagonist’s plunge into the black hole and the terrifying, disorienting experience that ensues. Rush’s masterful use of dynamic shifts in tempo and tone throughout the song reflects the chaotic and unknown forces at play in space. This sonic journey was recorded at Rockfield Studios in Wales in June 1977 and produced by Rush alongside Terry Brown.
“Cygnus X-1” showcases the technical prowess of Rush’s three members: Geddy Lee (bass guitar, synthesizers, and vocals), Alex Lifeson (guitar), and Neil Peart (drums and lyrics). The song’s complex time signatures, instrumental passages, and shifting rhythms demonstrate the band’s unique ability to blend progressive rock with elements of hard rock. Neil Peart’s lyrics delve into themes of exploration, existential dread, and cosmic wonder, further establishing his reputation as one of rock’s most imaginative lyricists. The narrative tension in “Cygnus X-1” builds until the climactic descent into the black hole, leaving the listener suspended in a moment of cosmic uncertainty.
Lyrically, “Cygnus X-1″ explores the vast unknown of space and the ultimate mystery of black holes, blending scientific references with poetic imagery. The black hole becomes a metaphor for both physical and metaphysical exploration, as the protagonist wonders if there is more beyond destruction—”Or through the Astral Door — to soar.” The song’s cyclical structure, ending with “To be continued…,” echoes the eternal nature of space and the unanswered questions about life and death that Rush often explored in their work. As the opening track of this space-themed article, “Cygnus X-1” serves as a fitting introduction to the cosmic mystery and wonder that these songs evoke.
Read More: Alex Lifeson of Rush: The ClassicRockHistory.com Interview
# 6 – Calling Occupants Of Interplanetary Craft – Klaatu
# 5 – Set The Controls For The Heart Of The Sun – Pink Floyd
Set the Controls for the Heart of the Sun by Pink Floyd is one of the band’s earliest explorations into space-themed rock, encapsulating the cosmic and experimental nature of their sound. Featured on their 1968 album A Saucerful of Secrets, the song was written by Roger Waters and includes contributions from all five members of the band: Roger Waters, Syd Barrett, David Gilmour, Richard Wright, and Nick Mason. This track holds the unique distinction of being the only one in the Pink Floyd catalog that features both Barrett and Gilmour on guitars, even though Barrett’s involvement was waning due to his personal struggles.
The song’s lyrics, primarily taken from Chinese poetry, are an intriguing mix of cosmic wonder and spiritual yearning. Waters’ fascination with using abstract and philosophical themes in his lyrics is evident here, with lines like “Little by little the night turns around” and “Set the controls for the heart of the sun” giving the track a mystical and otherworldly vibe. Musically, the song is built around hypnotic basslines and Nick Mason’s distinct drumming, which uses timpani mallets to create an atmospheric and almost tribal rhythm. The song also features Richard Wright’s Farfisa organ, adding an eerie and expansive texture to the overall sound.
Recorded between August 1967 and early 1968 at Abbey Road Studios, Set the Controls for the Heart of the Sun represents a pivotal moment for Pink Floyd, as they were transitioning from their Syd Barrett-led psychedelic phase into a more experimental and space-rock-driven sound. David Gilmour’s and Syd Barrett’s guitars are subtle yet essential to the track’s depth, blending with Waters’ bass and Wright’s shimmering organ to produce a haunting, meditative experience. The song was regularly performed live by the band until 1973 and can be seen in the film Pink Floyd: Live at Pompeii.
Lyrically, the song delves into the mysterious and metaphysical, with its repeated refrain “Set the controls for the heart of the sun” suggesting a journey beyond the physical and into the cosmic unknown. Much like Billy Preston’s Outta-Space in its use of experimental instrumentation and improvisational elements, Set the Controls for the Heart of the Sun stands as a testament to Pink Floyd’s early experimentation with soundscapes and space-themed rock. The hauntingly repetitive structure of the song mimics the endless nature of space, drawing the listener deeper into its cosmic undertones. As the first song on this list, it sets the stage for an exploration of space through the lens of rock music, offering a glimpse into the band’s fascination with the vastness of the universe.
Read More: Ultimate Pink Floyd Page: Complete History, Songs, Albums & More
# 4 – Starship Trooper – Yes
Starship Trooper by Yes is an ambitious progressive rock epic that first appeared on the band’s 1971 album, The Yes Album. Written by Jon Anderson, Steve Howe, and Chris Squire, the song is divided into three parts: Life Seeker, Disillusion, and Würm, each written by different band members and stitched together to create an evolving, dynamic piece. The song reflects both the experimental nature of progressive rock and the philosophical, cosmic themes that would come to define much of Yes’ music in the 1970s. With its intricate arrangements, shifting time signatures, and multi-layered structure, Starship Trooper offers a musical journey through space, spirituality, and self-discovery.
The song opens with Life Seeker, penned by Jon Anderson, which focuses on the search for truth and enlightenment. The lyrics “Mother life, hold firmly onto me / Catch my knowledge higher than the day” touch on themes of spiritual awakening and connection to the universe. Anderson’s ethereal vocals combined with Steve Howe’s intricate guitar work set the tone for the introspective and otherworldly mood of the track. The lyrics also reference UFO imagery, adding a layer of cosmic mystery to the journey. This section serves as the thematic and lyrical heart of the song, embodying the space-traveling concept with a deep sense of searching for meaning beyond the physical realm.
Disillusion, written by Chris Squire, contrasts with the ethereal atmosphere of Life Seeker by introducing a more grounded and reflective tone. Squire had used elements of this section in earlier Yes songs, and his driving bass lines create a sense of momentum that carries the listener deeper into the song’s narrative. Meanwhile, Würm, the instrumental third section composed by Steve Howe, brings the song to a dramatic conclusion. This section features a powerful guitar-driven bolero, building tension before exploding into a fiery solo that pulls in influences from rockabilly and country. Würm is a showcase of Howe’s versatility as a guitarist, blending genres and sounds to create an atmospheric climax that feels vast and otherworldly.
Musically, Starship Trooper is a masterclass in progressive rock, combining elements of rock, classical, and folk to create an epic that shifts between moods, tempos, and themes. The layering of multiple guitar parts from both Howe and Squire, along with Bill Bruford’s precision drumming, gives the track a rich, textured sound. The song’s mystical and cosmic lyrics, paired with its complex structure, make it a fitting exploration of space and spiritual exploration, reflecting the band’s fascination with both celestial and existential questions.
Read More: An Interview With Oliver Wakeman, Formerly Of Yes
# 3 – Rocket Man – Elton John
Rocket Man (I Think It’s Going to Be a Long, Long Time) is one of Elton John’s most iconic tracks, released in 1972 as the lead single from his Honky Château album. Written in collaboration with his longtime lyricist Bernie Taupin, the song draws from themes of isolation, duty, and the emotional toll of space travel. The song was a huge commercial success, peaking at No. 2 on the UK Singles Chart and reaching No. 6 in the U.S. on the Billboard Hot 100, becoming a defining moment in John’s career and solidifying his place as a rock legend. In addition to its commercial success, Rocket Man has earned critical acclaim, appearing on many greatest-song lists, including Rolling Stone’s 500 Greatest Songs of All Time.
The inspiration for Rocket Man is rooted in science fiction, with references to Ray Bradbury’s short story The Rocket Man. The song shares thematic similarities with David Bowie’s Space Oddity, as both explore the emotional complexity of an astronaut’s journey into space. In Rocket Man, the protagonist feels the weight of loneliness as he leaves Earth, longing for the familiar comforts of home while facing the vastness of space. Taupin’s lyrics, such as “I miss the Earth so much, I miss my wife / It’s lonely out in space,” offer a poetic expression of alienation, with space serving as a metaphor for emotional distance and personal struggles.
Musically, Rocket Man showcases Elton John’s ability to craft a ballad that blends rock, pop, and classical influences. The song is anchored by John’s signature piano playing, enhanced by synthesizer textures and slide guitar that evoke the feeling of floating in space. The arrangement perfectly complements the introspective lyrics, creating a balance between melancholy and grandeur. The backing vocals of Dee Murray, Nigel Olsson, and Davey Johnstone add depth to the song, helping build its atmosphere of contemplative isolation. The song’s climactic chorus, “I’m a rocket man / Burning out his fuse up here alone,” echoes the feeling of being lost, both physically and emotionally, resonating with listeners on a universal level.
Lyrically, the song delves into the astronaut’s mixed emotions about his life’s mission, conveying feelings of duty and detachment. “Mars ain’t the kind of place to raise your kids / In fact, it’s cold as hell,” speaks to the inhospitable nature of space and contrasts it with the human longing for warmth and connection. Taupin’s lyrics reflect not only the challenge of space exploration but also the personal sacrifices involved. The refrain, “And I think it’s gonna be a long, long time,” emphasizes the passage of time and the disconnect between the protagonist’s internal world and the perceptions others have of him.
Rocket Man remains one of Elton John’s most beloved songs, as it captures the balance between grand, cosmic imagery and intimate human emotions. The song’s exploration of the themes of distance and isolation, paired with its lush musical landscape, makes it a quintessential entry on this list of the best rock songs about space.
Read More: Complete List Of Elton John Articles
# 2 – Spaceman – Harry Nilsson
Spaceman by Harry Nilsson, released in 1972 on his album Son of Schmilsson, is a brilliant fusion of folk, rock, and R&B that tells the story of a once-aspiring astronaut who now longs to return to Earth. The song’s narrative unfolds with a mix of humor and melancholy, where the protagonist, stuck in space, expresses regret over his decision to leave Earth. Nilsson’s knack for blending quirky storytelling with emotive songwriting is on full display in Spaceman, making it a standout track from the album.
Musically, Spaceman showcases Nilsson’s experimental style, with the opening fanfare setting a dramatic tone. The track was arranged by Paul Buckmaster, who added a rich layer of orchestration, including medieval instruments like the shawm and sackbut, giving the song a unique sound. The rhythm is driven by an unusual yet captivating bass harmonica played in a “chugging” style, as well as contributions from prominent musicians like Nicky Hopkins on piano, Peter Frampton on acoustic guitar, Klaus Voormann on bass, and Ringo Starr (credited as Richie Snare) on drums. The blend of instruments creates an otherworldly atmosphere, complementing the spaceman’s plea for a return to Earth.
Lyrically, the song reflects a theme of disillusionment. Lines like “I wanted to be a spaceman / That’s what I wanted to be / But now that I am a spaceman / Nobody cares about me” explore the gap between dreams and reality. The protagonist, once eager to leave Earth and become a hero of space exploration, now realizes the isolating and monotonous nature of his new life. The recurring plea to “Mother Earth” to bring him back down safely to the sea, paired with the repeated circular imagery in “round and around and around and around,” highlights the astronaut’s growing frustration and existential crisis. Nilsson’s ability to inject both humor and pathos into the character’s situation elevates the song beyond simple satire, offering a nuanced perspective on ambition and regret.
Spaceman reached No. 23 on the U.S. Billboard Hot 100 and No. 12 in Canada, demonstrating its commercial success alongside Nilsson’s other hits from the Son of Schmilsson album, such as “Remember (Christmas)” and “You’re Breaking My Heart.” Despite being less well-known than some of Nilsson’s more famous songs, it remains a beloved track, particularly for fans of his more eccentric and imaginative work. Its recent resurgence in popular culture, such as its use in the HBO series Avenue 5 and Netflix’s Space Force, confirms its enduring appeal and relevance.
In comparison to other songs on this list, such as Elton John’s Rocket Man, which explores the loneliness of space travel with somber introspection, Spaceman leans into the absurdity of space and the disconnect between fantasy and reality. Nilsson’s playful yet poignant approach offers a lighthearted contrast, while still tapping into the deeper themes of isolation and existential uncertainty that define many of the best rock songs about space.
Read More: Top 10 Harry Nilsson Songs
# 1 – Space Oddity – David Bowie
David Bowie’s Space Oddity, first released as a single on 11 July 1969 and later included as the opening track on his self-titled second studio album, is one of the most iconic rock songs to explore the theme of space travel. Written at a time when the world was gripped by space race fever, the song introduces listeners to Major Tom, a fictional astronaut whose journey into space leads to a haunting sense of isolation and uncertainty. Drawing inspiration from Stanley Kubrick’s film 2001: A Space Odyssey, the track reflects both the wonder and loneliness of space exploration, paralleling Bowie’s own feelings of alienation in his career.
Produced by Gus Dudgeon and recorded at Trident Studios in London, Space Oddity marked a departure from Bowie’s earlier, more music hall-inspired work, moving towards a sound influenced by psychedelic folk. The song’s instrumentation was revolutionary for its time, combining acoustic guitar, stylophone (played by Bowie), Mellotron, and subtle orchestration to create an atmosphere of weightlessness. The production and arrangement, along with the song’s narrative structure, helped propel Bowie into a new phase of his career, solidifying his place as a master of sonic storytelling. The lineup of musicians on the track includes Mick Wayne on guitar, Herbie Flowers on bass, Terry Cox on drums, and Rick Wakeman on the Mellotron, adding to its distinctive soundscape.
Initially released to coincide with the Apollo 11 moon landing, Space Oddity became a commercial success in the UK, where it reached No. 5 on the charts. It wasn’t until its reissue in 1972 that the song gained traction in the United States, reaching No. 15 on the Billboard Hot 100. Eventually, a 1975 reissue helped it become Bowie’s first UK No. 1 hit. The song’s narrative revolves around Major Tom, who, after launching into space, finds himself adrift and disconnected from Ground Control, symbolizing feelings of disconnection and existential crisis. The lyrics “For here am I sitting in a tin can / Far above the world / Planet Earth is blue, and there’s nothing I can do” poignantly express his isolation and helplessness, offering a reflection on the fragility of human existence in the vastness of space.
Thematically, Space Oddity set the stage for other rock songs that grapple with the vastness of space and the unknown, including tracks on this list like Rocket Man by Elton John. Both songs explore the emotional toll of space travel, but while Rocket Man reflects on the disillusionment of space as an everyday job, Space Oddity delves deeper into the psychological unraveling of its protagonist. The emotional weight of Major Tom’s journey, as he drifts further away from Earth, presents a timeless exploration of existentialism that has resonated with generations of listeners.
Ultimately, Space Oddity remains one of Bowie’s most celebrated songs, with its eerie yet beautiful depiction of space travel serving as a metaphor for the broader human experience of isolation, exploration, and loss. Over the years, it has become a cultural touchstone, covered by numerous artists and even performed in space by astronaut Chris Hadfield, further cementing its status as one of the greatest rock songs about space.
Read More: Stevie Ray Vaughan David Bowie Tour: Why It Never Happened.
10 Best Rock Songs About Space article published on Classic RockHistory.com© 2024
