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He’ll be 78 later this year, but with European tour dates ongoing and his third Tull album in under four years, Ian Anderson is on something of a later-years creative roll.
Anderson’s solo album scheduled for 2017 emerged as Jethro Tull’s The Zealot Gene in 2022. The following year’s RökFlöte made the British Top 20. While both albums missed both guitarist Martin Barre and a certain sparkle, neither gave serious cause for concern.
This time the Barre-shaped gap is filled by Jack Clark, a man just past his thirtieth birthday. For all the injection of new blood, though, such is Anderson’s dominance of this flute-heavy record that Clark has little opportunity to shine. The same could be said of the similarly airbrushed drummer Scott Hammond, keyboard player John O’Hara and bassist David Goodier. Indeed, while it’s a reminder of the intricate delights of Tull’s quieter moments, Curious Ruminant is an Ian Anderson solo album in all but name.
And the old man is on fine form on an album partly based on some old instrumental demos. The centrepiece is the 17-minute Drink From The Same Well, which began two decades ago as a collaboration between Anderson and then-keyboard player Andrew Giddings, whose original work has not been wholly exorcised. In the best folk tradition of several songs bunged together, there’s a slow flute opening, a more spritely (very traditional) flute middle, and, after eight minutes, lyrics concerning a Partridge-esque ‘sweet ladyboys’ and ‘phobic, drunken macho men’ which take us to a closing hoe-down. Rarely can you fault Anderson for effort, and he’s inspired here.
Elsewhere he’s typically wordy, whether mulling over Jerusalem in Over Jerusalem (wisely, it’s not wholly clear where he stands), or being vaguely ecological on Savannah Of Paddington Green. Yet he’s never sounded as kind as he does on the relatively rumbustious The Tipu House, a mostly lovely evocation of Barcelona community bustle: ‘Someone has to fix the plumbing, or at least give it a try.’ And like so many of his peers, Anderson is contemplating mortality, here on the acoustically backed spoken-word poem Interim Sleep, the most poignant he’s been in years.
Curious Ruminant will not sate anybody’s desire for a tub-thumping Tull album, but Anderson seems to be beyond that now. Instead his mind is overflowing with lyrical tangents and still capable of dispensing hooks, and he’s entering the final stages in fine fettle.
As well as Classic Rock, John Aizlewood currently writes for The Times, The Radio Times, The Sunday Times, The i Newspaper, The Daily Telegraph, The Sunday Telegraph and Mojo amongst others. He’s written four books and appears on television quite often. He once sang with Iron Maiden at a football stadium in Brazil: he wasn’t asked back. He’s still not sure whether Enver Hoxha killed Mehmet Shehu…
The concept of feeling lost resonates deeply across many different aspects of life. It can manifest in countless ways, from the personal and emotional to the societal and political. On an individual level, feeling lost often refers to the inner turmoil of being unsure about one’s place in the world, grappling with feelings of isolation, or longing for love and connection. It can stem from being separated from a loved one, feeling disconnected from family, or struggling to make sense of a world that seems overwhelming or unfamiliar. On a broader scale, feeling lost can also reflect the struggles of a group or nation, unsure of its direction or future amidst political or social upheaval. In these cases, it’s not just about individual disorientation, but a collective search for purpose and belonging.
In this article, we’ve explored these diverse meanings of feeling lost through the lens of rock music. Each of the selected songs offers a unique perspective on what it means to be lost, whether personal, emotional, or reflective of larger societal concerns. From deep introspective ballads to powerful anthems of uncertainty, these tracks ask the big questions: Where have we been? Where are we now? And, perhaps most importantly, where are we going? Through the voices of these artists, we hope to capture the many dimensions of feeling lost and how this theme continues to resonate in the human experience.
# 10 – Lost Without Your Love – Bread
“Lost Without Your Love” by Bread is the first song in the 10 Best Rock Songs About Feeling Lost list. Released as the title track of their 1976 album, this poignant song marked a significant moment for the band. After a three-and-a-half-year absence from the charts, when frontman David Gates pursued a solo career, Bread reunited to produce this emotionally charged ballad. Written and composed by Gates, “Lost Without Your Love” became the band’s final top 10 hit, peaking at number nine on the U.S. Billboard Hot 100 and number three on the Easy Listening chart. The song’s success reestablished Bread as a dominant force in soft rock, and it was produced by Gates, with the band recording it at Hollywood Sound Recorders and Sound Labs in Los Angeles.
Musically, “Lost Without Your Love” features David Gates on lead vocals and guitar, with Jimmy Griffin on guitar, Mike Botts on drums, and Larry Knechtel on bass and keyboards. The song’s soft rock arrangement, filled with gentle piano chords and understated guitar work, perfectly complements the vulnerability expressed in the lyrics. Gates’ tender vocal performance captures the feeling of being emotionally adrift, adding to the sense of loss and helplessness conveyed throughout the song. The production is clean and polished, enhancing the intimate and reflective nature of the track, making it one of the band’s most memorable recordings.
Lyrically, “Lost Without Your Love” explores the deep emotional despair that comes with the end of a relationship. Gates sings about the profound sense of being lost and directionless without the love that once anchored his life. The repeated lines “I’m lost without your love” and “Life without you isn’t worth the trouble of” encapsulate the aching emptiness felt in the aftermath of separation. The imagery of being “as helpless as a ship without a wind” and “a touch without a feel” powerfully evokes the sense of isolation and longing. This song speaks directly to the theme of feeling lost, with Gates portraying a narrator who is consumed by regret and desperately searching for a way to return to the past.
As the opening song on this list, “Lost Without Your Love” sets the tone for exploring the theme of emotional disorientation. Its tender, melancholic mood introduces the idea of being adrift in life when love is gone, a feeling that resonates with anyone who has experienced heartache and loss. By focusing on the emotional fragility that comes with separation, this song lays the groundwork for future tracks on the list to explore various facets of feeling lost, both emotionally and existentially.
“Something In The Night” by Bruce Springsteen is the second entry on this list of the 10 Best Rock Songs About Feeling Lost. Featured on Springsteen’s 1978 album Darkness on the Edge of Town, this song captures the raw emotional intensity that defines much of the album’s tone. Written and recorded during a tumultuous period in Springsteen’s life—after a bitter legal dispute with his former manager—the song reflects the feelings of frustration, alienation, and searching for meaning. Recorded with the E Street Band between June 1977 and March 1978 in New York City, and produced by Springsteen himself alongside Jon Landau and Steven Van Zandt, Darkness on the Edge of Town marked a stark shift from the grandiose sound of its predecessor Born to Run, offering a grittier, more stripped-down rock sound.
Musically, “Something In The Night” features Springsteen’s emotive vocals, layered over a slow-building arrangement that underscores the song’s sense of desperation and restlessness. The song opens with a haunting piano riff from Roy Bittan, supported by Garry Tallent’s steady bass and Max Weinberg’s measured drumming, setting a somber and reflective mood. Clarence Clemons’ saxophone adds a mournful layer to the song, enhancing its melancholic atmosphere. Springsteen’s voice—often cracking with emotion—carries the weight of the song’s theme of feeling lost and broken. The rawness in both the arrangement and delivery is in line with the overall ethos of Darkness on the Edge of Town, an album about characters battling against overwhelming odds and the harsh realities of life.
Lyrically, “Something In The Night” delves into feelings of emptiness, betrayal, and the relentless search for something elusive. The narrator drives through empty streets, turning up the radio “so I don’t have to think,” trying to outrun the haunting memories that plague him. Lines like “You’re born with nothing, and better off that way / Soon as you’ve got something they send someone to try and take it away” reflect the album’s recurring themes of disillusionment and lost innocence. The song paints a picture of a man chasing after fleeting moments of peace or meaning, only to be left “burned and blind,” still searching for that indefinable “something in the night.”
As the second song on this list, “Something In The Night” fits seamlessly into the theme of feeling lost. Unlike Bread‘s “Lost Without Your Love,” which centers on the pain of lost romance, Springsteen’s track takes a broader view of loss, touching on existential despair and the relentless pursuit of something just out of reach. The lyrics reflect not just personal heartache but also a deeper sense of betrayal and defeat, making it a powerful addition to this exploration of songs that grapple with the feeling of being lost in both life and love.
“One” by Three Dog Night is the third entry in the list of the 10 Best Rock Songs About Feeling Lost. Originally written and recorded by Harry Nilsson for his 1968 album Aerial Ballet, the song gained widespread recognition through Three Dog Night’s 1969 cover, which became a major hit. Reaching number five on the U.S. Billboard Hot 100 and number four in Canada, this version of “One” turned the melancholic tune into one of the band’s signature songs. Produced by Gabriel Mekler and recorded in 1968, Three Dog Night’s rendition highlights the band’s knack for transforming introspective, emotional songs into rock hits, with Chuck Negron delivering a deeply soulful lead vocal.
Musically, “One” is marked by its simplicity and haunting mood. The song’s opening notes mimic the busy signal that inspired Nilsson to write the song, immediately setting a tone of isolation and frustration. Three Dog Night’s arrangement remains faithful to the original but brings a fuller, more dynamic sound. With Negron’s raw vocal performance at the forefront, the band’s use of piano, bass, and subtle percussion creates a restrained yet emotionally intense atmosphere. The track’s understated instrumentation allows the focus to remain on the lyrics, amplifying the song’s message of loneliness and emotional loss.
Lyrically, “One” explores the profound feeling of isolation that comes from being alone after a breakup. The repeated refrain “One is the loneliest number that you’ll ever do” captures the essence of feeling lost and disconnected from the world. Nilsson’s lyrics speak to the universal experience of heartache, where even the idea of two people being together can feel “as bad as one” when the connection is broken. The song delves into the emotional void left by separation, with lines like “It’s just no good anymore since you went away” expressing the deep sorrow and confusion that follows the end of a relationship. In the context of this list, “One” powerfully illustrates how loneliness can evoke a sense of being lost, not just in love but in life itself.
As the third song on this list, “One” reinforces the theme of emotional displacement, where the absence of a loved one leads to a profound sense of loss. Unlike the existential despair in Bruce Springsteen’s “Something in the Night” or the longing for reconnection in Bread’s “Lost Without Your Love,” Three Dog Night’s “One” focuses on the acute, painful awareness of loneliness. The song’s simple yet impactful lyrics, combined with the band’s emotional performance, make it a timeless exploration of how isolation can leave one feeling adrift.
“One Time” by King Crimson is the fourth song on the list of the 10 Best Rock Songs About Feeling Lost. Released on the band’s 1995 album Thrak, the song showcases King Crimson’s distinctive blend of progressive rock, experimental sounds, and emotional depth. Recorded at Peter Gabriel’s Real World Studios in Box, Wiltshire, England, Thrak was produced by David Bottrill and marked the return of the band after an eleven-year hiatus. “One Time” stands out as one of the album’s more reflective and introspective tracks, offering a moment of calm amidst the more chaotic and intense pieces on the album. This period of King Crimson’s work featured the innovative “double trio” lineup, including Robert Fripp, Adrian Belew, Tony Levin, Trey Gunn, Bill Bruford, and Pat Mastelotto, which allowed for complex, layered instrumentation that can be heard throughout “One Time.”
Musically, “One Time” is a carefully constructed atmospheric piece, utilizing the talents of each member of the band to create a soundscape that evokes a sense of drifting and uncertainty. Adrian Belew’s soft and melancholic vocals anchor the track, supported by the ethereal textures created by Robert Fripp’s guitar soundscapes and Mellotron. Tony Levin’s work on the Chapman Stick and electric upright bass provides a rhythmic foundation that subtly moves the song forward, while the dual drummers, Bill Bruford and Pat Mastelotto, deliver a restrained but intricate percussion section. The haunting, dreamlike quality of the song reflects the band’s technical brilliance while still conveying a deep sense of emotional vulnerability.
Lyrically, “One Time” explores themes of waiting, searching, and existential uncertainty. Lines like “I’ve been waiting for the sun to come up / Waiting for the showers to stop / Waiting for the penny to drop” convey the feeling of being suspended in time, unable to move forward or find clarity. The lyrics paint a picture of a person standing on “shifting sands” and hoping for an “open hand,” symbolizing a longing for stability or guidance in a world that feels unpredictable and unstable. The contrast between the “laughing” and “crying” eye suggests an inner turmoil that oscillates between moments of hope and despair, mirroring the emotional highs and lows of feeling lost.
As the fourth song on this list, “One Time” introduces a more introspective and existential approach to the theme of being lost. While earlier songs like Three Dog Night’s “One” focus on the loneliness of separation, “One Time” delves deeper into the internal struggles of searching for meaning in an uncertain world. The song’s slow, meditative pace and its layered, atmospheric instrumentation create a sense of emotional dislocation, making it a perfect fit for the exploration of feeling lost in life and identity. The complexity and emotional depth of “One Time” offer a nuanced look at how disorientation can manifest in both mind and spirit, adding a rich dimension to this collection of songs.
“A Better Place to Be” by Harry Chapin is the fifth song on the list of the 10 Best Rock Songs About Feeling Lost. Released on his 1972 album Sniper and Other Love Songs, this deeply emotional narrative song is a powerful exploration of loneliness, vulnerability, and the human need for connection. The song tells the story of a midnight watchman, who shares his tale of a fleeting encounter with a woman he met and spent a night with, to a waitress in a bar. Chapin’s ability to weave vivid, cinematic storytelling with heartfelt emotion is at the core of “A Better Place to Be,” making it one of his most beloved and poignant tracks. The live version from Greatest Stories Live in 1976 brought even more attention to the song, with that version charting on the Billboard Hot 100 at number 86.
Musically, “A Better Place to Be” is driven by Chapin’s signature acoustic guitar work and his evocative vocal delivery. The song’s structure is simple, yet the narrative complexity and emotional depth elevate it beyond a typical folk ballad. Chapin’s bandmates support the storytelling atmosphere, creating a sound that feels intimate and personal, drawing listeners into the world of the midnight watchman. The live version of the song, recorded in front of an audience, brings an additional layer of connection, as Chapin’s storytelling is enhanced by the energy and response of the crowd. Chapin’s ability to engage the audience while delivering such a deeply personal story highlights his skill as a live performer.
Lyrically, “A Better Place to Be” delves into the themes of isolation and the longing for connection, resonating deeply with the article’s focus on songs about feeling lost. The watchman’s story is one of temporary respite from his loneliness, symbolized by his encounter with the woman who tells him “Anywhere’s a better place to be.” The repeated refrain of searching for “a better place to be” reflects the human desire to escape the emptiness of life’s struggles, whether through love or fleeting moments of companionship. The waitress, in turn, reveals her own feelings of loneliness and unrequited desire, further deepening the song’s exploration of emotional displacement. The powerful juxtaposition between their stories of longing amplifies the song’s melancholic tone, making it a standout in Chapin’s discography.
As the fifth song on this list, “A Better Place to Be” introduces a narrative-driven approach to the theme of feeling lost. While earlier tracks, such as King Crimson’s “One Time,” explore existential uncertainty through atmospheric soundscapes, Chapin’s song uses vivid storytelling to convey the same emotions. The characters in the song are lost not only in their circumstances but also in their unfulfilled desires, seeking solace in temporary connections. This deeply human portrayal of loss and yearning adds a rich emotional layer to the list, reminding us that feeling lost is often about the search for meaning and connection in a world that can feel overwhelmingly isolating.
“Where Do We Go From Here” by Chicago was featured on Chicago‘s second studio album, released in 1970, this track marked the first songwriting contribution from bassist Peter Cetera. The song, which was also released as the B-side to the hit single “25 or 6 to 4,” delves into the uncertainty and disillusionment of the times, particularly reflecting on the social unrest during the Vietnam War and the collective feeling of being lost in a tumultuous world. Produced by James William Guercio, the song was recorded in August 1969 and reflects both the hope and frustration that characterized the era, making it a poignant exploration of the feeling of being adrift in a world that seems increasingly difficult to navigate.
Musically, “Where Do We Go From Here” is a relatively short track at 2 minutes and 35 seconds, but its impact lies in its emotional weight and simplicity. Unlike many of Chicago’s other songs from this period, which often feature intricate brass sections and complex arrangements, this song is more stripped down, emphasizing the lyrics and message. Peter Cetera’s vocals are clear and earnest, supported by subtle instrumentation from the band, including the gentle rhythm set by Danny Seraphine on drums, Robert Lamm on keyboards, and the understated presence of Terry Kath on guitar. The restraint in the arrangement allows the lyrical content to take center stage, reinforcing the sense of introspection and reflection.
Lyrically, “Where Do We Go From Here” questions the direction of society and the future, asking whether people can find unity before it’s too late. The line “People got to come together, not just out of fear” underscores the song’s message of collective responsibility and the need for genuine connection in the face of adversity. The chorus’s repeated question, “Where do we go from here?” encapsulates the feeling of being lost and searching for answers in a chaotic world. The song touches on themes of societal fragmentation, personal uncertainty, and the need for change, making it a fitting addition to this list of songs about feeling lost.
As the sixth entry on the list, “Where Do We Go From Here” broadens the exploration of feeling lost by addressing not just personal emotions but the collective sense of uncertainty that was prevalent in the late 1960s and early 1970s. Compared to other tracks like Harry Chapin’s “A Better Place to Be,” which focuses on individual loneliness, this song takes a broader, more socially conscious approach. The song’s reflection on both personal and societal disillusionment adds depth to the theme of feeling lost, showing how it can be experienced on both an individual and collective level.
“Where Am I Going” by Gino Vannelli was featured on his 1975 album Storm at Sunup. This track stands as a striking example of Vannelli’s exploration into jazz fusion, art rock, and progressive rock. Storm at Sunup leans heavily into complex musical arrangements and introspective lyrics, offering listeners a deeply contemplative experience. Produced by Gino Vannelli and his brother Joe, and recorded at A&M Studios in Los Angeles, this album features contributions from Graham Lear, who later became Santana’s drummer. “Where Am I Going” embodies the reflective and exploratory nature of the album, both musically and thematically, making it a standout track that delves into existential uncertainty.
Musically, “Where Am I Going” showcases Vannelli’s signature fusion of jazz and rock elements, featuring intricate time signatures, lush instrumentation, and sophisticated arrangements. Vannelli’s smooth, soulful voice glides over the shifting musical landscape, while the combination of piano, bass, and drums creates a dynamic and atmospheric sound that underscores the lyrical exploration of aging, mortality, and self-discovery. The complexity of the music mirrors the complexity of the emotions expressed in the lyrics, as Vannelli grapples with life’s larger questions. The track’s progressive rock influences also allow for moments of dramatic crescendos and subtle shifts in mood, reflecting the turbulent journey of self-reflection that the song encapsulates.
Lyrically, “Where Am I Going” is a meditation on the passage of time and the fear of losing one’s sense of purpose and identity. Vannelli questions the direction of his life with lines like “Have I gone too far? Have I lost my mind?” These doubts about his future are further compounded by fears of aging, as expressed in “Will I be strong or barely keep alive / When I’m thirty-five?” The song paints a vivid picture of a man caught between the vigor of youth and the looming inevitability of aging, a theme that resonates deeply with the feeling of being lost. Vannelli ultimately reconciles these fears with the realization that life’s journey is one of constant evolution, choosing to live freely and without regret, as captured in the line “I’ll live how I feel, ’cause no matter how fast or how slow, youth will go.”
As the seventh song on this list, “Where Am I Going” brings an introspective, philosophical tone to the exploration of feeling lost. Unlike the socially conscious questioning in Chicago’s “Where Do We Go From Here,” Vannelli’s track focuses more on internal, personal reflection. The song’s progressive rock and jazz fusion elements add a complexity that mirrors the depth of his existential questioning, making “Where Am I Going” a powerful entry that explores what it means to navigate through life’s uncertainties.
“Can’t Find My Way Home” by Blind Faith is the eighth entry in the list of the 10 Best Rock Songs About Feeling Lost. Written by Steve Winwood and first released in 1969 on Blind Faith’s self-titled debut and only album, the song quickly became one of the defining tracks of the short-lived supergroup, which also featured Eric Clapton, Ginger Baker, and Ric Grech. Winwood, who was just 21 when he wrote the song, has never publicly explained its meaning, leaving listeners to interpret its lyrics as a meditation on feelings of disillusionment and confusion. The track was later released as a single in 1977 on the RSO label, cementing its place as one of the most enduring songs of the late 1960s.
Musically, “Can’t Find My Way Home” is a beautiful example of folk rock with an ethereal quality contrasting with the heavier blues and rock tracks for which Blind Faith is better known. Steve Winwood’s soulful voice takes center stage, supported by his acoustic guitar and delicate keyboard work. Eric Clapton’s subtle electric guitar playing adds depth to the arrangement, while Ric Grech’s bass and Ginger Baker’s light percussion create a restrained, almost weightless backdrop. This minimalist instrumentation highlights the emotional drifting expressed in the lyrics, making the song feel like a journey toward an uncertain destination.
“Can’t Find My Way Home” captures the essence of feeling physically and emotionally lost. Winwood sings about searching for direction but being unable to find the way back, with lines like “I’m wasted and I can’t find my way home” embodying the exhaustion and hopelessness of someone who feels disconnected from themselves and the world around them. The plea to “come down off your throne and leave your body alone” suggests a desire for a return to simplicity or authenticity, further reinforcing the theme of disillusionment. The repetition of “I can’t find my way home” throughout the song serves as a poignant reminder of the emotional struggle to regain one’s bearings.
As the eighth song on this list, “Can’t Find My Way Home” stands out for its deeply introspective tone. While songs like Gino Vannelli’s “Where Am I Going” explore personal uncertainty through philosophical reflection, Winwood’s track dives into a more emotional and vulnerable sense of being lost. The delicate folk rock arrangement combined with the soulful, raw lyrics make this song a powerful entry that encapsulates the feeling of losing oneself and the struggle to find the way back.
“Nowhere Man” by The Beatles is the ninth entry in the 10 Best Rock Songs About Feeling Lost list. Released in 1965 on the album Rubber Soul in the UK and as a single in the U.S. in early 1966, the song was written by John Lennon and represents one of his first forays into more introspective and philosophical songwriting. Recorded on October 21 and 22, 1965, “Nowhere Man” is notable for being one of the first Beatles songs to address themes unrelated to love or romance, instead focusing on feeling lost and directionless. The song features Lennon, Paul McCartney, and George Harrison singing in three-part harmony, with Lennon and Harrison performing the guitar solo in unison on matching Fender Stratocasters. Produced by George Martin, the track exemplifies the band’s lyrically and musically growing sophistication.
Musically, “Nowhere Man” is a simple yet poignant folk-rock ballad. The bright, ringing guitar work of Lennon and Harrison, combined with McCartney’s melodic bass lines and Ringo Starr’s understated drumming, creates a sense of lightness that contrasts with the song’s heavier lyrical content. The tight three-part harmonies from Lennon, McCartney, and Harrison add richness to the sound, while the unison guitar solo is understated and effective. The clean and direct production allows the song’s message to shine through without unnecessary embellishment.
Lyrically, “Nowhere Man” captures the essence of existential uncertainty and self-doubt. The central character, described as “a real nowhere man / sitting in his nowhere land,” is lost in his aimlessness, making plans “for nobody” and lacking a sense of purpose. The lines “Doesn’t have a point of view / Knows not where he’s going to” emphasize his detachment from the world and inability to see beyond his limited perspective. Lennon’s lyrics tap into universal feelings of being lost and disconnected, and the line “Isn’t he a bit like you and me?” invites listeners to reflect on their own experiences of drifting through life without direction. The song’s introspective nature fits perfectly into the theme of feeling lost, as it delves into the emotional paralysis that can come from not knowing one’s place or purpose.
As the ninth song on this list, “Nowhere Man” stands out for its direct exploration of existential aimlessness. While earlier tracks like Blind Faith’s “Can’t Find My Way Home” express a yearning to return to a place of safety or understanding, “Nowhere Man” focuses on the realization of being lost in the moment, offering little hope or resolution. The song’s simplicity and deep lyrical content make it one of The Beatles’ most enduring tracks about self-reflection and the universal struggle to find meaning in a confusing world.
“Desperado” by The Eagles is the tenth and final entry in the list of the 10 Best Rock Songs About Feeling Lost. Written by Don Henley and Glenn Frey, this haunting ballad was released on the band’s 1973 album Desperado. Despite never being released as a single, “Desperado” became one of The Eagles‘ most iconic tracks and remains a fan favorite. Rolling Stone ranked it at number 494 on their 2004 list of “The 500 Greatest Songs of All Time.” The song’s introspective lyrics and emotional depth speak to themes of isolation, regret, and the search for redemption, making it a perfect conclusion to this exploration of rock songs about feeling lost.
Musically, “Desperado” stands out with its understated arrangement. The song opens with a piano introduction reminiscent of Ray Charles’ “Georgia On My Mind,” setting a somber, reflective tone. Henley’s soulful vocal performance is supported by a gentle arrangement of piano, guitar, and strings, creating a sense of melancholy that underscores the song’s themes. Produced by Glyn Johns, the track highlights the band’s ability to blend country, rock, and orchestral elements into a seamless whole. Unlike many of The Eagles‘ other hits, which feature elaborate harmonies and instrumentation, “Desperado” is simple yet profound, allowing the emotion of the lyrics to take center stage.
Lyrically, “Desperado” tells the story of a man who is emotionally lost and disconnected from the world. The central figure has been “ridin’ fences for so long” that he cannot open himself up to others or to love. Lines like “Your prison is walking through this world all alone” emphasize the character’s self-imposed isolation. At the same time, the plea “You better let somebody love you before it’s too late” reflects the urgency of finding connection and meaning before it’s too late. The song’s imagery of cold winters, fading highs and lows, and the futility of chasing unattainable desires beautifully captures the numbness and confusion that often accompanies feeling lost.
As the final song on this list, “Desperado” resonates deeply with the themes of existential searching and emotional longing found in previous entries like Blind Faith’s “Can’t Find My Way Home.” While earlier tracks explore the internal struggle to find direction, “Desperado” is a reflective meditation on the consequences of emotional isolation. The song’s plea for connection and redemption offers a poignant reminder that feeling lost can stem from external circumstances and an unwillingness to embrace vulnerability and love. This timeless ballad encapsulates the sense of being lost, both to oneself and to others, making it a fitting conclusion to this exploration of rock songs about feeling lost.
Michael McDonald’s career is a testament to the power of a distinctive voice and a lifelong commitment to musical excellence. Born on February 12, 1952, in St. Louis, Missouri, McDonald grew up in Ferguson, where he honed his musical skills in local bands such as Mike and the Majestics, Jerry Jay and the Sheratons, and The Guild. His early exposure to performance eventually led to a pivotal moment in 1970 when RCA producer Rick Jarrard discovered him playing with a band called Blue in an Illinois nightclub. Recognizing McDonald’s potential, Jarrard brought him to Los Angeles, where he would begin laying the foundation for a career that would span decades across rock, pop, R&B, and soul.
McDonald’s big break came in 1973 when he joined Steely Dan as a backing vocalist and keyboardist. While initially brought in for their touring lineup, his smooth yet commanding voice became an integral part of the band’s recordings. He contributed vocals to several of their albums, including Katy Lied (1975), The Royal Scam (1976), and Aja (1977), helping to shape the band’s signature sound. McDonald continued working with Steely Dan into 1980, lending his voice and keyboard work to Gaucho, and later reunited with the band as an opening act and guest performer on their 2006 summer tour. His time with Steely Dan not only elevated his reputation as a sought-after session musician but also paved the way for his next major opportunity.
In 1975, The Doobie Brothers recruited McDonald as a temporary stand-in for lead singer Tom Johnston, who had fallen ill. However, McDonald’s influence on the band’s sound was so profound that he became a permanent member. As both a lead vocalist and songwriter, he helped guide the group toward a more soulful, R&B-infused style that defined their late-1970s success. His tenure with the band resulted in some of their most iconic hits, including “Takin’ It to the Streets,” “It Keeps You Runnin’,” and “Minute by Minute.” His co-written song “What a Fool Believes” became one of the band’s biggest achievements, winning the Grammy Award for Song of the Year in 1980. McDonald remained with The Doobie Brothers until 1982, later reuniting with them for various performances and recordings, including Southbound (2014) and the 50th-anniversary tour in 2019.
While McDonald had already established himself as a powerhouse vocalist, his solo career cemented his place in music history. His 1982 debut album, If That’s What It Takes, featured the hit single “I Keep Forgettin’ (Every Time You’re Near),” which became a defining song of the era. Throughout the 1980s, he continued releasing solo albums while collaborating with a diverse range of artists. His work with James Ingram on “Yah Mo B There” won him another Grammy, while his duet with Patti LaBelle, “On My Own,” topped the Billboard Hot 100 in 1986. McDonald also co-wrote Van Halen’s hit “I’ll Wait” and provided backing vocals for artists such as Toto, Christopher Cross, and Kenny Loggins.
In addition to his work in pop and rock, McDonald made a lasting impact on the R&B and soul genres. His love for Motown led him to release Motown (2003) and Motown Two (2004), both of which showcased his interpretations of classic soul hits. These albums earned him Grammy nominations and introduced his voice to a new generation of listeners. He later returned with Soul Speak (2008), an album that combined original material with covers of legendary artists like Stevie Wonder and Van Morrison. His ability to blend genres has made him a respected figure across multiple musical landscapes.
McDonald’s contributions to music have been recognized with five Grammy Awards, spanning categories from pop to R&B. In 2020, he was inducted into the Rock and Roll Hall of Fame as a member of The Doobie Brothers, an honor that affirmed his impact on the industry. His legacy is also marked by his work outside of the studio—he has performed for numerous charitable causes, supported music education initiatives, and lent his talents to benefit concerts that raise awareness for various social issues. His commitment to philanthropy has been as enduring as his musical career.
Even after more than five decades in the industry, McDonald continues to tour, record, and collaborate with artists across generations. Whether revisiting his Doobie Brothers roots, performing alongside legends like Barbra Streisand and Ray Charles, or collaborating with modern artists like Thundercat, he remains a fixture in contemporary music. His unmistakable voice, combined with his songwriting and musicianship, has ensured that his influence endures well beyond his chart-topping years. His upcoming work with The Doobie Brothers on their 2025 album Walk This Road marks yet another milestone in a career filled with timeless contributions to music.
Complete List Of Michael McDonald Songs From A to Z
After the Dance – Motown Two – 2004
Ain’t No Good – Wide Open – 2017
Ain’t No Mountain High Enough f/ Fourplay – Motown – 2003
Ain’t Nothing Like the Real Thing – Motown – 2003
Ain’t That Peculiar – Blue Obsession – 2000
All I Need – Blue Obsession – 2000
All in Love Is Fair – Motown – 2003
All We Got – Take It to Heart – 1990
Angels We Have Heard On High – In the Spirit: A Christmas Album – 2001
Any Foolish Thing – No Lookin’ Back – 1985
Auld Lang Syne/O Tannenbaum (Reprise) – Through the Many Winters – 2005
Baby Can I Change My Mind – Soul Speak – 2008
Baby, I Need Your Lovin’ – Motown Two – 2004
Baby, I’m for Real – Motown Two – 2004
Bad Times – No Lookin’ Back – 1985
Beautiful Child – Wide Open – 2017
Believe in It – If That’s What It Takes – 1982
Blessing in Disguise – Wide Open – 2017
Blink of an Eye – Blink of an Eye – 1993
Build Upon It – Blue Obsession – 2000
By Heart – No Lookin’ Back – 1985
Children Go Where I Send Thee – In the Spirit: A Christmas Album – 2001 / This Christmas – 2009
Christmas On The Bayou – Through the Many Winters – 2005
Come, O Come Emanuel/What Month Was Jesus Born – Through the Many Winters – 2005 / This Christmas – 2009
Dark Side – Wide Open – 2017
Deck The Halls/Jingle Bells – Through the Many Winters – 2005
Distant Lover – Motown – 2003
Don’t Let Me Down – No Lookin’ Back – 1985
Down by the River – Blue Obsession – 2000
East of Eden – Blink of an Eye – 1993
Enemy Within – Soul Speak – 2008
Every Time Christmas Comes Around – In the Spirit: A Christmas Album – 2001 / This Christmas – 2009
Everlasting – Blink of an Eye – 1993
Find It in Your Heart – Wide Open – 2017
For a Child – Blink of an Eye – 1993
For Once in My Life – Soul Speak – 2008
Free a Man – Wide Open – 2017
Get the Word Started – Take It to Heart – 1990
God Rest Ye Merry Gentlemen – Through the Many Winters – 2005 / This Christmas – 2009
Hail Mary – Wide Open – 2017
Half Truth – Wide Open – 2017
Hallelujah – Soul Speak – 2008
Have Yourself A Merry Little Christmas – This Christmas – 2009
Hey Girl – Blink of an Eye – 1993
(Your Love Keeps Lifting Me) Higher and Higher – Soul Speak – 2008
Homeboy – Take It to Heart – 1990
Honest Emotion – Wide Open – 2017
House Full Of Love – In the Spirit: A Christmas Album – 2001
How Sweet It Is (To Be Loved by You) – Motown – 2003
(I Hang) On Your Every Word – No Lookin’ Back – 1985
I Believe (When I Fall in Love It Will Be Forever) – Motown – 2003
I Heard It Through the Grapevine – Motown – 2003
I Knew You Were Waiting (For Me) – Soul Speak – 2008
I Stand for You – Blink of an Eye – 1993
(I’ll Be Your) Angel – No Lookin’ Back – 1985
I Can Let Go Now – If That’s What It Takes – 1982
I Gotta Try – If That’s What It Takes – 1982
I Keep Forgettin’ – If That’s What It Takes – 1982
I Want You – Blink of an Eye – 1993 / Motown – 2003
I Was Made to Love Her – Motown Two – 2004
I’ll Be Home For Christmas – This Christmas – 2009
I’m Gonna Make You Love Me – Motown – 2003
If That’s What It Takes – If That’s What It Takes – 1982
If You Wanted to Hurt Me – Wide Open – 2017
Into the Mystic – Soul Speak – 2008
Just Strong Enough – Wide Open – 2017
Kikwit Town – Blue Obsession – 2000
Living for the City – Soul Speak – 2008
Lonely Talk – Take It to Heart – 1990
Losin’ End – If That’s What It Takes – 1982
Lost in the Parade – No Lookin’ Back – 1985
Love Can Break Your Heart – Take It to Heart – 1990
Love Lies – If That’s What It Takes – 1982
Love T.K.O. – Soul Speak – 2008
Loving You Is Sweeter Than Ever – Motown Two – 2004
Matters of the Heart – Blink of an Eye – 1993
The Meaning of Love – Blue Obsession – 2000
Mercy, Mercy Me (The Ecology) – Motown Two – 2004
More to Us Than That – Blink of an Eye – 1993
No Amount of Reason – Take It to Heart – 1990
No Lookin’ Back – No Lookin’ Back – 1985
No Love to Be Found – Blue Obsession – 2000
No More Prayin’ – Blink of an Eye – 1993
No Such Luck – If That’s What It Takes – 1982
Nowhere to Run – Motown Two – 2004
O Holy Night – Through the Many Winters – 2005
O Tannenbaum – Through the Many Winters – 2005
Obsession Blues – Blue Obsession – 2000
On Christmas Morning – In the Spirit: A Christmas Album – 2001
On This Night – In the Spirit: A Christmas Album – 2001 / This Christmas – 2009
One Gift – In the Spirit: A Christmas Album – 2001
One Step Away – Take It to Heart – 1990
Only God Can Help Me Now – Soul Speak – 2008
Open the Door – Blue Obsession – 2000
Our Love – No Lookin’ Back – 1985
Peace – In the Spirit: A Christmas Album – 2001 / This Christmas – 2009
Playin’ by the Rules – If That’s What It Takes – 1982
Reach Out, I’ll Be There – Motown Two – 2004
Redemption Song – Soul Speak – 2008
Reflections – Motown – 2003
Searchin’ for Understanding – Take It to Heart – 1990
Still Not Over You (Getting Over Me) – Soul Speak – 2008
Stop, Look, Listen (To Your Heart) – Motown Two – 2004
Sweet Freedom – No Lookin’ Back – 1985 (1986 Reissue)
Take It to Heart – Take It to Heart – 1990
Tear It Up – Take It to Heart – 1990
That’s What Christmas Means To Me – This Christmas – 2009
That’s Why – If That’s What It Takes – 1982
This Christmas – This Christmas – 2009
The Tracks of My Tears – Motown Two – 2004
Through The Many Winters – Through the Many Winters – 2005
To Make A Miracle – In the Spirit: A Christmas Album – 2001
Too High – Motown – 2003
Too Short – Wide Open – 2017
Tuesday Heartbreak – Motown Two – 2004
Walk On By – Soul Speak – 2008
Wexford Carol – Through the Many Winters – 2005 / This Christmas – 2009
What Makes a Man Hold On – Blink of an Eye – 1993
What’s Going On – Motown Two – 2004
Where Would I Be Now – Blue Obsession – 2000
White Christmas/Winter Wonderland – In the Spirit: A Christmas Album – 2001 / This Christmas – 2009
World Out Of A Dream – In the Spirit: A Christmas Album – 2001
You Are Everything – Motown – 2003
You Can’t Make It Love – Blue Obsession – 2000
You Don’t Know Me – Soul Speak – 2008
You Show Me – Take It to Heart – 1990
You’re All I Need to Get By – Motown Two – 2004
Albums:
If That’s What It Takes (1982): 10 songs
No Lookin’ Back (1985/1986 Reissue): 10 songs (including “Sweet Freedom” from the 1986 reissue)
Take It to Heart (1990): 11 songs
Blink of an Eye (1993): 11 songs
Blue Obsession (2000): 12 songs
In the Spirit: A Christmas Album (2001): 11 songs
Motown (2003): 14 songs
Motown Two (2004): 14 songs
Through the Many Winters, A Christmas Album (2005): 10 songs
Soul Speak (2008): 14 songs
This Christmas (2009): 12 songs
Wide Open (2017): 12 songs
Check out our fantastic and entertaining Michael McDonald articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Motley Crue‘s Las Vegas residency has been pushed back by six months so singer Vince Neil can recover from an unspecified medical procedure.
“Motley Crue’s Las Vegas residency at Dolby Live at Park MGM, originally scheduled for March 28th- April 19th, 2025, is moving to September 2025 due to a required medical procedure recently advised by vocalist Vince Neil’s doctors,” read a statement from the band.
“To all the Crueheads who were looking forward to seeing us this spring, I’m truly sorry. My health is my top priority so I can bring you the awesome shows you deserved, and I can’t wait to return to the stage. Thank you for all the well wishes that keep reaching me. Your support means more than you know.”
The shows will now take place Sept. 12, 13, 17, 19, 20, 24, 26, 27 and October 1 and 3. Tickets for the original shows will remain valid for the new September show dates.
“Please join us in wishing Vince a speedy recovery,” Neil’s bandmates Nikki Sixx, Tommy Lee and John 5 said in a shared statement. “We are looking forward for him to get well again and to take over Vegas together in September. We can’t wait to see you all out there, and thank you for your support and understanding in the meantime.”
Motley Crue’s most recent concert took place Oct. 13, 2024 at the Aftershock festival in Sacremento. They released the three-song EP Cancelled that same month.
Motley Crue Albums Ranked
We look back at everything from Too Fast for Love to Saints of Los Angeles to see which albums hold up best all these years later.
In what may be one of the finest examples of good parenting we’ve ever seen, French-Canadian director, sound technician and composer Antoine Baril has recorded a version of the 22-minute Genesis classic Supper’s Readywith his ten-year-old daughter, Léane.
A video of the recording finds Antoine playing 4/5 of the band, replicating the instrumental parts originally played by Phil Collins, Mike Rutherford, Steve Hackett and Tony Banks, while young Léane fills the Peter Gabriel role with aplomb, sporting Gabriel’s trademark eye makeup, donning his flower head mask for the Willow Farm section of thesong, and wearing a Magog costume for Apocalypse in 9/8.
Baril, whose progressive death/thrash metal band Obliveon recently returned to action after a 25-year-break, started working on the project when Léane was eight, requiring her to learn 10 pages of lyrics in English while he mastered his own parts and designed the sets and costumes. He even borrowed a double-neck Rickenbacker from Crown Lands guitarist Kevin Comeau for the recording.
“Léane and I would like to take the time to thank you for your wonderful messages and comments that you have shared with us since the release of our Supper’s Ready video,” says Antoine. “What touches me a lot is that the central point that comes back as a commentary is the happiness that the video brings in this slightly more tense time in the world.
“Like we’ve managed to bring a little hope or light to a time when we need it a little more. Yes, this production was a colossal work, a challenge to try to surpass myself on a technical level, but above all it’s a father-daughter fusion opportunity that I wish for everyone. But, well beyond that, what I wish when I wake up every morning is to be able to bring a little happiness and do good around me.”
“I felt sad to see such joy in Neil’s face when we were down to the last few bars of our last song we played together”: A Farewell to Kings – Geddy Lee and Alex Lifeson look back on 50 years of Rush
Rush on stage at the Odeon in Birmingham, England during their ‘Farewell To Kings’ tour on 12th February 1978(Image credit: Fin Costello/Redferns)
The future is unwritten (and questions to Alex Lifeson and Geddy Lee about any plans for Rush are gently and politely batted back at me), although the past is littered with signposts, and unlikely trigger points, especially for two men who grew up playing and performing together for most of their adult lives.
Thousands of miles – Lifeson at home in Toronto, Lee in London – and a few days apart, the bond between the two Rush members is as tangible as when they were two young men travelling in the back of a van, going from gig to gig across the Canadian wilds. They both look and sound great, vibrant and healthy, belying the fact they’ve both somehow reached 71. Which seems to come as something of a surprise to both of them, that they’re now in what could be described as their third act.
We’re here ostensibly to talk about Rush’s forthcoming Rush 50 set, the latest collection of the band’s live archive housed in a lavish box with new essays. (Full disclosure: I wrote about the band from Vapor Trails through to the final show in LA and everything in between for it.)
Rush 50 also features some unreleased and hard-to-find audio from the band’s very early club and high school days as well as the final song they played together as a band at the LA Forum show on the R40 tour. It’s not only a thing of beauty, but also a bittersweet reminder of just how great Rush were as a live band, regardless of the decade they found themselves in. But, of course, that kind of live legacy only comes from the doing, and with Rush it was years and years of playing every unlit corner of Canada until the rest of the world began to take notice.
“We had trouble breaking out of Ontario,” says Geddy. “But we played all the Toronto bars, Gasworks, Abbey Road Club, Piccadilly Tube. Are you seeing a theme here? And then Ray [Danniels], our manager at the time, would send us out to the boondocks to play bars way up north in places like Smith Falls or Thunder Bay. I have very, very vivid memories of those times. You’ll notice I didn’t use the word ‘fond’.”
Alex Lifeson: “My god, the club owner at the exotic Thunder Bay Motor Inn had us at one end of the motel, as far away as possible from the other five guests at his shitty inn.”
Geddy Lee: “Boy, that was not a pleasant gig. And you’re there for like, I think we were there at least a week, maybe more.”
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Lifeson: “Two weeks, there was virtually no heat in the two rooms the three of us were sharing.”
Lee: “And the entertainment didn’t get the suite. No, no, no. We had a basic, large empty room full of cots. So, you had your cot, and you’d bundle up and sometimes it’d be so cold at night that you’d sleep with your hair dryer. And in the middle of the night, you wake up and you turn the hair dryer on under the covers to keep it warm. You’d get up in the morning and the first thing you do is take a shot of rye whiskey just to get your blood going again.”
Alex Lifeson, John Rutsey, Geddy Lee – 1974 (Image credit: MMMedia/IconicPix)
Lifeson: “I’ll always remember the sound of those hairdryers under the sheets in the middle of the night. The crowds were dismal and disinterested. The guy in charge gave us some tequila before one show and so Ged and I switched instruments and played the set lying on our backs on the stage. I don’t think anyone even blinked.”
Lee: “And the whole time we were there, they didn’t change the sign. They never announced that it was Rush that was playing. They still had the sign from three weeks ago where a band called the Amazing Kabuki was playing. So, we’d go out on stage at this particular gig, ladies and gentlemen, the Amazing Kabuki! And so, there was the stage and there was a dance floor in front of the stage. Of course, not used for Rush songs, and then there was a mirror opposite the dance floor.
“So, you were playing and you’re kind of looking at yourself. There were two bar rooms on either side where the people, or the lack of people sit, the few stragglers. You’d get guys that were already drunk and yelling things. ‘Hey, play something by Neil Young!’ We also used to have to do a Saturday matinee. You came in at 1pm and there were three people in the audience. And it almost didn’t matter what you played, because the three people that were there, were there to drink.”
Lifeson: “I remember that mirror across from the small dance floor and there was a support pole in the middle of the room. Just sort of staring at ourselves playing. I remember the seemingly generous owner offered drinks and food on the house on occasion, which we gratefully accepted as we had no money or any kind of advance.
“It was such a kind gesture until we realised he deducted every single thing from the menial performance fee that we were being paid. I think we were paid $700 per week before he deducted the ‘free’ club sandwiches and beers. We ended up going back home with hardly anything to show for it.”
Rush on September 17, 1974 in New York City, New York (Image credit: David Gahr/Getty Images)
Talking of paying your dues, a real highlight of the boxset are the tracks from the Agora Ballroom in Cleveland and the Laura Secord Secondary School, both from 1974.
Lee: “Real snapshots in time. The Agora Ballroom in Cleveland, that was a really important headline gig for us, that would have been our very first tour and on that tour, we were the opening act, so you put yourself back in that mindset where we’re playing generally between 26 and 40 minutes max, usually closer to 30 minutes than 40.
“So, by the time we came to this club show it’s our headline gig and we could play every song we knew, basically. And it was a ferocious crowd, it was a hot sweaty gig. I remember the gig really, really well. We weren’t begging for time on someone else’s show. That was our show. And one of the first headline shows with Neil, ever. I’m glad they found some songs from that night.”
Lifeson: “Cleveland was a strong market for us from the beginning and playing at this venerated club introduced Rush to a wider audience and by that, I mean it felt like it was really our audience for the first time. I recall the stage was small and we were tightly packed in there, and by the end of the show, the room was hot and sweaty, and the audience was loud and so excited. I’m pretty sure I didn’t wear a top for the encore, something I could get away with fifty years ago but wouldn’t dare to do now. Come to think of it, I was pissed at myself for getting my guitar strap all sweaty!”
Bad Boy is one of the songs on the boxset from that night (the Larry Williams song that The Beatles covered). How come that was in your set?
Lee: “I remember listening to the Beatles version when I was a kid and loving it. And when we were playing the bars, we needed some cover songs, or we wouldn’t get hired. So, we would always pick songs by bands that had a big name, but we would pick songs that were obscure. But we could still say on our resume that we played a Beatles song. We used to do Shotgun by Jr. Walker & The All Stars too, but we would do a fifteen-minute version of it, which featured Alex Lifeson playing Echoplex and wah-wah pedals solo. Working Man, basically.
“The Laura Secord Secondary School show was something we actually filmed for local television in Toronto. That was spring ’74, John Rutsey’s on the drums and we were already starting to be kind of a name on the Ontario circuit. The first album had just come out, but only in Canada at that point, on Moon Records.
“So, those kids would have heard us on the radio. One of the four times a week that we might have got some airplay. So, we were already building a kind of a fan base at that time. That was a great crowd. They were really into it.”
Lifeson: “I was twenty at the time. I remember very little of the performance, I remember I was a little nervous before and how unusual it was to have a high school gig videotaped back then. I watched the clip again years ago and smiled at the image of these three young musicians I hardly recognised playing to a seated, self-conscious bunch of high schoolers. Thankfully, it provided the only video-recorded performance of us with John Rutsey.”
Lee: “It was that gig where we had this local, well-known DJ who was the host and he introduced us and that became the impetus for what we did on R40 after the break in the set and we had Eugene Levy resurrect the character he played on SCTV [Second City Television], Rockin’ Mel Slurp to bring us back out after the break, so we filmed him doing that, he was great, such a nice man.”
Alex, Geddy and Neil Peart on their bus on All The World’s A Stage tour (Image credit: Fin Costello/Redferns)
The final song from the final show on the R40 tour – Working Man with nods to What You’re Doing and Garden Road – is one other extra, which was at the point where the stage was stripped back and dressed like a high school gig. I know we’ve spoken before how R40 was never meant to be the final tour, but there must have been something in your collective subconscious that felt like it was saying goodbye?
Lifeson: “Not in my subconscious! It was a goodbye tour from the onset. Neil was very clear about that.”
Lee: “The stage did look that way, the idea was appropriate enough for a retrospective. The fact that it was the last tour makes it more poignant, but that wasn’t the purpose of it. I loved the idea of finishing the show in our earliest, most simple state. It wasn’t my way of saying goodbye.”
I was lucky enough to be out there for some of those final shows and you could feel Neil’s mood lifting as Geddy’s darkened. Where were you, Al – somewhere in between?
Lifeson: “Well, I was more in Ged’s camp. We were playing well, the show was so much fun for us and our audience, and we had good energy despite playing three-hour shows in our sixties. Ged and I were disappointed that Neil demanded playing only a limited number of dates which precluded a UK and European run. I think a dozen or so more dates would have made us a bit more accepting.
“And there was a point where I think Neil was open to maybe extending the run and adding in a few more shows, but then he got this painful infection in one of his feet. I mean, he could barely walk to the stage at one point. They got him a golf cart to drive him to the stage. And he played a three-hour show, at the intensity he played every single show. That was amazing, but I think that was the point where he decided that the tour was only going to go on until that final show in LA.”
It felt very final when Neil stepped off the drum riser and embraced you both at the end of the show. I remember people around me gasping, one woman was crying.
Lee: “The first time in forty years he’d done that, it was a beautiful moment.”
Lifeson: “I remember being on stage and thinking how many times we’d played the Forum and wondering just how many times we’d done Working Man there because it’s pretty much been in the set since day one. It was a weird feeling knowing that was likely the last time we’d play any of those songs together. I tried to soak in every moment and object at that last gig. I counted down the minutes on the giant clock they have there, you can see it from the stage.
“And I stared at all these faces, people that I didn’t know personally, yet happily greeted when I saw them return to so many of our shows over so many years; I looked at my bandmates and missed them already and I felt sad to see such joy in Neil’s face when we were down to the last few bars of our last song played together, as we finally finished our set.”
Rush at the Molson Amphitheatre, Toronto, Canada – 13 Jul 2010 (Image credit: Hans-Martin Issler/IconicPix)
Of course, you returned to the Forum and Wembley Stadium when you reunited for the Taylor Hawkins tribute shows in September 2022, and played Rush songs without Neil.
Lee: “Dave [Grohl] just called me out of the blue and said, look, we’re going to put together a tribute, two shows and Taylor would have loved you and Alex to be part of it. I said, well, you had me at hello. But he’s very wise and he’s a very smart guy, Dave. He said, look, one thing we have to do is make sure it’s not just one drummer, because you don’t want people thinking this is Rush 2.0. And he brought Omar Hakim on board and they both flew up to Toronto to rehearse with me and Al. They made everything so easy for us. Al and I were pretty nervous about doing that show, about being Rush again, and he did everything he could to put us at ease.
“And, of course, Dave introduced us to Paul [McCartney]. We were at rehearsals at a recording studio here in London. Dave came up to me and goes, have you ever met Paul? And then he went outside, and Paul said to him, I’ve never met the boys in Rush before and he just brought him in. He was, of course, completely charming. Just talking about the forthcoming gig, just musician to musician. Every bit a gentleman.”
Even he was trying to get the band back together after Wembley.
Lee: “He was! He was so enthusiastic after our show. He was like our biggest promoter. He was trying to convince Al to go back on the road.”
On that tip, after the soundcheck for the Wembley show you were both so buoyant, not to make this about ‘will they or won’t they reform’, but that was the first time in a long time that I thought Rush, might actually go back out on tour.
Lifeson: “The energy was fantastic around that show, I know, and some days I wake up wanting to go out and tour again and some days I don’t. For forty years Rush included Neil, and I don’t think putting some new version together would have the same magic. It was an incredible experience working together and making so much music. It was beautiful how much we loved and respected each other, and how much we laughed but everything, amazing or not, dies eventually and we are left with the memories.
“After those two gigs and the months of prep Ged and I went through, I was excited by the response and to be in the dressing room again with so many fellow artists in Wembley and LA I respected and felt a kinship towards. But after a few weeks that wore off and it occurred to me that despite all the pain of loss, Rush went out on a high note playing as well as ever with one of our best stage shows on R40. I guess I’d rather be remembered for that legacy than returning as the top Rush tribute band.”
Lee: “We were on high those few days, it felt good to be playing our material and interacting with different musicians. We were always a fairly insular band. There were very few bands whose albums we played on; we didn’t really interact. Which I think now Alex is making up for lost time – you’ll see him busking soon.
“But, more seriously, it was a real vote of confidence from all these other musicians. They wanted to play with us and some of the drummers we admired so much got to share the stage. Although we were all gathered there for a very sad purpose, it couldn’t help but be also a tribute to our own lost partner and a reinforcing of community. I’ve never seen so many musicians from different walks of life all rooting for each other. The LA show was different for me, different vibe, not quite as magical.”
Geddy Lee and Dave Grohl at the Taylor Hawkins tribute show in London (Image credit: Kevin Mazur)
Was part of that because it was returning to the Forum and playing Rush songs again?
Lee: “Partly that, partly that when we were all staying at the same hotel here in London, the bar was open every night for the bands only, it was like summer camp for musicians. So that sense of community was missing. But the performance was really interesting again. But you’re right, I was not myself that day of the Forum show, it wasn’t lost on me.
“I was returning to the scene of the crime, so to speak. I was lost in thought for a lot of the day. I had a hard time connecting with people as easily as I did when we were in London. And going back there represented a lot of things to me that I was still processing.”
Returning to R40, when I helped with the Q&A section of your My Effin’ Life book tour in the UK, the only thing you asked of me each night was to make sure I asked you about the band never making it here on that last tour. Why was that so important for you to get across?
Lee: “I’d pushed really hard to get more gigs so that we could do those extra shows and I was unsuccessful. I really felt like I let our British and European fans down. It felt to me incorrect that we didn’t do it, but Neil was adamant that he would only do thirty shows and that was it. That to him was a huge compromise because he didn’t want to do any shows. He didn’t want to do one show. So, in his mind, he’d compromised already. He said, I’ll do thirty gigs, don’t ask me for any more. So that was that.
“I just kind of felt I owed an explanation to them, the audience. It’s part of why I went into the detail I did about Neil’s passing in the book, was to let fans in on what went down. That it wasn’t a straight line. This is how complicated the whole world of Rush became since August 1 of 2015 until January 7th of 2020 when Neil passed. Those were very unusual, complicated, emotional times. Fans invested their whole being into our band and I thought they deserved a somewhat straight answer about what happened and how their favourite band came to end.”
Was it odd on the book tour going back into venues like Massey Hall as a writer and not the bass player and singer for Rush?
Lee: “The first gig on the book tour in the US was at the Beacon Theatre in New York. And we’d played there as the second band on the bill about a hundred years ago, Rory Gallagher was the headliner, I think we got twenty minutes. So, I had really fond memories of that venue. There were a few of those older theatres that we played throughout the book tour that connected to me back to those early days of the band.
“But the book tour was so edifying, and I was shocked how comfortable I was in that situation. I didn’t expect that from myself. Because there I was without a bass guitar in my hands, just walking out on stage and sort of bearing my soul to our fan base. It was an unmissable experience for me.”
Alex Lifeson and Geddy Lee onstage in Portsmouth during Geddy Lee’s My Effin’ Life book tour (Image credit: Richard Sibbald/Geddy Lee Archives)
Staying with the book tour, Al, you came out as the surprise host in Portsmouth – the roar when you appeared was deafening.
Lifeson: “It’s a beautiful thing to be loved by strangers. And it was great to sit down with Geddy and do that, same thing with Massey Hall when we did the evening there. The reaction was so positive. And what a great book, I loved it. I laughed out loud, teared up and was engrossed throughout. I tell everyone who hasn’t read it that they have to! I know most of his story and lived through much of it. Having a bond with another person to this degree is fortuitous and a blessing.
“Our friendship is so deep that it’s difficult to describe. We try to spend time together weekly and keep in touch nearly daily. He just returned from a four week stay in London and I was so excited when he reached out to let me know he was back that I felt giddy. I get giddy for Geddy!”
Stepping away from Rush briefly, there’s a second Envy Of None album due imminently. You mentioned how happy it makes you playing and creating music just for the sheer joy of it. What has that project brought you?
Lifeson: “I’m a golf slut and spent just a third of my usual time playing this year as I was in the studio working. The Envy of None project has been very important to me. Since the last Rush tour, it has provided me with purpose. I love writing and working with other very talented musicians.
“I love how it has forced me to think in different terms about the role guitar has in modern music. It has inspired me to play daily and investigate uncommon tones and colours. I love music and its power. Being that guy from Rush who plays like some guy not from Rush is liberating and allows me to share my love of the instrument that has been vital to my existence.”
Talking of extracurricular activities, there’s another book coming out, more akin to your Big Book Of Bass in tone and content: 72 Stories – From The Collection Of Geddy Lee, combining your love of collecting and baseball.
Lee: “The reason I wrote it originally was to coincide with the sale of some of my baseball memorabilia. I basically chose seventy-two of the most interesting stories behind some of those items that were in my collection.”
I recall you showing me your collection, with some baseballs signed by US Presidents. Was it hard letting those things go? Your love of baseball is well known.
Lee: “I have the balls of President Kennedy, just for the record. I do love baseball. I love a lot of things though and I collect a lot of things. And I’m not getting younger, and I realised that I hadn’t really added to my baseball collection in years. And I just felt that a collection is a living thing. Collections need feeding and watering. And I wasn’t doing that anymore.
“I thought it’s time to release some of my flock. I kept anything that had a personal resonance to me. Obviously, anything that was gifted to me from players. Anything that represented my love of the [Toronto] Blue Jays. I kept all that stuff, but I parted with some significant items and put them back out there in the world for other collectors to be the next custodian of.
“I have a house full of bass guitars and photos and first edition books and all the crazy shit that I collect. It’s just too much. One day I’ll be gone, and I don’t want to leave this burden behind to my children to spend the rest of their life sorting out the crap that I collect. So, it was time to move some pieces on. Before I did, I wanted to write something about them so that I’d had a record of my favourite pieces or my favourite stories.”
(Image credit: Fin Costello/Redferns)
Can you imagine there’ll ever come a day when some of the basses go too?
Lee: “I don’t know yet. There’s still a lot of those basses that I want to try to use for some practical purpose. But yeah, some of it, obviously. I’ll probably start to move along to other collectors and things like that.”
Do you still collect basses?
Lee: “I’m very particular now. You know, there was about an eight-year period where I was really passionate about it. And with collectors, you never really know if it’s the item itself or if it’s the search for the item; the chase is better than the catch. And I found really rare things, beautiful things. I learned so much about my instrument and it kind of felt in a way I was paying something back to the instrument that gave me everything I have. But as I get older, I just don’t know where those things will fit in the future.”
Going back to the R40 tour, one of the highlights of those shows was you playing a huge selection of your bass collection throughout the set as the evening wore on.
Lee: “We used twenty-seven basses each night, all vintage basses, with the exception of a couple of my standbys. My poor bass tech, he was lean and fit by the end of that tour just from going back and forth at the side of the stage. Again, we know it was not meant to be the farewell, but it was a nice way of working that dynamic in and I love those details.”
R40 signalled the end of the band. But Vapor Trails, after Neil’s tragedies, felt like a new beginning. Geddy once said it was his favourite period in the band – no petty arguments, just embracing the moment.
Lifeson: “Agreed. Rebirth can be like that. Filtering out all the trivial and focusing on what counts. It changed how we worked as songwriters too, how we interacted. That album was a turning point. We are two very different songwriters and arrangers. I’m somewhat more immediate and instinctive whereas he is more focused and methodical. These are primary personality traits that contributed to our partnership and the synergy of our efforts. I remember, the first few weeks in the studio for that record, we didn’t play a single note, we talked, really.
“Then we started writing, it took a couple of months just to clear the cobwebs. Most of the stuff we originally wrote was us just going through the motions; I think, a lot of it sounded dated. And then we took a break and when we came back the machine started rolling and the record took on a life of its own.”
What do you remember about that live return in 2002? Neil once said, “In that moment, we just looked at each other and it was just so very powerful and emotional, so right.”
Lifeson: “That was how it felt, I remember that; Ged and I turning to the drum riser, jamming it up, doing that rock’n’roll thing, and I had to fight to contain my emotions, I almost lost control a few times that night, it was a very emotional concert. Tears were flowing within the entire arena, including on the stage.”
You’re still best friends, you two still meet up and hang out and jam once a week.
Lifeson: “It’s good to jam with friends as you get older. I need to play. Once a week I go to Ged’s – it’s in the calendar – keep my fingers moving, play Rush stuff, new jams. We do record it, but I couldn’t even begin to tell you where it’ll go.”
Lee: “Al and I are lifelong friends. We jam together once in a while, it’s true. That’s all I want to say about that right now.”
Though the pull of music’s still strong? We heard some unreleased tracks from your 2000 solo album My Favorite Headache on the book tour.
Lee: “I’ve been spending the summer getting my fingers in shape because all these other day jobs I’ve taken – TV, writing and all that – have taken me away from my playing. And so, this was a summer that I dedicated to being at home for my family and also to be able to get my fingers back in shape and to get my head around writing different things, writing poetry and prose. And I don’t know if that will end in those things becoming songs, if they’ll surface in music or be left as prose. I don’t know.
“But I needed this time to touch base with all those things that made me a musician and all those things that I had been ignoring to do these other projects. And that’s where I am. I’m sort of at a crossroads where I don’t know which way that will go. But I feel better prepared if I do decide to step into the breach and make music again.”
The Rush 50 box set is available to pre-order now.
Philip Wilding is a novelist, journalist, scriptwriter, biographer and radio producer. As a young journalist he criss-crossed most of the United States with bands like Motley Crue, Kiss and Poison (think the Almost Famous movie but with more hairspray). More latterly, he’s sat down to chat with bands like the slightly more erudite Manic Street Preachers, Afghan Whigs, Rush and Marillion.
In last night’s cold open (which you can watch below), the famed sketch show put their comedic spin on the biggest news story of the week: Ukrainian President Volodymyr Zelenskyy’s meeting with President Donald Trump at the White House that turned into a shouting match.
The sketch featured castmember James Austin Johnson as Trump, Bowen Yang as and vice president JD Vance and Mikey Day as Zelenskyy. In the early stages, “Trump” referred to the meeting as a “a big, beautiful trap,” before offering “Zelenskyy” the chance to “tell Mr. Putin how much you love him and that you’re sorry you invaded Russia. Maybe offer him one night with your wife.”
Later Trump and Vance chastised Zelenskyy for not saying thank you every 15 seconds, or complimenting them on “being handsome.” Trump then commented on Zelenskyy’s outfit, saying “Who shows up to the White House in a T-shirt and jeans like a garbage person?” This led to Myers’ surprise appearance as Elon Musk, naturally wearing a T-shirt and jeans.
After wielding a chainsaw — much like the real Musk did at a recent conference — Myers’ Musk addressed Trump. “Donald, what are you doing in my office? You know, I’m the president now, right?” he declared. “I’m kidding. I’m kidding. Maybe not?”
Later, Musk gave an update on his DOGE firings and announced a new initiative: the Department of Undoing Child Health care and Education, or DOUCHE.
“DOUCHE is going to be epic,” Myers’ Musk promised. “DOUCHE is going to really clean everything out well.”
This marked Myers’ first appearance on a regular SNL episode since 2015, though he has appeared on the occasional special, including the recent SNL 50 event.
Mike Myers Wears ‘Canada Is Not for Sale’ Shirt During ‘SNL’ Close
At the end of the show, Myers returned to the Saturday Night Live stage during the customary farewells. The Canadian comedian took the chance to show support for his homeland, wearing a T-shirt that read “Canada Is Not for Sale.”
The Shrek star was making a clear statement regarding Trump’s recent comments that Canada would “love being the 51st state.” In addition to proudly displaying his shirt, which also featured an image of the Canadian flag, Myers was seen mouthing the phrase “elbows up.” The term – more commonly heard in hockey with regards to defending yourself – has taken on new meaning as relationships between the U.S. and Canada have been strained.
In January, Premier of Manitoba Wab Kinew told reporters that Canada “can’t be a punching bag, and we have to get our elbows up.” The phrase has since become something of a patriotic rallying cry for Canadians, appearing on merchandise and becoming regularly used on social media.
Watch Mike Myers as Elon Musk on ‘Saturday Night Live’
Mike Myers Wears ‘Canada Is Not for Sale’ Shirt on ‘SNL’
Top 25 ‘Saturday Night Live’ Cast Members of All Time
The long-running late night institution has introduced the entertainment world to many of its biggest stars.
Led Zeppelin guitarist Jimmy Page has released a lengthy statement outlining his position on Artificial Intelligence’s impact on music and the arts.
Page, 81, released his comments as the UK Government brings a public consultation on the Data (Use and Access) Bill to a close.
The UK Government is proposing an opt-out system that its says would allow Artificial Intelligence (AI) to use existing music as part of its learning process unless artists elect not to have their work made available for that purpose.
But Page says the opt-out system is unworkable and would allow AI to exploit artists without proper compensation.
Page, who recalls his days as a session musician in making his statement, says: “Today, as artificial intelligence seeks to mimic and monetise creativity, we stand at a crossroads. AI-generated art and music, synthesised from existing human works, lack the visceral essence that comes from lived experience. They are but hollow echoes, devoid of the struggles, triumphs, and soul that define true artistry.
“Moreover, the ethical implications are profound. When AI scrapes the vast tapestry of human creativity to generate content, it often does so without consent, attribution, or compensation. This is not innovation; it’s exploitation.
“If, during my session days, someone had taken my riffs without acknowledgment or payment, it would have been deemed theft. The same standard must apply to AI.
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“We must champion policies that protect artists, ensuring that their work isn’t siphoned off into the void of machine learning without due regard. Let us celebrate and preserve the human touch in art – the imperfections, the emotions, the stories behind every note and cadence.”
He goes on to call for people to ensure human creativity is protected against the UK Government’s preferred system, which he describes as “a sham”.
He adds: “In defending the sanctity of human creativity against the encroachment of AI, we safeguard not just the rights of artists, but the very soul of our cultural heritage. Yet, today, the UK government is proposing changes that would strip creators of this protection. Under the Data (Use and Access) Bill, AI companies would be allowed to take works, past and future, and use them as training data without consent or payment.
“These models digest vast amounts of human-created content and then generate imitations, bypassing the rights of the original creators.
“The government’s proposed ‘opt-out’ system – the idea that artists will always be in a position to preemptively reserve their rights – is a sham. It is technically impossible for artists to opt out. The government’s consultation ends today, but we should be clear: this is not regulation; it is a free pass for AI to exploit creativity without consequence.
“We must push for legislation that ensures AI cannot monetise human creativity without explicit consent and fair compensation. The government’s preferred option in its current consultation does not do that.
“Music is not a product of data. It is an evocation, a defiance of logic, a collision of time and place and soul. If we allow AI to co-opt the heart of human creativity, we are not ushering in a bold new era – we are signing the death warrant of originality itself.
“The choice is ours. Will we let the machines take the stage, or will we fight for the irreplaceable magic of human artistry?”
With Roxy Music, Phil Manzanera became an icon of art-rock before it was cool to do so. With his trusty red Gibson Firebird in hand, Manzanera played a massive hand in classic albums, Roxy Music (1972), For Your Pleasure (1973), Stranded (1973), Country Life (1974), Siren (1975), and more.
Additionally, Manzanera, who is also a Rock and Roll Hall of Famer, is a good friend of David Gilmour and has penned, produced, and toured behind much of the Pink Floyd legend’s music. However, the best of Phil Manzanera’s work might be on the solo side, which includes records like 1975’s Diamond Head and Mainstream or his recent work with Andy Mackay.
But all of that is just the tip of the iceberg. Indeed, there’s more. To that end, Phil Manzanera beamed in with ClassicRockHistory.com to talk origins, finding his sound, his love for Gibson’s Firebird, his work with David Gilmour, his favorite Roxy album, and more.
As you reflect on your journey, what has guitar meant for you?
I’ve been a professional musician for 50 years, but I started playing the guitar when my mother taught me in Cuba in 1957. Music is the constant. It’s gone through the whole of my life. It’s helped me incredibly. When things were difficult, I just turned to noodling on my guitar. It’s a form of meta-therapy.
What was the moment when you felt you found your sound on guitar?
By the time Roxy Music got to the third album, Stranded, [Brian] Eno had just left the band, and I wanted to continue making weird and wonderful sounds without having Eno there to actually modulate my sounds through a synthesizer. I had the guys who made the original EMS VCS 3 synthesizer make me a guitar version, and you can hear it on a track called “Arizona.”
It was an extraordinary sound. I defy anyone to ever come up with something like it. But to be fair, it really only worked about twice—and one of those times is on that recording. But that’s when I think I round that combination of using the 1964 red [Gibson] Firebird, which has become my trademark, and combining it with reasonably distorted sounds—but with this extra dimension of treating the guitar in a way I really enjoyed doing.
What drew you to the Firebird?
There’s something about it. Those pickups are not like any other pickups on any other Gibson. And for some reason, it loves analog tape. It records incredibly well on tape. That sound comes through very well, and it’s got a very unique whammy bar-type construction.
The thing you’ve got to remember about those early guitars—especially the ‘50s and ‘60s guitars—is that the wood and metal they were made out of, you know, you’re not allowed to use that stuff anymore. In fact, when we got into the Rock and Roll Hall of Fame, we couldn’t get an import license for my Firebird because of the wood it’s made out of! It’s crazy… It’s made in Kalamazoo, Michigan, and it’s now prohibited from entering the US. [laughs]
Is it true that you weren’t supposed to be a proper member of Roxy Music and originally signed on to be a roadie?
Well, I’ll tell you what: I wasn’t brought in to become a roadie! That’s a common misconception. I answered an ad, which, for some bizarre reason, I have right here in front of me. [laughs] It was in the Melody Maker, and it said, “The perfect guitarist needed for avant rock group.” I answered that ad, turned up, and got on really well with them.
But I didn’t get the gig because they wanted someone with a bit of a name, but that other guy only lasted about three months. Then, they rang and asked me if I wanted to come up and mix the sound, which was just to pretend to get me along to have another audition. So, I turned up to supposedly learn how to mix sound from Eno.
So, they said, “There’s a guitar there. Do you fancy having a go?” And so, I played the numbers, and I learned them secretly and played them brilliantly, obviously. And then, they were amazed and said, “Will you join immediately?” So, that was the real story.
Roxy Music aside, you have a long-running friendship and professional relationship with David Gilmour. What’s that been like?
I met David when I was 16. I met him literally the week he joined Pink Floyd. He was a friend of my brothers, and I went to ask him, “How do you become a professional musician?” And then, he left and went to Abbey Road to start recording A Saucerful of Secrets, which Syd Barrett was on as well at the time. So, I’ve known him for a hell of a long time. He’s actually my next-door neighbor; we’re good friends. He’s an incredible guitarist. I’ve always loved what he did.
Is it true that you were present during some of The Dark Side of the Moon sessions?
When Pink Floyd was mixing Dark Side of the Moon with Chris Thomas, who became Roxy Music’s producer, I went into the control room and heard the track “Money.” I heard David’s solo and thought, “This is absolutely incredible.” I sent David a telegram saying, “You might not remember me, but five years ago, you came to see me, and now I’m in a band. It’s called Roxy Music.”
Is that when you properly became friends?
We’d been sort of friends on and off, and I co-wrote a Pink Floyd song and worked with him for about ten years. It’s a bit daunting. When you’re in the studio, and you’re meant to be producing one of the greatest guitarists ever, and you have to say, “Well, maybe you could do it again…” [laughs] But the thing about David that he really doesn’t need a producer, he can do it all himself—but he likes to have another set of ears.
David aside, looking at your career, two records that really stand out are Diamond Head and Mainstream. Do you hold those solo efforts close to your heart?
Well, by the time it came for me to do a solo album since everybody in Roxy had done one, I just put my hand up and said to the managers, “Can I do a solo album, and you just get rid of me?” They said, “Yeah, go away and do it.” So, I did both of those albums at the same time.
Incidentally, this year is the 50th anniversary of Mainstream. We’re doing an anniversary edition, which will be the original mix, but also have a new mix. As for Diamond Head, that was my excuse to work with lots of friends, and I had a lot of fun doing it. It has sort of stood the test of time, you know? It still sounds terrific, though I’m biased. [laughs]
Which Roxy Music album are you proudest of, and why?
The second album, For Your Pleasure. It’s the last one with Eno and the last one with the original band before things took off. We were being produced by Chris Thomas, who had worked with George Martin and The Beatles, and who went on to work with Elton John and The Sex Pistols. The sound quality of that and the balance between the songs was just great—and there are some classic songs on there.
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Feature Photo: mohamedn, CC BY 2.0 , via Wikimedia Commons
Rising from the underground music scene in Chicago, The Smashing Pumpkins emerged in 1988 with a sound that blended alternative rock, dream pop, and heavy metal influences. Founded by frontman Billy Corgan, the band initially started as a duo with guitarist James Iha, using a drum machine in their earliest performances. A pivotal moment came when bassist D’arcy Wretzky joined the lineup, bringing a new dimension to their sound. The final piece was drummer Jimmy Chamberlin, whose jazz-infused playing style transformed the band’s rhythm section. With this lineup solidified, The Smashing Pumpkins began performing around Chicago, steadily gaining attention for their dense, layered guitar work and emotionally charged compositions.
Their debut album, Gish, arrived in 1991, produced by Butch Vig, who would later gain widespread recognition for his work with Nirvana. The album was a critical success, blending psychedelic and hard rock elements with a polished production that set it apart from the lo-fi aesthetics of many alternative rock contemporaries. While Gish garnered underground acclaim, it was their next album, Siamese Dream (1993), that catapulted them into the mainstream. Despite internal tensions and Corgan’s obsessive perfectionism in the studio, the album became a landmark of the era, featuring hits like “Today,” “Cherub Rock,” and “Disarm.”
By 1995, The Smashing Pumpkins had reached new creative heights with Mellon Collie and the Infinite Sadness, an ambitious double album that showcased their versatility and grand artistic vision. Songs like “1979,” “Bullet with Butterfly Wings,” and “Tonight, Tonight” became defining tracks of the decade, propelling the album to multi-platinum status. The album debuted at number one on the Billboard 200 and received seven Grammy nominations, ultimately winning Best Hard Rock Performance for “Bullet with Butterfly Wings.” The success of Mellon Collie was followed by a grueling world tour, solidifying the band’s reputation as one of the defining acts of the 1990s.
The latter half of the decade brought turmoil. In 1996, touring keyboardist Jonathan Melvoin died from a heroin overdose, leading to the firing of Jimmy Chamberlin. The band’s next album, Adore (1998), was a drastic departure from their guitar-driven sound, incorporating electronic and gothic influences. While critically well-received and earning a Grammy nomination, it failed to match the commercial success of its predecessor. Chamberlin rejoined for the recording of Machina/The Machines of God (2000), but internal conflicts led to bassist D’arcy Wretzky’s departure before its release. The album’s experimental nature divided fans, and after a farewell tour, the band disbanded later that year.
Billy Corgan revived The Smashing Pumpkins in 2006 with drummer Jimmy Chamberlin, releasing Zeitgeist in 2007. Over the next decade, the band’s lineup shifted frequently, with Corgan remaining the sole consistent member. Albums like Oceania (2012) and Monuments to an Elegy (2014) explored new sonic territories, but it was the return of original guitarist James Iha and drummer Jimmy Chamberlin in 2018 that sparked renewed excitement among fans. Their reunion led to Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., followed by Cyr (2020), which leaned heavily into synthesizers and electronic textures.
Their most recent release, Atum: A Rock Opera in Three Acts (2023), continued Billy Corgan’s penchant for ambitious storytelling, presenting a sprawling conceptual work spanning multiple albums. While their sound has evolved significantly over the years, The Smashing Pumpkins’ ability to reinvent themselves has kept them relevant in an ever-changing musical landscape. Their impact on alternative rock remains profound, with their catalog continuing to influence new generations of musicians.
In addition to their musical accomplishments, The Smashing Pumpkins have made significant contributions beyond the stage. Billy Corgan, in particular, has explored various ventures, including owning the National Wrestling Alliance (NWA) and operating Madame Zuzu’s, a tea house and arts venue in Highland Park, Illinois. The band has won numerous accolades, including two Grammy Awards, two MTV Video Music Awards, and an American Music Award, with over 30 million albums sold worldwide.
Their legacy endures not only through their groundbreaking music but also through their fearless artistic evolution. From their earliest club performances in Chicago to headlining arenas worldwide, The Smashing Pumpkins remain one of the most influential rock bands of their generation, with a discography that continues to captivate listeners decades after their debut.
(#)
“17” – Adore (1998) “1979” † – Mellon Collie and the Infinite Sadness (1995) “7 Shades of Black” – Zeitgeist (2007) “999” – Aghori Mhori Mei (2024)
(A)
“Adrennalynne” – Cyr (2020) “Aeroplane Flies High (Turn Left, Looks Right)” – The Aeroplane Flies High (B-side to “Thirty-Three”) (1996) “Again, Again, Again (The Crux)” – American Gothic (EP) (2008) “Age of Innocence” – Machina/The Machines of God (2000) “Alienation” – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Anaise!” – Monuments to an Elegy (2014) “Annie-Dog” – Adore (1998) “Anno Satana” † – Cyr (2020) “Anti-Hero” – Monuments to an Elegy (2014) “Appels + Oranjes” – Adore (1998) “Astral Planes” – Teargarden by Kaleidyscope Vol. 1: Songs for a Sailor (2010) “Atom Bomb” – Machina II/The Friends & Enemies of Modern Music (2000) “Atum” – Atum: A Rock Opera in Three Acts (Act One) (2022) “Ava Adore” † – Adore (1998) “Avalanche” – Atum: A Rock Opera in Three Acts (Act Two) (2023)
(B)
“Beautiful” – Mellon Collie and the Infinite Sadness (1995) “Beguiled” † – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Behold! The Night Mare” – Adore (1998) “Being Beige” † – Monuments to an Elegy (2014) “Believe” – The Aeroplane Flies High (B-side to “1979”) (1996) “The Bells” – The Aeroplane Flies High (B-side to “Thirty-Three”) (1996) “Beyond the Vale” – Atum: A Rock Opera in Three Acts (Act One) (2022) “Birch Grove” – Cyr (2020) “Black Forest, Black Hills” – Cyr (2020) “Blank Page” – Adore (1998) “Blank” – The Aeroplane Flies High (B-side to “Tonight, Tonight”) (1996) “Bleeding the Orchid” – Zeitgeist (2007) “Blew Away” – Pisces Iscariot (1994) “Blue”[a] – Lull (EP) (1991) “Blue Skies Bring Tears” – Machina/The Machines of God (2000) “Bodies” – Mellon Collie and the Infinite Sadness (1995) “The Boy” – The Aeroplane Flies High (B-side to “1979”) (1996) “Bring the Light” – Zeitgeist (2007) “Bullet with Butterfly Wings” † – Mellon Collie and the Infinite Sadness (1995) “Bury Me” – Gish (1991) “Butterfly Suite” – Atum: A Rock Opera in Three Acts (Act One) (2022) “By Starlight” – Mellon Collie and the Infinite Sadness (1995) “Bye June” – Lull (EP) (1991)
(C)
“Canary Trainer” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “Cash Car Star” – Machina II/The Friends & Enemies of Modern Music (2000) “The Celestials” † – Oceania (2012) “Cenotaph” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “Cherry” – The Aeroplane Flies High (B-side to “1979”) (1996) “Cherub Rock” † – Siamese Dream (1993) “The Chimera” – Oceania (2012) “Clones (We’re All)” # (Alice Cooper cover) – The Aeroplane Flies High (B-side to “Bullet with Butterfly Wings”) (1996) “The Colour of Love” † – Cyr (2020) “(Come On) Let’s Go!” – Zeitgeist (2007) “Confessions of a Dopamine Addict” † – Cyr (2020) “Cottonwood Symphony” – Teargarden by Kaleidyscope Vol. 2: The Solstice Bare (2010) “Crestfallen” – Adore (1998) “Crush” – Gish (1991991) “The Crying Tree of Mercury” – Machina/The Machines of God (2000) “The Culling” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Cupid de Locke” – Mellon Collie and the Infinite Sadness (1995) “Cyr” † – Cyr (2020)
(D)
“Daphne Descends” – Adore (1998) “Daughter” † – Non-album promotional single (1992) “Daydream” – Gish (1991) “Death From Above” – Zeitgeist (2007) “Destination Unknown” # (Missing Persons cover) – The Aeroplane Flies High (B-side to “Bullet with Butterfly Wings”) (1996) “Disarm” † – Siamese Dream (1993) “Doomsday Clock” – Zeitgeist (2007) “Dorian” – Monuments to an Elegy (2014) “Dreaming” # (Blondie cover) – The Aeroplane Flies High (B-side to “Bullet with Butterfly Wings”) (1996) “Dross” – Machina II/The Friends & Enemies of Modern Music (2000) “Drown” – Singles: Original Motion Picture Soundtrack (1992) “Drum + Fife” † – Monuments to an Elegy (2014) “Dulcet in E” – Cyr (2020)
(E)
“Edin” – Aghori Mhori Mei (2024) “Embracer” – Atum: A Rock Opera in Three Acts (Act One) (2022) “Empires” † – Atum: A Rock Opera in Three Acts (Act Two) (2023) “The End Is the Beginning Is the End” † – Music from and Inspired by the “Batman & Robin” Motion Picture (1997) “The Everlasting Gaze” – Machina/The Machines of God (2000) “Every Morning” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Eye” – Lost Highway (Soundtrack) (1997)
(F)
“Farewell and Goodnight” – Mellon Collie and the Infinite Sadness (1995) “The Fellowship” – Teargarden by Kaleidyscope Vol. 2: The Solstice Bare (2010) “Fireflies” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “For God and Country” – Zeitgeist (2007) “For Martha” – Adore (1998) “Formosa” – Aghori Mhori Mei (Madame ZuZu’s edition) (2024) “Frail and Bedazzled” – Pisces Iscariot (1994) “Freak” † (Also known as “Freak U.S.A.”) – Teargarden by Kaleidyscope Vol. 2: The Solstice Bare (2010) “Fu*k You (An Ode to No One)” – Mellon Collie and the Infinite Sadness (1995)
(G)
“Galapogos” – Mellon Collie and the Infinite Sadness (1995) “Geek U.S.A.” – Siamese Dream (1993) “Girl Named Sandoz” # (The Animals cover) – Peel Sessions (1992) “Glass” – Machina II/The Friends & Enemies of Modern Music (2000) “Glass and the Ghost Children” – Machina/The Machines of God (2000) “Glissandra” – Oceania (2012) “G.L.O.W.” † – Non-album single (2008) “Go” – Machina II/The Friends & Enemies of Modern Music (2000) “God” – The Aeroplane Flies High (B-side to “Zero”) (1996) “Goeth the Fall” – Aghori Mhori Mei (2024) “The Gold Mask” – Atum: A Rock Opera in Three Acts (Act One) (2022) “The Good in Goodbye” – Atum: A Rock Opera in Three Acts (Act One) (2022)
(H)
“Harmageddon” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “Haunted” – Cyr (2020) “Heavy Metal Machine” – Machina/The Machines of God (2000) “Hello Kitty Kat” – Pisces Iscariot (1994) “Here Is No Why” – Mellon Collie and the Infinite Sadness (1995) “The Hidden Sun” – Cyr (2020) “Home” – Machina II/The Friends & Enemies of Modern Music (2000) “Hooligan” – Atum: A Rock Opera in Three Acts (Act One) (2022) “Hooray!” – Atum: A Rock Opera in Three Acts (Act One) (2022) “Hummer” – Siamese Dream (1993)
(I)
“I Am One” † – Gish (1991) “I of the Mourning” – Machina/The Machines of God (2000) “If There Is a God” – Machina II/The Friends & Enemies of Modern Music (2000) “The Imploding Voice” – Machina/The Machines of God (2000) “In Lieu of Failure” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “In My Body” – Machina II/The Friends & Enemies of Modern Music (2000) “In the Arms of Sleep” – Mellon Collie and the Infinite Sadness (1995) “Infinite Sadness” – Mellon Collie and the Infinite Sadness (LP edition) (1995) “Inkless” – Oceania (2012) “Innosense” – Machina II/The Friends & Enemies of Modern Music (2000) “Intergalactic” – Atum: A Rock Opera in Three Acts (Act Three) (2023)
(J-L)
“Jellybelly” – Mellon Collie and the Infinite Sadness (1995) “Jupiter’s Lament” – The Aeroplane Flies High (B-side to “Tonight, Tonight”) (1996) “Knights of Malta” – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Landslide” # (Fleetwood Mac cover) – Pisces Iscariot (1994) “The Last Song” – The Aeroplane Flies High (B-side to “Thirty-Three”) (1996) “Le Deux Machina” – Machina II/The Friends & Enemies of Modern Music (2000) “Let Me Give the World to You” – Machina II/The Friends & Enemies of Modern Music (2000) “Lightning Strikes” – Teargarden by Kaleidyscope Vol. 3 (2011) “Lily (My One and Only)” – Mellon Collie and the Infinite Sadness (1995) “Love” – Mellon Collie and the Infinite Sadness (1995) “Lucky 13” – Machina II/The Friends & Enemies of Modern Music (2000) “Luna” – Siamese Dream (1993)
(M)
“Ma Belle” – Zeitgeist (2007) “Marchin’ On” – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Marquis in Spades” – The Aeroplane Flies High (B-side to “Zero”) (1996) “Mayonaise” – Siamese Dream (1993) “Medellia of the Gray Skies” – The Aeroplane Flies High (B-side to “Tonight, Tonight”) (1996) “Meladori Magpie” – The Aeroplane Flies High (B-side to “Tonight, Tonight”) (1996) “Mellon Collie and the Infinite Sadness” (instrumental) – Mellon Collie and the Infinite Sadness (1995) “Minerva” – Cyr (2020) “Monuments” – Monuments to an Elegy (2014) “Moss” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Mouths of Babes” – The Aeroplane Flies High (B-side to “Zero”) (1996) “Murnau” – Aghori Mhori Mei (2024) “Muzzle” – Mellon Collie and the Infinite Sadness (1995) “My Blue Heaven” # – The Aeroplane Flies High (B-side to “Thirty-Three”) (1996) “My Love Is Winter” – Oceania (2012)
(N-O)
“Neophyte” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Neverlost” – Zeitgeist (2007) “A Night Like This” # (The Cure cover) – The Aeroplane Flies High (B-side to “Bullet with Butterfly Wings”) (1996) “Night Waves” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Not Worth Asking” – Non-album single (B-side to “I Am One”) (1990) “Obscured” – Pisces Iscariot (1994) “Oceania” – Oceania (2012) “Of Wings” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “Once Upon a Time” – Adore (1998) “One and All (We Are)” † – Monuments to an Elegy (2014) “One Diamond, One Heart” – Oceania (2012) “Our Lady of Sorrows” – Aghori Mhori Mei (Madame ZuZu’s edition) (2024) “Owata” † – Teargarden by Kaleidyscope Vol. 3 (2011)
(P-R)
“Pacer” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “Pale Horse” – Oceania (2012) “Panopticon” † – Oceania (2012) “Pastichio Medley” – The Aeroplane Flies High (B-side to “Zero”) (1996) “Pennies” – The Aeroplane Flies High (B-side to “Zero”) (1996) “Pentagrams” – Aghori Mhori Mei (2024) “Pentecost” – Aghori Mhori Mei (2024) “Perfect” † – Adore (1998) “Pinwheels” – Oceania (2012) “Pissant” – Pisces Iscariot (1994) “Plume” – Pisces Iscariot (1994) “Pomp and Circumstances” – Zeitgeist (2007) “Porcelina of the Vast Oceans” – Mellon Collie and the Infinite Sadness (1995) “Pox” – American Gothic (EP) (2008) “Pug” – Adore (1998) “Purple Blood” † – Cyr (2020) “Quasar” – Oceania (2012) “Quiet” – Siamese Dream (1993) “Raindrops + Sunshowers” – Machina/The Machines of God (2000) “Ramona” † – Cyr (2020) “Real Love” – Machina II/The Friends & Enemies of Modern Music (2000) “Rhinoceros” † – Gish (1991) “Rocket” † – Siamese Dream (1993) “The Rose March” – American Gothic (EP) (2008) “Rotten Apples” – The Aeroplane Flies High (B-side to “Tonight, Tonight”) (1996) “Run2Me” – Monuments to an Elegy (2014)
(S)
“The Sacred and Profane” – Machina/The Machines of God (2000) “…Said Sadly” – The Aeroplane Flies High (B-side to “Bullet with Butterfly Wings”) (1996) “Saturnine” – Machina II/The Friends & Enemies of Modern Music (2000) “Save Your Tears” – Cyr (2020) “Schaudenfreud” – Cyr (2020) “Seek and You Shall Destroy” – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Set the Ray to Jerry” – The Aeroplane Flies High (B-side to “1979”) (1996) “Shame” – Adore (1998) “Sicarus” – Aghori Mhori Mei (2024) “Sighommi” † – Aghori Mhori Mei (2024) “Silverfuck” – Siamese Dream (1993) “Silvery Sometimes (Ghosts)” † – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Siva” † – Gish (1991) “Slow Dawn” – Machina II/The Friends & Enemies of Modern Music (2000) “Slunk” – Lull (EP) (1991) “Smiley” – Peel Sessions (1992) “Snail” – Gish (1991) “Sojourner” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “Solara” † – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Soma” – Siamese Dream (1993) “A Song for a Son” – Teargarden by Kaleidyscope Vol. 1: Songs for a Sailor (2010) “Soothe” – Pisces Iscariot (1994) “Soul Power” – Machina II/The Friends & Enemies of Modern Music (2000) “Space Age” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Spaceboy” – Siamese Dream (1993) “Spaced” – Pisces Iscariot (1994) “Spangled” – Teargarden by Kaleidyscope Vol. 2: The Solstice Bare (2010) “Speed Kills” – Machina II/The Friends & Enemies of Modern Music (2000) “Spellbinding” † – Atum: A Rock Opera in Three Acts (Act Three) (2023) “Springtimes” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Stand Inside Your Love” † – Machina/The Machines of God (2000) “Starla” – Pisces Iscariot (1994) “Starrcraft” – Cyr (2020) “Starz” – Zeitgeist (2007) “Stellar” – Zeitgeist (2007) “Steps in Time” – Atum: A Rock Opera in Three Acts (Act One) (2022) “A Stitch in Time” – Teargarden by Kaleidyscope Vol. 1: Songs for a Sailor (2010) “Stumbleine” – Mellon Collie and the Infinite Sadness (1995) “Suffer” – Gish (1991) “Summer” – Non-album single (B-side to “Perfect”) (1998) “Sunkissed” – American Gothic (EP) (2008) “Sweet Sweet” – Siamese Dream (1993)
(T)
“Take Me Down” – Mellon Collie and the Infinite Sadness (1995) “The Tale of Dusty and Pistol Pete” – Adore (1998) “Tales of a Scorched Earth” – Mellon Collie and the Infinite Sadness (1995) “Tarantula” † – Zeitgeist (2007) “Tear” – Adore (1998) “Telegenix” – Cyr (2020) “That Which Animates the Spirit” – Atum: A Rock Opera in Three Acts (Act Three) (2023) “That’s the Way (My Love Is)” † – Zeitgeist (2007) “Thirty-Three” † – Mellon Collie and the Infinite Sadness (1995) “This Time” – Machina/The Machines of God (2000) “Thru the Eyes of Ruby” – Mellon Collie and the Infinite Sadness (1995) “Tiberius” – Monuments to an Elegy (2014) “To Forgive” – Mellon Collie and the Infinite Sadness (1995) “To Sheila” – Adore (1998) “To the Grays” – Atum: A Rock Opera in Three Acts (Act Two) (2023) “Today” † – Siamese Dream (1993) “Tom Tom” – Teargarden by Kaleidyscope Vol. 2: The Solstice Bare (2010) “Tonite Reprise” – The Aeroplane Flies High (B-side to “Tonight, Tonight”) (1996) “Tonight, Tonight” † – Mellon Collie and the Infinite Sadness (1995) “Transformer” – The Aeroplane Flies High (B-side to “Thirty-Three”) (1996) “Travels” – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Tribute to Johnny” – The Aeroplane Flies High (B-side to “Zero”) (1996) “Tristessa” † – Gish (1991) “Try, Try, Try” † – Machina/The Machines of God (2000) “Tyger, Tyger” – Cyr (2020)
(U-Z)
“Ugly” – The Aeroplane Flies High (B-side to “1979”) (1996) “United States” – Zeitgeist (2007) “Untitled” † – Rotten Apples (2000) “Vanity” – Machina II/The Friends & Enemies of Modern Music (2000) “Violet Rays” – Oceania (2012) “War Dreams of Itself” – Aghori Mhori Mei (2024) “We Only Come Out at Night” – Mellon Collie and the Infinite Sadness (1995) “Where Boys Fear to Tread” – Mellon Collie and the Infinite Sadness (1995) “Where Rain Must Fall” – Atum: A Rock Opera in Three Acts (Act One) (2022) “Whir” – Pisces Iscariot (1994) “White Spyder” – Machina II/The Friends & Enemies of Modern Music (2000) “Who Goes There” – Aghori Mhori Mei (2024) “Widow Wake My Mind” – Teargarden by Kaleidyscope Vol. 1: Songs for a Sailor (2010) “Wildflower” – Oceania (2012) “Window Paine” – Gish (1991) “With Ado I Do” – Atum: A Rock Opera in Three Acts (Act One) (2022) “With Every Light” – Machina/The Machines of God (2000) “With Sympathy” – Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018) “Wound” – Machina/The Machines of God (2000) “Wrath” – Cyr (2020) “Wyttch” – Cyr (2020) “X.Y.U.” – Mellon Collie and the Infinite Sadness (1995) “You’re All I’ve Got Tonight” # (The Cars cover) – The Aeroplane Flies High (B-side to “Bullet with Butterfly Wings”) (1996) “Zeitgeist” – Zeitgeist (2007) “Zero” † – Mellon Collie and the Infinite Sadness (1995)
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