(Image credit: Andy Willsher/Redferns/Getty Images)
Supergrass were the most buoyant of Britpop bands, three cheeky scamps from Oxford whose classic 1995 debut album I Should Coco combined 60s pop melodicism, frenetic garage-punk and indie anthems. After this initial fuzzy burst, their records became more explorative and grown-up, their songs veering from big summery singalongs (Going Out, Alright, Pumping On Your Stereo, Grace, Diamond Hoo Ha Men, Moving (well, the chorus anyway)) to Kinks-y ballads (Late In The Day, When I Needed You, St. Petersburg, Moving (well, the verse anyway)) to glammy guitar-pop (Rush Hour Soul, Bad Blood, Cheapskate, Seen The Light). Whatever sound they made, though, you knew you were going to have a good time with Supergrass, their songs steeped in a sort of joyous recklessness that will no doubt be the ecstatic vibe when they tour in support of I Should Coco’s 30th anniversary in a few months.
But there was a time when the spark went out for Gaz Coombes, Danny Goffey, Mick Quinn and Gaz’s keyboardist brother Rob. In the wake of their 2008 sixth studio album Diamond Hoo Ha Men, a return to up’n’at’em rock’n’roll after the introspective Road To Rouen, the quartet got to work on a record that was to-be-titled Release The Drones. It would’ve represented a fresh start of sorts for the band, with a new record deal in the pipeline after they’d parted ways with their long-term label Parlophone. But, despite being close to completion, Release The Drones was never finished and remains on a shelf somewhere. Instead, Supergrass announced they were splitting up and, after a farewell tour in 2010, that’s exactly what they did (until reuniting nine years later, of course).
Speaking to this writer in 2019, the core trio of Gaz, Goffey and Quinn recalled how what was meant to be their seventh album ended up with them going their separate ways.
“Diamond Hoo Ha Men had gone well with Nick Launay producing over in Berlin, it was fun, plenty of ideas, fresh ideas,” said Coombes. “Then it gets round to that cycle, comes to conception time and the initial song ideas weren’t really happening. A lot of that demoing, writing period, we’d go to each other’s houses a bit, down to Danny’s a few times to start writing. It’s not unusual for it to be a bit slow, Life On Other Planets [their 2002 album] was like that, I remember going round loads of different houses through Europe where we’d stay for four days, come back home then fly out somewhere else the next week, and come back with shit loads of minidiscs full of nonsense, weird comedy songs, loads of lot then every tenth track this little gem, so not unusual to get a bit slow on the writing period.”
But this occasion felt different, explained Coombes. “I remember at the time feeling uninspired.” Over a number of weeks, the group got around a dozen song ideas in shape in advance of entering the studio but it was a bit of a hit-and-hope situation, Coombes recalled. “I was hoping it would be a bit like [1997’s] In It For The Money, where we’d go in and write in there and things would happen.” A good half of In It For The Money was written as the band were making it, Coombes remembered. But not this time. “I sensed a bit of boredom with the set-up, people trying to go on other instruments a lot, that’s how I interpreted it,” he said. “We weren’t really playing to our strengths.”
The band were working at Ridge Farm Studios, a residential recording complex in Surrey, and Coombes said the experience couldn’t have been more marked from how he felt going away to make an album on previous occasions. “I remember waking up in the morning where it’s so exciting, a bit like birthday or Christmas morning, cos you know you’re gonna wake up and see the boys and it’s such a brilliant feeling where you feel so lucky to do what you do when you get that buzz,” he said. “I was waking up at Ridge Farm thinking, ‘What’s going to happen today? What are we gonna do? I didn’t like that idea yesterday…’, there wasn’t a connection.”
Bassist Mick Quinn remembered the atmosphere in the studio getting worse and worse. “The music was still quite interesting,” he vouched. “I did invest a lot in that music but inter-personally it wasn’t working well. We were moving in different directions musically, we weren’t writing stuff that was lighting each other up. That’s when it started going badly.”
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Quinn said some of the tension might have been down to him wanting to push the band into new areas. “We’d moved away from why we wanted to make the music, or what we wanted out of the music,” he stated. “For me, making those albums is to explore areas we haven’t sone before and not repeat what we’ve done. Maybe other members of the band felt we’d been too experimental and needed to rein it in. I’ve got more of a deathwish than that.”
When drummer Goffey thought back to that period of turmoil, his mind was immediately cast to a strange collection of doodles he’d recently come across. “I’ve got a notepad at home where I was doing lyrics and ideas around that session,” he said. “I looked at it the other day and it’s got loads of pages of really angry cartoons, like Tim Burton-style weird monsters and knives and shit. I looked at them and thought, ‘Fuck, I must have beben in a really not happy place…’.”
Goffey wondered if they might have found a way out of this turbulent period in the modern era. “What’s interesting nowadays,” he ventured, “is you’ve got WhatsApp groups and these platforms. We never really had that. We’d turn up and have a meeting before the album and some emails but the world feels a lot more democratic and organised and structured and it’s because everyone can talk more on platforms.”
But Supergrass did not have a WhatsApp group in 2009, just had a load of bottled-up frustration that the magical alchemy between them, the thing that made them such a special band, had somehow evaporated. It was Coombes who first considered the thought that this might be terminal.
“We’d started recording and you’d take CDs away with you on your journey home,” he recalled. “It was the first time I’d never played them to anyone, which was weird. There’s always an excitement, getting back from a session, whether it was on cassette, calling round to a mate or playing it to Jools.”
Jools, Coombes’ wife, picked up on the vibe that something wasn’t right, he said. “Totally. I just didn’t want to play them to anyone. I was trying to be optimistic thinking that they weren’t ready, but I just wasn’t digging it. I just felt quite sad about it really. I thought it was a really strange feeling, not wanting to play stuff to people, and I hated that feeling.”
Next came a disastrous playback session with a new label the band were looking to go with. “We went to Battery studios in London, played them two or three tracks,” Coombes winced. “I was sitting there listening to them thinking, ‘These aren’t very good’, and the guys were very flat after we played them to them. It just felt horrible and demoralising. There was a couple of moments that were cool on the Drones stuff so it wasn’t completely disastrous but there were moments that I found really tough.”
Coombes thinks back to trying to be constructive and move forward, being open with his bandmates and trying to get the record finishing before he realised he couldn’t go on. “It got to the point where I didn’t want to go in,” he said. “It was painful. I didn’t see a way out apart from leaving the band.”
And so, the effervescent, ever-jubilant band who’d made Caught By The Fuzz and Alright and Sun Hits The Sky, proper cloud-busters of songs, had reached a mundane end of the road. “I just needed to get my head sorted out and feel good,” Coombes continued. “I knew it was a big thing to do, because we were fully operating at that point, touring every year, doing festivals, it’s a big income financially, I knew I was stopping everything. I just knew that I had to for my headspace, I didn’t want to feel that low and uninspired, I was used to having ideas and doing things and working fast, travelling in a visceral way through life. I know I was always a bit of a space cadet as well but vibe and moments are really important to me. I can dive in and get all detailed but what I feel in that moment is really key to me and affects me a lot.”
Looking back at the making for Release The Drones now and those torturous sessions feel like a nasty but necessary step. Coombes has gone to make some masterful solo records, Goffey has made a couple of fine efforts too and Quinn went on to follow his experimental side working with Swervedriver. For Supergrass, going away meant they could come back again – their initial 2019 reunion was elongated because of Covid and they’re back for a second time this year. Those I Should Coco shows will feel extra special in a way they might not have had the band kept ploughing on.
But there still hasn’t been any new material, Coombes sticking to his stance when speaking to me back in 2019. “I don’t want to rule out anything but that’s not part of it, no,” he said. Instead, they get to celebrate the past without any of the here and now getting in the way. Maybe one day, they’ll revisit the material from Release The Drones and decide some of it should be heard. But perhaps they need a few more years’ distance first.
Niall Doherty is a writer and editor whose work can be found in Classic Rock, The Guardian, Music Week, FourFourTwo, on Apple Music and more. Formerly the Deputy Editor of Q magazine, he co-runs the music Substack letter The New Cue with fellow former Q colleagues Ted Kessler and Chris Catchpole. He is also Reviews Editor at Record Collector. Over the years, he’s interviewed some of the world’s biggest stars, including Elton John, Coldplay, Arctic Monkeys, Muse, Pearl Jam, Radiohead, Depeche Mode, Robert Plant and more. Radiohead was only for eight minutes but he still counts it.
Heart‘s Nancy Wilson has spoken out against what she sees as the “salacious billionaire culture” in America, and stated her belief that it’s “embarrassing” to be American in 2025.
During the interview, Wilson was asked about Heart’s 1975 single Crazy On You, which her sister Ann Wilson wrote as a response to America’s involvement in Vietnam.
“We were kind of embarrassed at that time to call ourselves American because of the dirty politics of the Vietnam War,” Nancy Wilson recalls. “To be as subtle as possible, it’s more embarrassing now.”
Wilson then goes on to talk about how the band’s best known song, 1977 hit Barracuda, which concerns “a real sleazeball with a satin jacket” is more relevant than ever in 2025, “in the salacious billionaire culture with the grab-them-by-the-pussy mentality.”
Asked by journalist Piet Levy if she finds it infuriating that the sexism documented in Barracuda is still prevalent today, Wilson responds, “I think for women in the culture the pendulum will come back again, and there’ll be another renaissance in the arts to push back against the oppression of the cranky old rich white guys. I hope I am alive to see that next revolution.”
Heart are currently on tour in the US with Cheap Trick, the Wilson sisters having long since buried the animosity that kept them apart at the start of the decade.
“It feels sweeter than ever,” says Wilson. “No matter what static or drama swirls around us that is like a hurricane, we are the center, the calm eye of the story. We have this beautiful space that we occupy just with each other at the center.”
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
Steven Wilson has announced that Stewart Lee, Al Murray, Frank Skinner and Clinton Baptiste will support him on the four different nights he headlines the London Palladium in May.
Wilson kicks off his first solo UK tour in May. He made a one-off appearance at Hackney’s EartH venue to launch 2023’s The Harmony Codexand his last live performances were Porcupine Tree‘s outdoor shows in 2023.
He will play at the London Palladium for four nights, from May 12, 13, 19 and 20, where he will be supported by, in order, Clinton Baptiste, Al Murray, as the Pub Landlord), Stewart Lee and Frank Skinner.
“The Overview tour includes an unprecedented four shows in my hometown – London,” says Wilson. “Knowing that some people have tickets for more than one of these Palladium shows, I’m going to vary the set list as much as I can. But there will be at least one other unique aspect to each night. I’ve decided to try something I’ve been thinking about for several years and have stand-up comedians opening proceedings. I’m a huge fan of stand up and I’ve frequently been confronted by my listeners at stand-up shows, usually in a state of shock at discovering I’m not as humourless as my music (!).
“I decided to approach four of my absolute favourite British stand-up comedians with invitations to open one Palladium show each. And I’m extremely honoured to say they’ve all accepted. Each one’s very different in style and they’re all free to make me, my music and you the listeners the butt of their comedy. Depending on which night (or nights) you’re attending, you can look forward to short sets from Clinton, Al, Stewart and Frank. They’ll each be on stage at 7.30pm, so please get in early!”
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Steven Wilson The Overview Tour 2025
May 01: Stockholm Cirkus, Sweden May 02: Olso Konserthaus, Norway May 04: Copenhagen KB-Hallen, Denmark }May 06: Dusseldorf Mitsubishi Electric Hall, Germany May 07: Brussels Cirque Royal, Belgium May 09: Birmingham Symphony Hall, UK May 10: Bristol Beacon, UK May 12: London Palladium, UK May 13: London Palladium, UK May 15: Newcastle O2 City Hall, UK May 16: Glasgow Royal Concert Hall. UK May 18: Manchester The Lowry, UK May 19: London Palladium, UK May 20: London Palladium, UK May 22: Amsterdam AFAS Live, Netherlands May 24: Paris Salle Pleyel, France May 25: Paris Salle Pleyel, France May 28: Lyon Bourse Du Travail, France May 30: Stuttgart Porshe Arena, Germany May 31: Munich Zenith, Germany Jun 02: Berlin Friedrichspalast, GermanyJun 03: Hamburg Sporthalle, Germany Jun 04: Warsaw Torwar, Poland Jun 05: Gliwice Prezero, Poland Jun 07: Milan Teatro Degli Archimboldi, Italy Jun 08: Rome Auditorium Parco Della Musica, Italy Jun 10: Zurich The Hall, Switzerland Jun 11: Marseille Cepax Silo, France Jun 12: Barcelona Para-Lel 62, Spain Jun 13: Madrid Riviera, Spain
Metallica’s Kirk Hammett is open to revisiting the band’s controversial mid-90s era.
During an interview with the Rolling Stone Music Now podcast, the lead guitarist is asked whether he’d want to make music similar to the band’s 90s albums Load and Reload. Despite how divisive those albums were among the more diehard metalheads in Metallica’s fanbase, he answers that more releases in that style aren’t off the table.
“Yeah, who knows? We might just say, ‘OK, let’s go back to the 90s again,’” he says (via Blabbermouth). “It’s not a bad idea.”
Hammett continues by noting how, for all the venom Load and Reload received, some of those albums’ songs go down well live.
“We changed our appearance, we changed our sound, we changed the way we recorded,” Hammett reflects. “I was even playing different guitars and fucking tuning to E-flat and listening to a lot of blues and jazz. And so all those factors came out on Load and Reload to make what Load and Reload are, and Load and Reload are so different from anything that came before it.
“It’s interesting, ’cause nowadays I run into fans and they love that era – they love Load and Reload. But when those albums first came out, it was like, ‘Fuck Load. Fuck Reload. Fuck Metallica.’ But nowadays we play Fuel and people go nuts.”
The Load and Reload period was also controversial as a result of Metallica’s notable image change, with the band cutting their hair short. Hammett says that one of the main reasons he cut his hair was so he’d look better in a suit.
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“One of the reasons why I cut my hair, bro, is ’cause I didn’t think I looked good with long hair when I wore a suit jacket,” he says. “So I cut my hair so I looked better when I wore a suit jacket. I swear to God. That was one of the only reasons.”
Following the releases of Load and Reload in 1996 and ’97, Metallica switched to a more raw, garage approach for 2003’s St Anger, their first album in 17 years without longtime bassist Jason Newsted. They re-embraced their thrash metal roots with Death Magnetic in 2008.
Metallica, now promoting 2023’s 72 Seasons, will tour North America from April to June. See dates and details below. Hammett and his famously large collection of guitars are the subject of a new coffee table book, The Collection: Kirk Hammett, out now via Gibson.
Apr 19: Syracuse MA Wireless Dome, NY* Apr 24: Toronto Rogers Centre, ON* Apr 26: Toronto Rogers Centre, ON+ May 01: Nashville Nissan Stadium, TN* May 03: Nashville Nissan Stadium, TN+ May 07: Blacksburg Lane Stadium, VA* May 09: Columbus Sonic Temple, OH May 11: Columbus Sonic Temple, OH May 23: Philadelphia Lincoln Financial Field, PA+ May 25: Philadelphia Lincoln Financial Field, PA* May 28: Landover Northwest Stadium, MD* May 31: Charlotte Bank Of America Stadium, NC* Jun 3: Atlanta Mercedes-Benz Stadium, GA* Jun 6: Tampa Raymond James Stadium, FL+ Jun 8: Tampa Raymond James Stadium, FL* Jun 14: Houston NRG Stadium, TX* Jun 20: Santa Clara Levi’s Stadium, CA+ Jun 22: Santa Clara Levi’s Stadium, CA* Jun 27: Denver Empower Field at Mile High, CO+ Jun 29: Denver Empower Field at Mile High, CO*
* Pantera and Suicidal Tendencies support + Limp Bizkit and Ice Nine Kills support
US instrumental trio Animals As Leaders released their third album, The Joy Of Motion, in 2014 and garnered their very first piece in Prog Magazine…
It’s been five years since Washington trio Animals As Leaders stunned the world with their self-titled instrumental debut, heading a new wave of younger, heavier progressive bands alongside fellow scene heroes Periphery and TesseracT. With their third album, The Joy Of Motion, bandleader Tosin Abasi wanted to rediscover the roots of the project and go back to the original sound he heard in his head.
“Animals As Leaders was actually born with Misha Mansoor [who plays guitar in Periphery] collaborating with us, so it felt right to bring him back on board,” says the virtuoso eight-string guitarist. “He co-wrote a lot of the songs with me, about eight of them in the end. And some of the material pre-dates tracks on our first album – Tooth And Claw, for example, I came up with a long time ago.”
As it turns out, Mansoor wasn’t the only member of Periphery to get involved. “So Misha recommended their bass player Nolly [Getgood] to us for producing and mixing, who was perfect for the job. They’re such an amazing band and old friends of ours, so it worked really well.”
(Image credit: Sumerian Records)
While instrumental music is perhaps more widely accepted by fans of the forward-thinking, progressive end of the sonic spectrum, it’s certainly a movement that comes with its own pitfalls and limitations. An awareness of these challenges has helped Tosin and his bandmates refine their approach over the years.
“We wanted to start approaching our music completely differently,” says Tosin. “I probably ended up playing only a quarter of the notes I did on the other albums, which maybe focused more on the technical side of playing. Instrumental albums are often made by musicians for musicians, so we wanted to keep things tuneful and hold the listener’s attention. We’re hoping our new ideas will help more people absorb something from it.”
The result is a perfectly crafted 52 minutes of breathtaking futuristic fusion, with keyboards and electronics gelling over the warmth of subterranean riffs and cool breeze of mesmerising guitar leads. The Joy Of Motion feels much more universally cohesive than anything Animals As Leaders have recorded to date – with a catchiness most unusual for music of its nature – and looks set to spur Tosin’s profile as a guitar hero for the modern age and seal further endorsements as one of the world’s greatest.
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“It’s strange, I’ve never thought of myself as one of the best,” he laughs, with sincere charm and genuine modesty. “What is the best and how does one measure that? Is it the person who’s able to write a beautiful song that moves people? Or someone able to retune their instrument to something completely new and invent their own scales? I think Guthrie Govan [The Aristocrats, Steven Wilson] could probably be the closest: his phrasing and skill is just incredible. On YouTube you can see all these amazing young musicians shredding away, so it’s getting pretty hard to tell these days!”
Living Colour frontman Corey Glover made an appearance on The Kelly Clarkson Show last week to perform his band’s signature hit, Cult Of Personality.
Clarkson regularly performs rock classics during the Kelly-oke segment of her popular talk show, but with the host being off last week, Glover popped in the Cameo-oke section of the show on March 17, and delivered a superb performance of the New York’s band’s 1988 hit single.
Cult Of Personality is the opening track on Living Colour’s acclaimed debut album, Vivid, and was the second single lifted from the two million-selling record. A warning against blind worship of politicians, particularly those who might not have one’s best interests at heart, the song includes sampled speeches from Malcolm X, President John F. Kennedy and Franklin D. Roosevelt, while also name-dropping Mussolini, Stalin, and Mahatma Gandhi.
Talking to Classic Rock‘s Dave Ling in 2019, Living Colour guitarist Vernon Reid said, “Cult Of Personality was about celebrity, but on a political level. It asked what made us follow these individuals who were larger than life yet still human beings. Aside from their social importance, Malcolm X and Martin Luther King both looked like matinee idols. That was a strong part of why their messages connected.”
Cult Of Personality reached number 13 on the Billboard Hot 100 in America (and number 67 in the UK) and won Living Colour a Grammy award for Best Hard Rock Performance in 1990.
‘Cult of Personality’ By Corey Glover | Cameo-oke – YouTube
In 2023, Glover issued a statement expressing Living Colour’s belief that they have been shunned by the Black entertainment industry for playing rock music.
“None of us has been awarded let alone acknowledged for our achievements,” he wrote. “Living Colour in the past has worked with such historical luminaries as Little Richard and Mick Jagger. We’ve worked with a hip-hop royalty from Queen Latifah, Doug E Fresh, Chuck D & Flava Flav to Run DMC. And yet there’s barely a mention of rocks contribution to what is modern black music, let alone in rock and roll circles.
“It’s been our experience that most people of color have no idea how deep and far reaching the influence of Black people in the modern-day rock ‘n’ roll there are, let alone it’s impact on R&B and hip hop. What we hear is “that’s white people stuff” when in fact, it is not!
Glover rounded off his statement saying, “It’s hard enough to live in places where you expect white supremacy, but not from your own people.”
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
# 10 – I Won’t Back Down – Tom Petty & The Heartbreakers
In the wake of a devastating house fire in 1987 that destroyed nearly all his possessions, Tom Petty emerged with a steely resolve captured succinctly in the defiant anthem “I Won’t Back Down.” Featured on his critically acclaimed debut solo album, Full Moon Fever, released on April 24, 1989, the song was recorded during 1987 and 1988 at Rumbo Recorders in Canoga Park, California, and M.C. Studios in Los Angeles. Petty co-produced the track alongside Jeff Lynne and fellow Heartbreaker Mike Campbell, a partnership that helped mold the track’s crisp, melodic sound. The lineup was nothing short of exceptional: Petty on lead vocals and guitar, Lynne providing bass guitar and backing vocals, Mike Campbell on lead guitar, Phil Jones on drums, and George Harrison, the former Beatle, lending acoustic guitar and harmony vocals.
Musically, the song stands firm with a mid-tempo, roots-rock style that features Campbell’s clean and memorable guitar hook—a perfect complement to Petty’s confident, unyielding vocal delivery. Its concise lyrics, “Well I know what’s right, I got just one life,” served as an affirmation of personal strength and perseverance in the face of adversity. With a subtle yet powerful melody and Harrison’s tasteful vocal harmonies, the track exemplifies Petty’s knack for crafting songs with widespread emotional appeal. Critics praised its simplicity and honesty, highlighting it as a perfect distillation of Petty’s understated power. Writing for Rolling Stone, David Fricke commended its “uncomplicated courage,” noting the song’s resonance extended far beyond its initial release.
Commercially, “I Won’t Back Down” proved immensely successful, peaking at number 12 on the Billboard Hot 100 and hitting the top spot on the Billboard Album Rock Tracks chart. Internationally, the song also charted prominently, reaching number 28 in the UK, solidifying its status as one of Petty’s definitive hits. The accompanying music video, directed by David Leland, was equally memorable. It featured Petty, Campbell, Lynne, Harrison, and drummer Ringo Starr performing the track, lending the visual presentation an air of camaraderie and iconic star power. This straightforward approach further underscored the song’s earnest and direct message, allowing its defiant spirit to shine through without unnecessary embellishment.
Over the years, “I Won’t Back Down” has become more than just a hit—it has evolved into an enduring anthem for resilience and determination. Its presence at numerous benefit concerts and memorial events—including its poignant use after the September 11th attacks and more recently by communities rallying after tragedy—attests to the song’s lasting cultural impact. Tom Petty crafted a powerful legacy with this understated yet profoundly resilient statement, embodying the essence of defiance in the face of life’s inevitable setbacks.
# 9 – No Surrender – Bruce Springsteen
When Bruce Springsteen began crafting songs for his seminal 1984 album, Born in the U.S.A., America was navigating an era of economic uncertainty and cultural upheaval. Among these compositions was “No Surrender,” a song that embodies the defiant spirit of youth, friendship, and unwavering optimism. Recorded between October 25 and 27, 1983, at the Power Station in New York City, “No Surrender” captures Springsteen at his most resilient and reflective. Produced by Jon Landau, Chuck Plotkin, Steve Van Zandt, and Springsteen himself, the track features Springsteen on vocals and guitar, joined by the E Street Band—Roy Bittan on keyboards, Clarence Clemons on saxophone and backing vocals, Danny Federici on organ, Garry Tallent on bass, Max Weinberg on drums, and Steven Van Zandt on guitar and backing vocals.
Initially, “No Surrender” almost missed inclusion on the album. Springsteen had reservations about its place alongside the darker, more introspective tracks. However, Steven Van Zandt strongly advocated for its inclusion, arguing passionately for its emotional impact and universal resonance. Musically, the track stands out for its driving rhythm, memorable chorus, and soaring melodies—a sonic blend that pairs effectively with the hopeful message of enduring friendship and perseverance captured in lines like “We made a promise we swore we’d always remember—no retreat, baby, no surrender.”
Although never released as a commercial single, “No Surrender” quickly became a fan favorite, receiving considerable airplay and achieving a lasting presence in Springsteen’s live repertoire. Its performance at concerts, notably during the epic 1984–85 Born in the U.S.A. tour, became legendary among audiences for the genuine passion Springsteen brought to each rendition. The song also resonated critically, praised by music writers for its earnest optimism amid the complexities depicted elsewhere on the album. Dave Marsh, an influential Springsteen biographer and rock critic, particularly highlighted its inspiring quality, labeling it “an anthem about friendship and loyalty.”
Over time, “No Surrender” has continued to symbolize resilience beyond its original context. During the 2004 presidential election, Springsteen frequently performed the song acoustically at rallies for candidate John Kerry, reaffirming its status as an anthem of steadfastness and defiance. Though lacking an official music video, the song’s visual legacy lives through numerous live concert recordings and fan footage, vividly showcasing the connection between Springsteen and his audience.
Ultimately, “No Surrender” endures as one of Springsteen’s most powerful declarations of determination, offering listeners a potent reminder of youthful dreams, camaraderie, and the courage to remain unyielding in the face of life’s challenges.
# 8 – (You Gotta) Fight for Your Right – The Beastie Boys
In 1986, as hip-hop was still establishing its place in mainstream culture, The Beastie Boys exploded onto the music scene with “(You Gotta) Fight for Your Right (To Party!).” Featured on their breakthrough debut album, Licensed to Ill, the track quickly became an anthem for teenage rebellion, though ironically crafted as a playful satire of party culture. The song was recorded in the spring of 1986 at Chung King Studios in New York City, under the meticulous production of Rick Rubin, the legendary producer and Def Jam co-founder known for his sharp instincts in bridging rock and rap music.
Musically, the song showcases the Beastie Boys—Michael “Mike D” Diamond, Adam “MCA” Yauch, and Adam “Ad-Rock” Horovitz—blurring genre boundaries. They infused the track with heavy metal-inspired guitar riffs, courtesy of Slayer’s Kerry King, and pounding drumbeats alongside their humorous, call-and-response vocal style. Rubin’s signature stripped-down production emphasizes the track’s rowdy simplicity, creating an infectious energy. Despite its initial intention as parody, the song’s irresistible hook and aggressive delivery resonated deeply with listeners, rapidly catapulting it to commercial success.
“(You Gotta) Fight for Your Right (To Party!)” became an unexpected chart triumph, peaking at number seven on the Billboard Hot 100 in March 1987 and reaching number 11 on the UK Singles Chart. The song’s wild popularity was bolstered by a comedic music video directed by Ric Menello and Adam Dubin, featuring chaotic scenes of a raucous house party. The video’s humor and youthful recklessness perfectly encapsulated the song’s rebellious attitude, receiving extensive airplay on MTV and firmly establishing the Beastie Boys as cultural provocateurs. Critically, reactions were initially mixed; some praised its refreshing irreverence, while others misunderstood or criticized its satirical edge. Over time, however, music critics acknowledged its significance, with Rolling Stone later recognizing the song as essential to the Beastie Boys’ transformative influence on popular music.
Yet despite—or perhaps because of—its massive success, the Beastie Boys themselves distanced from the track, wary of being pigeonholed by its party-centric persona. In subsequent years, the group openly acknowledged their discomfort with fans embracing the song without appreciating its satirical origins. Nevertheless, “(You Gotta) Fight for Your Right (To Party!)” remains undeniably iconic, a landmark in defiant music history. Its lasting influence continues to highlight the Beastie Boys’ paradoxical brilliance—creating a tongue-in-cheek commentary that became one of hip-hop and rock’s most enduring anthems of youthful rebellion.
# 7 – Get Up, Stand Up (1973) – Bob Marley & The Wailers
Few songs embody the spirit of resistance and activism as powerfully as Bob Marley & The Wailers’ 1973 classic, “Get Up, Stand Up.” Released on their landmark album, Burnin’, in October 1973, the song quickly became a rallying cry for oppressed and marginalized communities around the world. Recorded in April 1973 at Harry J Studios in Kingston, Jamaica, the track was expertly produced by Chris Blackwell alongside the band members themselves, capturing the raw energy and powerful message Marley envisioned. The musicians featured on the recording include Bob Marley on vocals and rhythm guitar, Peter Tosh on vocals and lead guitar, Bunny Wailer providing additional vocals and percussion, Aston “Family Man” Barrett on bass, Carlton Barrett on drums, and Earl “Wya” Lindo on keyboards.
Marley and Tosh co-wrote “Get Up, Stand Up,” drawing inspiration from Marley’s visit to Haiti, where the singer witnessed firsthand the suffering caused by poverty and oppression. Lyrically direct and socially conscious, the song urges listeners to confront injustice actively, with Marley declaring, “You can fool some people sometimes, but you can’t fool all the people all the time.” Musically, the track is grounded in a deep, compelling reggae groove, driven by Family Man Barrett’s hypnotic bass lines and Carlton Barrett’s steady, unrelenting drum rhythm. The fusion of melody and militant lyricism is central to its lasting impact, earning praise from critics who admired its fearless tone and musical integrity. Notably, Rolling Stone has recognized the track as a pivotal work within Marley’s politically charged catalog.
While “Get Up, Stand Up” was not released as a chart-topping single, its influence extended far beyond commercial metrics. Over time, it became an essential anthem of global protest movements, from anti-apartheid struggles in South Africa to campaigns for civil rights and social justice worldwide. Its message was consistently amplified through the band’s passionate live performances, capturing audiences with its assertive, unifying call to action. Although an official music video was never produced—typical of the era—the song’s powerful stage presence was documented in several concert films, most famously in the legendary performance at London’s Lyceum Theatre in 1975, immortalized on the album Live!
Decades after its release, “Get Up, Stand Up” remains profoundly relevant, highlighting Bob Marley & The Wailers’ unique ability to craft songs that resonate deeply with human rights struggles. The track continues to symbolize defiance, resistance, and collective empowerment, maintaining its place as one of the most significant protest songs in music history.
# 6 – Revolution – The Beatles
# 5 – “Hear My Train A Comin’” – Jimi Hendrix
Among Jimi Hendrix’s most emotionally revealing works, “Hear My Train A Comin’” stands as a defiant spiritual reckoning. First recorded in a solo acoustic version on December 19, 1967, at Bruce Fleming’s photography studio in London for a short film directed by Peter Neal, the song would evolve over the next three years into a powerful blues-driven statement of alienation, ambition, and transcendence. Though it never appeared on a studio album during Hendrix’s lifetime, several versions exist—both live and in the studio—each capturing a different facet of his artistic vision. A full-band electric version recorded at Record Plant Studios in New York on April 7, 1969, with Billy Cox on bass and Buddy Miles on drums, was released posthumously on People, Hell and Angels in 2013. Hendrix himself produced the session, as he often did in the later years of his career, shaping the song across formats and performances.
At its core, “Hear My Train A Comin’” is Hendrix’s blues—deeply personal, unvarnished, and driven by a sense of unresolved struggle. Musically, it channels the lineage of Delta blues but refracted through his unique, electrified style. The lyrics echo themes of departure and redemption: “I hear my train a comin’, yeah / I’m gonna leave this town.” Hendrix used the metaphor of the train—a recurring image in blues tradition—as a vehicle for spiritual escape, transformation, and revenge against a world that misunderstood or confined him. Whether performed with a searing electric solo or in the stripped-down acoustic take, the song always returned to this central defiance: the refusal to remain trapped by circumstance, expectation, or loss. The live versions—particularly the explosive performance at the Berkeley Community Theatre on May 30, 1970—reveal the song’s full dramatic power, often stretching well beyond eight minutes as Hendrix’s improvisation becomes its own form of rebellion.
Critics have long pointed to “Hear My Train A Comin’” as a crucial yet underappreciated component of Hendrix’s catalog. While it never charted as a single, its resonance among fans and scholars has only grown. Writing in Rolling Stone, David Fricke once described the track as “Hendrix’s ‘Crossroads’—a moment of clarity, born from pain and channeled into raw electricity.” The film footage of Hendrix seated alone with a 12-string acoustic guitar—confident, playful, and deeply focused—offers a rare glimpse of the man behind the legend, asserting his identity through simplicity rather than spectacle. No video could encapsulate his artistry better. “Hear My Train A Comin’” was never about arriving; it was about the unrelenting motion forward, propelled by willpower and guided by sound. As such, it remains one of Hendrix’s most enduring declarations of defiance—uncompromising, unresolved, and entirely his own.
# 4 – Positively 4th Street – Bob Dylan
Released on September 7, 1965, as a standalone single during the most transformative year of Bob Dylan’s career, “Positively 4th Street” is a masterclass in lyrical venom wrapped in folk-rock elegance. The song was recorded on July 29, 1965, at Columbia Studio A in New York City—just a day after Dylan completed the Highway 61 Revisited sessions. Produced by Tom Wilson, the track featured several of the same musicians from those sessions: Al Kooper on organ, Harvey Brooks on bass, Mike Bloomfield on guitar, and Bobby Gregg on drums. The absence of the song from any of Dylan’s studio albums at the time did little to blunt its impact. It charted quickly, peaking at number 7 on the Billboard Hot 100 and number 8 on the UK Singles Chart.
Musically, “Positively 4th Street” follows the folk-rock template Dylan had just begun to refine. Its relaxed, mid-tempo rhythm and shimmering organ lines contrast sharply with the caustic tone of the lyrics. From the first verse—“You’ve got a lotta nerve to say you are my friend”—Dylan abandons metaphor and embraces direct confrontation. The target remains ambiguous, though many have speculated it was aimed at former allies in the Greenwich Village folk scene who turned against him after his controversial move to electric instruments. Rather than name names, Dylan lets the bitterness simmer across every verse, delivering line after line of thinly veiled contempt: “I know the reason that you talk behind my back / I used to be among the crowd you’re in with.”
Critically, the song has long been seen as one of Dylan’s most merciless compositions, drawing praise for its lyrical sharpness and emotional clarity. In Rolling Stone’s list of the 500 Greatest Songs of All Time, “Positively 4th Street” ranked number 206, with the magazine describing it as “a pure distillation of disgust.” Unlike protest songs aimed at societal institutions, this was personal—a takedown not of injustice in the abstract but of betrayal close to home. It never received an official music video, but its legacy has been kept alive through numerous covers and decades of discussion about its meaning. Dylan, characteristically, has never publicly identified the song’s subject, allowing its intensity and ambiguity to fuel its mystique.
More than half a century later, “Positively 4th Street” remains a landmark in Dylan’s discography—a pointed, unrelenting song that captures defiance on a human scale. It’s not about toppling governments or leading marches. It’s about standing one’s ground in the face of duplicity, which might be the most relatable form of rebellion of all.
# 3 – Stand – Sly & The Family Stone
Released in March 1969, “Stand!” by Sly & The Family Stone remains one of the most urgent and unflinching declarations of social empowerment ever captured on tape. The title track of the band’s fourth studio album, Stand!, was recorded in late 1968 and early 1969 at Pacific High Recording in San Francisco. Produced and written by Sly Stone—born Sylvester Stewart—the track marked a defining moment for the group, both musically and politically. The core lineup featured Sly Stone on vocals, keys, and production; Freddie Stone on guitar and vocals; Larry Graham on bass and vocals; Cynthia Robinson on trumpet and vocals; Greg Errico on drums; Jerry Martini on saxophone; and Rose Stone on keyboards and vocals. The song’s final mix was famously reworked at the last minute after Stone was dissatisfied with the initial studio recording, bringing in studio musicians to overdub parts before release.
“Stand!” opens as an anthem of personal conviction and social resistance, slowly building in intensity before erupting into a gospel-infused breakdown that turns the message communal. Sly’s lyrics—“Stand! There’s a cross for you to bear / Things to go through if you’re going anywhere”—directly challenge listeners to take responsibility for change, both personal and collective. It was a bold call during a time of widespread political unrest and civil rights upheaval. The track’s structure mirrors its message: a composed beginning gives way to a celebratory, chaotic climax that reflects both the joy and burden of activism. The inclusion of group vocals and rhythmic urgency reinforces the band’s multiracial, genre-defying identity, which had become a central force in their sound and message.
Critically, “Stand!” was immediately recognized for its cultural weight. It reached number 22 on the Billboard Hot 100 and helped propel Stand! to double-platinum status, cementing the group’s position at the forefront of American music. In the decades since, the track has maintained a prominent place in retrospectives on protest music and civil rights-era soundtracks. Though it lacks a traditional music video, live footage from the era—particularly the band’s 1969 performance at Woodstock—captures the raw energy and conviction that made “Stand!” an enduring statement of defiance. More than five decades later, the song continues to be cited not just as a product of its time, but as a timeless anthem urging listeners to rise, speak out, and take action.
# 2 – We’re Not Going To Take It – Twisted Sister
# 1 – Freedom – Richie Havens
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Drake’s journey from Toronto, Canada, to global superstardom is a vivid testament to artistic versatility, tenacity, and boundary-pushing innovation. Before he reshaped modern music, Drake first appeared in the spotlight as Jimmy Brooks on the Canadian teen drama “Degrassi: The Next Generation.” Yet even then, it was clear he possessed a depth of charisma that couldn’t be contained by television alone. In 2006, Drake boldly stepped into music, releasing his self-produced mixtape “Room for Improvement,” signaling the arrival of a fresh voice, one unafraid to blend rap’s gritty narrative with melodic vulnerability.
The seismic shift came with his 2009 mixtape, “So Far Gone,” which transformed Drake from promising newcomer to cultural phenomenon almost overnight. Hits such as “Best I Ever Had” captivated mainstream listeners, introducing a blend of hip-hop and R&B that defied traditional genre boundaries. Signing with Lil Wayne’s Young Money Entertainment, Drake solidified his place in music’s upper echelon, embarking on a creative journey marked by introspective lyrics, emotional honesty, and unyielding experimentation.
Since bursting onto the scene, Drake has crafted eight powerful studio albums, each release not only a chart-topping event but a defining moment in popular culture. Albums like “Take Care” (2011) and “Nothing Was the Same” (2013) revealed a profound maturity, cementing his status as both a lyrical storyteller and an innovative sonic architect. With “Views” (2016) and the ambitious double-album “Scorpion” (2018), Drake shattered streaming records worldwide, propelled by era-defining singles such as “Hotline Bling,” “One Dance,” “God’s Plan,” and “In My Feelings.” Each song not only conquered charts but entered the collective consciousness, becoming anthems that defined moments in listeners’ lives.
Drake’s astonishing success is matched only by the accolades he’s garnered. With five Grammy Awards and an unprecedented number of Billboard Music Awards, including recognition as Artist of the Decade in 2021, his accomplishments stand as testaments to his cultural resonance. Drake’s ability to effortlessly traverse musical boundaries—from rap and R&B to pop and dancehall—has not only expanded his artistic horizons but forever reshaped the landscape of modern music. His emotional vulnerability, raw honesty, and relatable storytelling have fostered a uniquely personal connection with fans, solidifying his status as one of music’s most compelling figures.
Yet Drake’s impact extends far beyond music alone. His entrepreneurial ventures have further demonstrated a remarkable knack for innovation. Founding OVO Sound, Drake has amplified the voices of emerging talent, fostering a creative ecosystem reflective of his artistic ethos. His collaborations with powerhouse brands like Nike and the creation of Virginia Black whiskey underscore his dynamic approach to business, blending culture and commerce in compelling ways that resonate with audiences globally.
Perhaps equally significant is Drake’s dedication to philanthropy. Through initiatives like the emotionally powerful “God’s Plan” video, he’s showcased heartfelt generosity, directly aiding individuals, schools, and communities with substantial donations. This genuine commitment to giving back has deepened the public’s admiration for him, demonstrating that his influence isn’t confined to charts or stages—it resonates in lives changed and communities uplifted.
Ultimately, Drake’s career isn’t just a story of remarkable commercial success; it’s a narrative of constant reinvention and profound emotional connection. His journey has fundamentally reshaped how artists express themselves and connect with listeners in the digital age. Through his music, business ventures, and genuine acts of generosity, Drake has etched an enduring legacy, solidifying his position as an irreplaceable icon in contemporary culture.
Complete List Of Drake Songs From A to Z
3AM on Glenwood (performed by 21 Savage) – Her Loss – 2022
30 for 30 Freestyle (performed by Drake) – What a Time to Be Alive (mixtape) – 2015
4422 (featuring Sampha) – More Life (mixtape) – 2017
6 God – If You’re Reading This It’s Too Late (mixtape) – 2015
6 Man – If You’re Reading This It’s Too Late (mixtape) – 2015
6PM in New York – If You’re Reading This It’s Too Late (mixtape) – 2015
7AM on Bridle Path – Certified Lover Boy – 2021
7969 Santa – For All the Dogs – 2023
8 Out of 10 – Scorpion – 2018
8AM in Charlotte – For All the Dogs – 2023
9 – Views – 2016
9AM in Dallas – Thank Me Later (UK Bonus) – 2010
10 Bands – If You’re Reading This It’s Too Late (mixtape) – 2015
100 Gigs – 100 Gigs – 2024
305 to My City (featuring Detail) – Nothing Was the Same – 2013
A Keeper – Honestly, Nevermind – 2022
A Night Off (featuring Lloyd) – So Far Gone (mixtape) – 2009
A Scorpio’s Mind (featuring Nickelus F) – Room for Improvement (mixtape) – 2006
About the Game (Freestyle) (featuring Trey Songz) – Room for Improvement (mixtape) – 2006
After Dark (featuring Static Major and Ty Dolla Sign) – Scorpion – 2018
All Me (featuring 2 Chainz and Big Sean) – Nothing Was the Same (Deluxe) – 2013
All the Parties (featuring Chief Keef) – For All the Dogs – 2023
All This Love (featuring Voyce) – Room for Improvement (mixtape) – 2006
AM 2 PM (featuring Nickelus F) – Room for Improvement (mixtape) – 2006
Amen (featuring Teezo Touchdown) – For All the Dogs – 2023
Another Late Night (featuring Lil Yachty) – For All the Dogs – 2023
Asthma Team – Comeback Season (mixtape) – 2007
Away from Home – For All the Dogs – 2023
BackOutsideBoyz – Her Loss – 2022
Bad Meaning Good (featuring Slakah the Beatchild) – Room for Improvement (mixtape) – 2006
Bahamas Promises – For All the Dogs – 2023
Barry Bonds (Freestyle) – Comeback Season (mixtape) – 2007
BBL Love (Interlude) – For All the Dogs – 2023
Best I Ever Had – So Far Gone (mixtape) – 2009
Best I Ever Had – So Far Gone EP – 2009
Best I Ever Had – Thank Me Later (Japanese Bonus) – 2010
Big Rings – What a Time to Be Alive (mixtape) – 2015
Bitch Is Crazy – Comeback Season (mixtape) – 2007
Blem – More Life (mixtape) – 2017
Blue Green Red – 100 Gigs – 2024
Blue Tint – Scorpion – 2018
Brand New – So Far Gone (mixtape) – 2009
Brian Steel (performed by Drake) – Some Sexy Songs 4 U – 2025
Bria’s Interlude (featuring Omarion) – So Far Gone (mixtape) – 2009
Broke Boys – Her Loss – 2022
Buried Alive Interlude (Performed by Kendrick Lamar) – Take Care – 2011
Calling for You (featuring 21 Savage) – For All the Dogs – 2023
Calling My Name – Honestly, Nevermind – 2022
Cameras / Good Ones Go Interlude – Take Care – 2011
Can’t Have Everything – More Life (mixtape) – 2017
Can’t Take a Joke – Scorpion – 2018
Cece’s Interlude – Thank Me Later – 2010
Celibacy – Some Sexy Songs 4 U – 2025
Champagne Poetry – Certified Lover Boy – 2021
Change Locations – What a Time to Be Alive (mixtape) – 2015
Chicago Freestyle (with Giveon) – Dark Lane Demo Tapes (mixtape) – 2020
Childs Play – Views – 2016
Circadian Rhythm – 100 Gigs (Re-release) – 2024
Circo Loco – Her Loss – 2022
City Is Mine – Room for Improvement (mixtape) – 2006
Closer (featuring Andreena Mill) – Comeback Season (mixtape) – 2007
CN Tower – Some Sexy Songs 4 U – 2025
Comeback Season – Comeback Season (mixtape) – 2007
Come Thru – Nothing Was the Same (Deluxe) – 2013
Come Winter – Room for Improvement (mixtape) – 2006
Company (featuring Travis Scott) – If You’re Reading This It’s Too Late (mixtape) – 2015
Congratulations – So Far Gone (mixtape) – 2009
Connect – Nothing Was the Same – 2013
Controlla – Views – 2016
Crew Love (featuring the Weeknd) – Take Care – 2011
Crying in Chanel (performed by Drake) – Some Sexy Songs 4 U – 2025
Currents – Honestly, Nevermind – 2022
D4L (with Future and Young Thug) – Dark Lane Demo Tapes (mixtape) – 2020
Daylight – For All the Dogs – 2023
Deep Pockets – Dark Lane Demo Tapes (mixtape) – 2020
Deeper (performed by PartyNextDoor) – Some Sexy Songs 4 U – 2025
Demons (featuring Fivio Foreign and Sosa Geek) – Dark Lane Demo Tapes (mixtape) – 2020
Desires (featuring Future) – Dark Lane Demo Tapes (mixtape) – 2020
Diamonds Dancing – What a Time to Be Alive (mixtape) – 2015
Die Trying (with Yebba) – Some Sexy Songs 4 U – 2025
Digital Dash – What a Time to Be Alive (mixtape) – 2015
Diplomatic Immunity – Scary Hours EP – 2018
Do Not Disturb – More Life (mixtape) – 2017
Do What U Do (Remix) (featuring No Malice & Nickelus F) – Comeback Season (mixtape) – 2007
Do What You Do – Room for Improvement (mixtape) – 2006
Doing It Wrong – Take Care – 2011
Don’t Matter to Me (with Michael Jackson) – Scorpion – 2018
Don’t U Have a Man (featuring Dwele & Little Brother) – Comeback Season (mixtape) – 2007
Down Hill – Honestly, Nevermind – 2022
Drake’s Voice Mail Box #1 – Room for Improvement (mixtape) – 2006
Drake’s Voice Mail Box #2 – Room for Improvement (mixtape) – 2006
Drake’s Voice Mail Box #3 – Room for Improvement (mixtape) – 2006
Drew a Picasso – For All the Dogs – 2023
Easy to Please (featuring Richie Sosa) – Comeback Season (mixtape) – 2007
Elevate – Scorpion – 2018
Emotionless – Scorpion – 2018
Energy – If You’re Reading This It’s Too Late (mixtape) – 2015
Evil Ways (featuring J. Cole) – For All the Dogs (Scary Hours Edition) – 2023
Extra Special – Room for Improvement (mixtape) – 2006
F*ing Fans** – Certified Lover Boy – 2021
Faded (featuring Nickelus F) – Comeback Season (mixtape) – 2007
We begin our list of the 10 Best Songs With the Word ‘Town’ in the Title with Talk of the Town by The Pretenders. Written by Chrissie Hynde, this track was initially released as a single in March 1980 and later appeared on the 1981 EP Extended Play and the album Pretenders II. The song’s origin lies in an intriguing blend of personal experience and artistic inspiration, as Hynde crafted the lyrics after observing a young fan during their first tour. The encounter, which remained unspoken, became a source of creative energy that inspired a narrative about longing, distance and missed connections.
Recorded in Paris and produced by Chris Thomas, who was known for his work with bands like The Sex Pistols and Elton John, “Talk of the Town” features Chrissie Hynde’s evocative vocals, James Honeyman-Scott on guitar, Pete Farndon on bass, and Martin Chambers on drums. The band’s chemistry is evident in the track’s composition, where Hynde’s wistful delivery meshes perfectly with Honeyman-Scott’s jangly guitar work, creating an atmospheric sound that balances melancholy with hope. The song’s production emphasizes the emotive quality of Hynde’s voice, giving the lyrics the space to breathe and resonate.
The song lyrically explores the themes of unreciprocated affection and the passage of time. Hynde reflects on a fleeting encounter, conveying a sense of longing and introspection as she contemplates the life of the person she once admired from afar. Phrases like “I made a wish, I said it out loud, out loud in a crowd” and “You’ve changed, your place in this world” reveal her vulnerability while also depicting the inevitable changes people go through as they grow older. The lyrics touch on the pain of distance and unfulfilled wishes, all while contemplating how the subject of her affection has evolved, becoming the “talk of the town.”
As a radio hit, “Talk of the Town” reached number eight on the UK Singles Chart, cementing its place as one of The Pretenders’ most beloved tracks. Critically, it has been praised for its introspective lyricism and the ability to evoke a sense of nostalgia and longing that resonates with listeners. Its placement as the first song on this list emphasizes its significance in capturing the essence of a ‘town’—not just as a location but as a metaphor for a space where personal and emotional transformations occur.
Though “Talk of the Town” stands alone in its storytelling and evocative imagery, it sets the stage for the rest of the songs on this list, which similarly explore the personal stories and emotions tied to places and people. As the first song, it establishes the tone for a collection of tracks that delve into the intersection of memory, identity, and the sense of longing that often accompanies stories involving a ‘town.’
As the second song on our list of the best songs with the word ‘Town’ in the title, “My Little Town” showcases Simon & Garfunkel’s poignant storytelling and emotional resonance. Released in 1975, the track was written by Paul Simon and co-produced by Simon, Art Garfunkel, and Phil Ramone. The song was unique for being included on both Simon’s Still Crazy After All These Years and Garfunkel’s Breakaway albums, marking a reunion for the duo after several years apart. The excitement surrounding their reunion, especially following a performance on Saturday Night Live, boosted anticipation for their respective solo albums and solidified the song’s success.
“My Little Town” peaked at number nine on the Billboard Hot 100 and topped the Billboard Adult Contemporary chart for two weeks. Its success was fueled not only by the nostalgic appeal of Simon & Garfunkel’s collaboration but also by its introspective lyrics and haunting melody. Musically, the song features Simon’s signature folk-rock arrangement, with both artists delivering harmonies that blend seamlessly, reflecting their well-known synergy. Ramone’s production creates a soundscape that feels both expansive and intimate, underscoring the song’s melancholy mood.
Lyrically, “My Little Town” paints a stark, almost bleak, picture of small-town life, contrasting idealistic memories with the disillusionment that accompanies adulthood. The recurring line “Nothing but the dead and dying back in my little town” captures a sense of stagnation and loss, a sharp departure from the more hopeful tone seen in other Simon & Garfunkel classics. The imagery of factories, dirty breezes, and blackened rainbows conveys a grim reality, suggesting the absence of growth or color in the narrator’s world. In comparison to “Talk of the Town” by The Pretenders, which conveys a wistful longing for connection, “My Little Town” is more introspective and critical, focusing on the disillusionment with one’s origins rather than a person. Together, these two tracks highlight how towns and places can evoke both sentimentality and a sense of entrapment, setting the thematic tone for this list.
“My Home Town” by Hagar Schon Aaronson Shrieve (HSAS) captures the sentimentality and nostalgia of returning to one’s roots. The track is from their only studio album, Through the Fire, released in 1984. HSAS was a supergroup comprised of Sammy Hagar (vocals), Neal Schon (guitar), Kenny Aaronson (bass), and Michael Shrieve (drums). The album was recorded live, with guitar overdubs added later to enhance its sound. While the album’s single, a cover of Procol Harum’s “Whiter Shade of Pale,” managed to reach number ninety-four on the Billboard Hot 100, “My Home Town” stands as a powerful, lesser-known track that embodies the spirit of the album.
The song’s theme revolves around the familiar and comforting feeling of returning to a place filled with memories and belonging. Sammy Hagar’s vocal delivery is both heartfelt and energized, emphasizing the personal connection and passion he feels for his hometown. The lyrics describe the joy of reconnecting with friends and the vibrant atmosphere of home—“Me and my friends standin’ there / Come to welcome me / Nothin’ can compare.” The song’s repetitive chorus, where Hagar passionately declares his love for his hometown, captures the unshakeable bond one has with the place they consider home.
Musically, “My Home Town” showcases the chemistry between the members of HSAS. Neal Schon’s guitar work provides a melodic backdrop that complements Hagar’s expressive vocals, while Michael Shrieve’s drumming offers a solid, rhythmic foundation. The live recording approach contributes to the raw and energetic sound, enhancing the authenticity and intensity of the performance. This track, though not as commercially successful as others on Through the Fire, resonates with the same themes of nostalgia and longing found in other songs on this list, such as “My Little Town” by Simon & Garfunkel. However, while “My Little Town” leans toward a more introspective and critical view of small-town life, “My Home Town” is celebratory, emphasizing the joy and warmth of returning to one’s roots.
As part of our exploration of the best songs with “Town” in the title, “My Home Town” serves as a reminder of the timeless and universal connection people feel toward their origins, and it stands as a fitting contribution to this nostalgic list.
“Her Town Too” is a poignant and introspective song by James Taylor and J.D. Souther, featured on Taylor’s 1981 album Dad Loves His Work. The collaboration marked a significant moment for both artists, combining Taylor’s introspective style with Souther’s sharp lyrical insight. Released as a single, the song reached number eleven on the Billboard Hot 100 and performed well on the Adult Contemporary and Mainstream Rock charts, showcasing its widespread appeal. As the song opens this list, it sets the tone for an exploration of personal connections tied to the idea of ‘town.’
The narrative of “Her Town Too” delves into the aftermath of a breakup, reflecting on the emotional and social implications of a long-term relationship coming to an end. The lyrics reveal a woman’s struggle with isolation and disconnection, illustrating how the breakup changes not only her personal life but also her relationship with her surroundings—her town. Taylor’s and Souther’s vocal harmonies enhance the sense of shared perspective and empathy. Taylor’s soft guitar work is complemented by J.D. Souther’s nuanced vocal delivery, creating a haunting, reflective atmosphere. The song’s arrangement, produced by Taylor, Souther, and legendary engineer Phil Ramone, emphasizes its intimate storytelling through acoustic instrumentation and warm, layered production.
Lyrically, the song paints a vivid picture of a small-town environment where everyone knows each other’s business. The lines “It used to be her town / It used to be her town too” highlight the sense of loss and the emotional distance that grows after a separation, as friends and familiar places no longer feel the same. The melancholy tone contrasts with the subtle optimism in the line “Somebody still loves you,” suggesting that despite the heartbreak and loneliness, a sense of care and connection remains.
Small Town by John Mellencamp is a powerful anthem celebrating the simple joys and steadfast values of small-town life. Released in 1985 on his Scarecrow album, the track quickly became a signature song for Mellencamp, embodying the spirit of Americana. Peaking at number six on the U.S. Billboard Hot 100 and reaching number two on the Billboard Top Rock Tracks chart, it highlights Mellencamp’s appeal as a voice for the American heartland.
The song was recorded at Belmont Mall Studio, Mellencamp’s personal recording space in Belmont, Indiana, and produced by Mellencamp himself alongside Don Gehman. The personnel on the track includes Kenny Aronoff on drums, Mike Wanchic and Larry Crane on guitars, Toby Myers on bass, and John Cascella on keyboards, forming a tight ensemble that blends rock and folk elements seamlessly. Mellencamp’s lyrics, which were reportedly written in his laundry room using an electronic typewriter, paint an authentic picture of small-town existence. His straightforward, yet heartfelt delivery underscores the genuine connection he feels to his roots.
In terms of lyrical analysis, “Small Town” celebrates the sense of identity and belonging that Mellencamp associates with his hometown in Indiana. Lines like “I cannot forget from where it is that I come from / I cannot forget the people who love me” reveal an emotional attachment to the familiar places and people who have shaped him. The song emphasizes the value of close-knit communities and contrasts this with the allure of big cities, declaring that while big towns may offer opportunity and excitement, there’s an inherent comfort and authenticity found in small towns.
Comparing this track to “Her Town Too” by James Taylor and J.D. Souther, both songs explore themes of connection and identity tied to a specific place. However, while “Her Town Too” deals with the emotional fallout and alienation that follows the end of a relationship, “Small Town” is a celebration of belonging and acceptance. Similarly, “My Little Town” bySimon & Garfunkel also delves into the disillusionment and stagnation that can accompany returning to a familiar place. In contrast, “Small Town” is about embracing and finding fulfillment in those very same surroundings, showcasing the differing perspectives people can have about the places they call home.
Musically, the song has a folk-rock backbone supported by Mellencamp’s gritty vocal style, giving it a raw, authentic feel. The stripped-down arrangement of acoustic guitar, steady drum patterns, and organ flourishes complements the song’s down-to-earth message. This authenticity has resonated with audiences for decades, making “Small Town” a timeless staple in Mellencamp’s catalog and an essential entry on this list celebrating songs about towns.
Ghost Town by The Specials is a landmark track that encapsulates the social and economic turmoil of early 1980s Britain. Released on 12 June 1981, the song spent three weeks at the top of the UK Singles Chart and became a powerful anthem of the era. Known for its haunting melody and stark social commentary, “Ghost Town” addressed the widespread unemployment, urban decay, and violence plaguing British cities. The song’s release coincided with several major riots across the UK, including those in Brixton, Toxteth, and Manchester, which only heightened its relevance and impact as a protest against societal neglect.
The song was recorded at Horizon Studios in Coventry and produced by John Collins. The lineup for this track included Jerry Dammers on keyboards, who was the principal songwriter, Terry Hall on lead vocals, Lynval Golding on guitar, Horace Panter on bass, and John Bradbury on drums. This marked the final single recorded by the original lineup of the Specials, as internal tensions led to the band’s breakup shortly after its release. The eerie, echoing sound of Dammers’ organ combined with the sinister brass section and Hall’s mournful vocals creates a chilling, atmospheric experience, reminiscent of the decline felt in many urban areas during that period.
Lyrically, “Ghost Town” paints a vivid picture of a city deteriorating under economic hardship. The opening lines, “This town is coming like a ghost town / All the clubs have been closed down,” immediately set the tone, capturing the emptiness and desolation that had become common in British urban centers. The song goes on to question the government’s role in these issues, lamenting the lack of jobs and opportunities for the youth, which led to violence and unrest. This is particularly evident in the line, “Government leaving the youth on the shelf,” which highlights the frustration and anger felt by a generation abandoned by the state.
Comparing “Ghost Town” to earlier entries on this list, such as “Small Town” by John Mellencamp, reveals a stark contrast in the portrayal of towns and cities. While Mellencamp’s song is a celebration of small-town life and the sense of identity and belonging it provides, “Ghost Town” offers a much darker perspective. It reflects the reality of cities in decline, emphasizing social and economic struggles rather than a sense of nostalgia. Similarly, “My Little Town” by Simon & Garfunkel shares some thematic parallels, as it also touches on the bleakness and limitations found in one’s hometown, yet “Ghost Town” delivers its message with a more urgent and politically charged tone.
The critical reception to “Ghost Town” was overwhelmingly positive, with major UK music magazines like NME, Melody Maker, and Sounds all naming it their “Single of the Year” for 1981. The song not only captured the mood of the time but also became a cultural touchstone, widely regarded as one of the most significant protest songs of its era. Its impact endures, as the track continues to be a powerful reminder of the social upheaval and economic hardship that marked early 1980s Britain.
# 1 – Darkness On The Edge Of Town – Bruce Springsteen
Darkness on the Edge of Town by Bruce Springsteen is a powerful and haunting finale to his 1978 album Darkness on the Edge of Town. Much like the album itself, the song delves into themes of struggle, resilience, and the quiet desperation of those living on society’s margins. Following the breakthrough success of Born to Run, this track marked a shift in Springsteen’s musical narrative, trading the youthful optimism of his earlier work for a more somber and introspective tone. The title track, recorded and mixed in April 1978, encapsulates the album’s thematic heart—a reflection on those who fight to survive and hold onto their spirit amidst life’s harshest realities.
The recording of “Darkness on the Edge of Town” saw Bruce Springsteen accompanied by his trusted E Street Band. The lineup included Max Weinberg on drums, Steven Van Zandt on guitar, Garry Tallent on bass, and Roy Bittan on piano. Danny Federici’s organ and glockenspiel add atmospheric depth, while Clarence Clemons’ tambourine accentuates the song’s sparse yet intense arrangement. Recorded at The Record Plant in New York City, the track was produced by Springsteen himself along with Jon Landau and Steven Van Zandt. The resulting sound is raw and emotionally charged, a fitting backdrop for the song’s heavy lyrical content.
Lyrically, “Darkness on the Edge of Town” paints the portrait of a man who refuses to surrender despite facing loss and hardship. The narrator, speaking from the perspective of someone who has lost his money and wife, symbolizes resilience. The line “I’ll be on that hill with everything I got” highlights his relentless determination, underscoring the song’s message of fighting against all odds. This character-driven storytelling allows listeners to connect with the raw emotion behind the lyrics, making it a quintessential example of Springsteen’s blue-collar poetry.
Compared to other tracks on this list, such as “My Little Town” by Simon & Garfunkel, “Darkness on the Edge of Town” presents a different shade of small-town life. While Simon & Garfunkel’s song reflects on a stagnant and stifling place, Springsteen’s track delves deeper into the individual’s struggle within that environment, focusing on the internal battles that rage regardless of one’s surroundings. Both songs, however, share a sense of longing and the search for meaning in a world that often feels unforgiving.
Springsteen’s evocative lyrics, like “Everybody’s got a secret, Sonny / Something that they just can’t face,” explore the universal experience of carrying personal burdens. This acknowledgment of hidden pain and unspoken struggles reveals the darkness that lingers in every town and every life, making the track a poignant and fitting addition to this list. “Darkness on the Edge of Town” is more than just a song—it’s a compelling piece of storytelling that resonates with the complexity and resilience of the human spirit.
Feature Photo: Jim Conners – 27K Photography, CC BY-SA 4.0 , via Wikimedia Commons
Breaking Benjamin emerged from Wilkes-Barre, Pennsylvania, in 1999, founded by lead vocalist and guitarist Benjamin Burnley and drummer Jeremy Hummel. Initially performing under the name Plan 9, the band reverted to Breaking Benjamin after Burnley accidentally broke a borrowed microphone during a performance, prompting the owner to comment, “I’d like to thank Benjamin for breaking my f***ing mic.” This incident inspired the band’s enduring moniker.
The band’s early lineup solidified with the addition of guitarist Aaron Fink and bassist Mark Klepaski, both former members of the band Lifer. Their self-titled debut EP, released in 2001, garnered local attention and led to a contract with Hollywood Records. In 2002, they released their first full-length album, “Saturate,” which reached number 136 on the Billboard 200 chart. Their follow-up album, “We Are Not Alone,” released in 2004, featured the successful single “So Cold,” propelling the album to platinum status.
Breaking Benjamin’s discography comprises six studio albums: “Saturate” (2002), “We Are Not Alone” (2004), “Phobia” (2006), “Dear Agony” (2009), “Dark Before Dawn” (2015), and “Ember” (2018). Notable singles include “The Diary of Jane,” which peaked at number two on the Mainstream Rock Tracks chart, and “Breath,” which secured the number one position on the same chart. Their consistent chart performance underscores their impact on the rock music scene.
Throughout their career, Breaking Benjamin has experienced lineup changes, with Burnley remaining the constant driving force. Despite a hiatus from 2010 to 2014 due to Burnley’s health issues, the band made a strong comeback with “Dark Before Dawn,” which debuted at number one on the Billboard 200. Their resilience and ability to evolve have endeared them to a loyal fan base.
While the band is primarily known for their musical contributions, they have also engaged in philanthropic efforts. Breaking Benjamin has participated in charity concerts and events, supporting causes such as cancer research and mental health awareness. These endeavors reflect their commitment to using their platform for positive social impact.
Breaking Benjamin’s enduring appeal lies in their melodic yet heavy sound, emotionally charged lyrics, and Burnley’s distinctive vocals. Their ability to connect with listeners on a personal level has solidified their place in the rock genre. As they continue to produce new music and tour, their influence remains significant, resonating with both long-time fans and new audiences alike.
Complete List Of Breaking Benjamin Songs From A to Z
Angels Fall – Dark Before Dawn – 2015
Angels Fall (Aurora Version) – Aurora – 2020
Anthem of the Angels – Dear Agony – 2009
Ashes of Eden – Dark Before Dawn – 2015
Away – We Are Not Alone – 2004
Away (live) – So Cold EP – 2004
Awaken – Single – 2025
Believe – We Are Not Alone – 2004
Better Days – Shallow Bay: The Best of Breaking Benjamin – 2011
Blood – Ember – 2018
Blow Me Away – So Cold EP – 2004
Blow Me Away (featuring Valora) – Shallow Bay: The Best of Breaking Benjamin – 2011
Break My Fall – We Are Not Alone – 2004
Breaking the Silence – Dark Before Dawn – 2015
Breakdown – We Are Not Alone – 2004
Breakdown (live) – So Cold EP – 2004
Breath – Phobia – 2006
Breath (live acoustic) – Shallow Bay: The Best of Breaking Benjamin – 2011
Bury Me Alive – Dark Before Dawn – 2015
Close to Heaven – Dark Before Dawn – 2015
Close Your Eyes – Ember – 2018
Crawl – Dear Agony – 2009
Dance with the Devil – Phobia – 2006
Dance with the Devil (Aurora Version) – Aurora – 2020
Dark – Dark Before Dawn – 2015
Dawn – Dark Before Dawn – 2015
Dear Agony – Dear Agony – 2009
Dear Agony (Aurora Version) – Aurora – 2020
Defeated – Dark Before Dawn – 2015
Down – Ember – 2018
Enjoy the Silence – Shallow Bay: The Best of Breaking Benjamin – 2011
Evil Angel – Phobia – 2006
Fade Away – Dear Agony – 2009
Failure – Dark Before Dawn – 2015
Failure (Aurora Version) – Aurora – 2020
Far Away – Aurora – 2020
Feed the Wolf – Ember – 2018
Firefly – We Are Not Alone – 2004
Follow – We Are Not Alone – 2004
Forever – Saturate – 2002
Forget It – We Are Not Alone – 2004
Give Me a Sign – Dear Agony – 2009
Give Me a Sign (acoustic) – Dear Agony (Japanese Edition) – 2009
Had Enough – Phobia – 2006
Had Enough (live acoustic) – Shallow Bay: The Best of Breaking Benjamin – 2011
Here We Are – Phobia – 2006
Hollow – Dark Before Dawn – 2015
Home – Saturate – 2002
Home (EP version) – Breaking Benjamin EP – 2001
Hopeless – Dear Agony – 2009
I Will Not Bow – Dear Agony – 2009
I Will Not Bow (acoustic + strings mix) – Shallow Bay: The Best of Breaking Benjamin – 2011
Into the Nothing – Dear Agony – 2009
Intro – Phobia – 2006
Lady Bug – We Are Not Alone (Japanese Edition) – 2004
Lady Bug – So Cold EP – 2004
Lie to Me – Shallow Bay: The Best of Breaking Benjamin – 2011
Lights Out – Dear Agony – 2009
Lyra – Ember – 2018
Medicate – Saturate – 2002
Medicate (EP version) – Breaking Benjamin EP – 2001
Natural Life – Saturate – 2002
Never Again – Dark Before Dawn – 2015
Never Again (Aurora Version) – Aurora – 2020
Next to Nothing – Saturate – 2002
No Games – Saturate – 2002
Ordinary Man – We Are Not Alone (Japanese Edition) – 2004
Outro – Phobia – 2006
Phase – Saturate – 2002
Polyamorous – Saturate – 2002
Polyamorous (acoustic) – Shallow Bay: The Best of Breaking Benjamin – 2011
Polyamorous (EP version) – Breaking Benjamin EP – 2001
Psycho – Ember – 2018
Rain – We Are Not Alone – 2004
Rain (2005 version) – We Are Not Alone (2005 Release) – 2004
Red Cold River – Ember – 2018
Red Cold River (Aurora Version) – Aurora – 2020
Save Yourself – Ember – 2018
Shallow Bay – Saturate – 2002
Shallow Bay (EP version) – Breaking Benjamin EP – 2001
Simple Design – We Are Not Alone – 2004
Skin – Saturate – 2002
So Cold – We Are Not Alone – 2004
So Cold (acoustic version) – We Are Not Alone (2005 Release) – 2004
So Cold (Aurora Version) – Aurora – 2020
So Cold (live acoustic) – So Cold EP – 2004
Sooner or Later – We Are Not Alone – 2004
Sugarcoat – Saturate – 2002
The Dark of You – Ember – 2018
The Diary of Jane – Phobia – 2006
The Diary of Jane (acoustic version) – Phobia – 2006
The Great Divide – Dark Before Dawn – 2015
Topless – Phobia – 2006
Torn in Two – Ember – 2018
Torn in Two (Aurora Version) – Aurora – 2020
Tourniquet – Ember – 2018
Tourniquet (Aurora Version) – Aurora – 2020
Unknown Soldier – Phobia – 2006
Until the End – Phobia – 2006
Until the End (live acoustic) – Shallow Bay: The Best of Breaking Benjamin – 2011
Vega – Ember – 2018
Water – Saturate – 2002
Water (EP version) – Breaking Benjamin EP – 2001
Water (remastered EP version) – Shallow Bay: The Best of Breaking Benjamin – 2011
What Lies Beneath – Dear Agony – 2009
Who Wants to Live Forever – Shallow Bay: The Best of Breaking Benjamin – 2011
Wish I May – Saturate – 2002
Without You – Dear Agony – 2009
Without You (acoustic) – Dear Agony (Japanese Edition) – 2009
You – Phobia – 2006
You Fight Me – Phobia – 2006
Albums
Breaking Benjamin EP (2001): 5 songs
Saturate (2002): 13 songs
We Are Not Alone (2004): 15 songs
So Cold EP (2004): 5 songs
Phobia (2006): 14 songs
Dear Agony (2009): 13 songs
Shallow Bay: The Best of Breaking Benjamin (2011): 7 additional songs
Dark Before Dawn (2015): 12 songs
Ember (2018): 12 songs
Aurora (2020): 10 songs (including 1 new song and 9 reimagined versions) Total songs: 106
Check out our fantastic and entertaining Breaking Benjamin articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
