Chappell Roan appeared at Elton John‘s annual Oscars viewing party on Sunday night, performing a cover of John’s “Your Song,” as well as duets with John of her anthemic hit “Pink Pony Club” and his “Don’t Let the Sun Go Down on Me.”
“I just freaked out when I heard her,” John said (via Rolling Stone) just before Roan took the stage at the event, which raised money for John’s AIDS foundation. “I interviewed her and fell in love with her and the album [Roan’s 2023 LP The Rise and Fall of a Midwest Princess]. She’s so kind to do this. She’s one of the biggest stars in the world right now. Not only does she speak with her voice on stage, but off it.”
Roan reciprocated the admiration from the stage.
“Thank you so much for believing in me,” she said to John. “You made it so I could be the artist I could be.”
You can watch Roan and John perform “Pink Pony Club” below, as well as Roan’s cover of “Your Song.” (“It’s kind of scary singing that in front of the person who wrote it,” Roan said of the latter performance.)
Roan’s set also included several more of her own hits, including “Red Wine Supernova,” “Hot to Go!” and “Good Luck, Babe!”
John ‘Keeps an Eye’ on Roan
John has been a fan of Roan’s since before The Rise and Fall of a Midwest Princess, her debut album, was released.
“He was about as early as an early adopter can be to her talent,” John’s husband, David Furnish, told Variety last month. “Subsequently, she’s become a dear friend to Elton and me. He keeps an eye on her and loves what she has achieved musically.”
Elton John Albums Ranked
Counting down every Elton John album, from worst to best.
In 2011, with original members David Johansen and Sylvain Sylvain still at the helm, the New York Dolls released their final album, Dancing Backwards In High Heels. Recorded in Newcastle-upon-Tyne in the north of England, it bore many of the hallmarks of the Dolls’ glam-trash 70s sound but with a few modern flourishes. We asked Johansen to tell us about it.
Why did you record in Newcastle?
We’d played there before, and we seemed to mesh with the populace so seamlessly that I hardly even noticed I wasn’t at home. I loved the place, and didn’t really have to alter my New York state of mind.
Are you happy with how it’s turned out?
Definitely. Although we just finished making a video for one of the tracks, Fool For You Baby, and if I ever hear that again it’ll be too soon. It’s hard to like anything once you’ve had to listen to it twenty times in a row.
New York Dolls – Fool For You Baby (Official Video) – YouTube
Was it a shock when Arthur Kane died so soon after the Dolls’ initial reunion?
It was apocalyptic, devastating. He was a lovely dude. He’d gone through this horrifying alcoholism for twenty years and there’d hardly been any contact between us during that time, but we’d just started to re-establish a beautiful friendship. He’d stopped drinking and was refreshing to be around again.
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Which was the most difficult to deal with: Arthur’s alcoholism or Johnny Thunders’s heroin addiction?
Johnny didn’t really get strung out until after we broke up. His chemical issues always kind of get conflated with the Dolls, but it wasn’t until later that he became dependent to the point of needing dope every day. I would see him every now and then; if I was doing a show in New York he would come up on stage and do a couple of numbers, so we were sort of on the same campus but not really hanging out as buddies.
I don’t know how familiar people are with the day-to-day life of a heroin addict, but I don’t think anyone would want that existence unless they had no choice. I never felt like saying: “Let me go with you while you try to cop.”
Guitarist Frank Infante from Blondie plays on the new album. Was there a great rivalry between the Dolls and Blondie way back when?
Not that I recall. I think both bands really dug each other. We kind of complemented each other. We were very different sounding, but I guess we were both more showbiz-oriented than everyone else on the New York scene at that time. Both bands knew how to have fun, and I think there was a shared intelligence or instinct to what we were doing.
Are you still ‘funky but chic’, as in the title of your old solo single you’ve re-recorded for the new album?
Yeah, I’d like to think so. I’ve always been funky but chic. A lot of people in the industry have been saying we should drag that song out again because it could be used for so many extra-curricular projects. Maybe we can persuade the guys at Max Factor to put it in one of their commercials, or get someone to put it in a movie.
Also, I have to be honest and say that we needed to come up with about a dozen tunes in three weeks to fill the new record, and that one was ready-made. Syl and I actually wrote it for the Dolls before we broke up the first time, so it’s kind of finally come home, you could say. Still sounds great, like there’s a really good party going on.
How difficult is it to dance backwards in high heels?
I was always pretty good at it. I can’t remember ever falling over, although I broke a lot of shoes of in the early days. Then we started going to this cobbler on First Avenue who’d reinforce the heels with steel shanks to make us ready for combat.
Where is your alter ego Buster Poindexter these days?
He’s still in Betty Ford, doing twice-nightly shows in the celebrity rehab wing. Still getting big crowds.
What’s the biggest misconception people have about you?
I’d like to think that everything people think about me is a misconception.
What can David Johansen do that nobody else can?
I can roll my belly quite lithely. I learned how to do it as a child in a belly-rolling contest. I can’t remember if I won, but I certainly inspired awe.
Personality Crisis – New York Dolls | The Midnight Special – YouTube
If you’re an artist, you should create art that pleases you and doesn’t necessarily pander to the marketplace. Managing to satisfy yourself while being an inspiration to others is what I’d call success.
What epitaph would you like to be written on your tombstone?
One word: ‘Fabulous’.
This interview originally appeared in Classic Rock 156 (April 2011) and has not appeared online before.
Badfinger guitarist Joey Molland has died at the age of 77. The news was confirmed in a statement shared on Badfinger’s social media channels, which read, “Joey (Joseph Charles) Molland passed away last night, surrounded by Mary, his two sons, and other family members at 11:39pm CST. “
The cause of death was not announced, although Molland had been battling ill health and was hospitalised in November. In January, a GoFundMe page was created to raise funds to pay for medical treatment.
“Joey was vaguely ill throughout the fall, and then in early December acquired a very bad bacterial infection due to his diabetes,” wrote his girlfriend, Mary Joyce. “The infection caused septicemia and travelled through his body, causing harm in multiple critical organs and bones. His recovery has been slow and arduous, including several surgeries and procedures.”
Molland joined Badfinger in 1969, eight years after the group’s formation as The Iveys in Swansea, Wales, and months after they’d become the first band to sign to The Beatles’ Apple label. He joined after the Paul McCartney-penned single Come And Get It was recorded, but enjoyed its success as the song became a Top 10 hit on both sides of The Atlantic.
Molland’s first album with Badfinger was the following year’s No Dice (1970), which included two of the band’s most famous tracks, No Matter What and Without You, famously covered by both Harry Nilsson and Mariah Carey.
Molland would play guitar on the next four Badfinger albums, Straight Up, Ass, Badfinger and Wish You Were Here – released 10 months before the Pink Floyd album of the same name – before the band disbanded after founder Pete Ham took his own life in 1975.
Away from the band, Molland also played on George Harrison’s All Things Must Pass and the live album The Concert for Bangladesh, and on John Lennon‘s Imagine album.
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After working as a carpet fitter in Los Angeles, Molland took on more of a lead role after Badfinger reformed for 1978’s Airwaves, but the album – and its follow-up, 1981’s Say No More – were both commercial flops, and they spilt again after bassist Tom Evans also died by suicide.
A string of solo releases followed, the most recent Be True To Yourself in 2021. The same year Molland – then the sole survivor from the band’s best-known lineup – was the focus as a “new” Badfinger album emerged. No Matter What – Revisiting The Hits found the guitarist rerecording highlights from the band’s catalogue, joined by a cast that included Rick Springfield, Jethro Tull‘s Ian Anderson, Rick Wakeman, Matthew Sweet, Todd Rundgren, Sonny Landreth, The Legendary Pink Dots, Vanilla Fudge frontman Mark Stein, Terry Reid and Albert Lee.
“I feel as if things could’ve turned out differently. If we had different management, we could have gone on,” Molland told Guitar World in 2020. “We could always write songs; we could always play. We just had bad business, and it finished us.”
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
Blondie was formed in New York City in 1974.The group was co-founded by vocalist Debbie Harry and guitarist Chris Stein, who were later joined by drummer Clem Burke, keyboardist Jimmy Destri, and bassist Gary Valentine.They initially gained recognition in the underground music scene, performing at iconic venues such as CBGB.
The band’s self-titled debut album, released in 1976, showcased their eclectic style but achieved modest commercial success.Their second album, “Plastic Letters” (1978), featured the single “Denis,” which reached number two on the UK Singles Chart, marking their first major breakthrough.However, it was their third album, “Parallel Lines” (1978), that catapulted them to international fame.This album included hits like “Heart of Glass,” which topped charts in multiple countries, and “One Way or Another,” solidifying their place in mainstream music.
Over the years, Blondie released a total of 11 studio albums.Following “Parallel Lines,” they continued their success with “Eat to the Beat” (1979), featuring tracks like “Dreaming” and “Atomic.”In 1980, “Autoamerican” showcased their versatility with songs such as “The Tide Is High,” a reggae cover that reached number one in the US and UK, and “Rapture,” notable for being one of the first mainstream songs to incorporate rap vocals.Their 1982 album, “The Hunter,” did not achieve the same success, leading to the band’s hiatus.They reunited in 1997, releasing “No Exit” in 1999, which included the UK chart-topping single “Maria.”Subsequent albums include “The Curse of Blondie” (2003), “Panic of Girls” (2011), “Ghosts of Download” (2014), and “Pollinator” (2017).
Blondie’s innovative approach resulted in numerous hit singles.“Call Me,” produced in collaboration with Giorgio Moroder for the film “American Gigolo” (1980), became a number one hit in the US and was the best-selling single of that year.“Rapture” not only topped the US charts but also introduced rap to a broader audience, influencing the genre’s integration into mainstream music.Their ability to blend different musical styles contributed to their widespread appeal and enduring legacy.
Throughout their career, Blondie received several accolades.They were inducted into the Rock and Roll Hall of Fame in 2006, recognizing their significant impact on the music industry.Their influence extended beyond commercial success, inspiring numerous artists and shaping the evolution of new wave and punk music.
Outside of music, Debbie Harry pursued acting, appearing in films such as “Videodrome” (1983) and “Hairspray” (1988), showcasing her versatility as an artist.Chris Stein is also an accomplished photographer, capturing iconic images of the 1970s and 1980s music scene.Their contributions to both music and visual arts have solidified their status as cultural icons.
Blondie’s enduring appeal lies in their ability to adapt and innovate.Their fusion of genres and willingness to experiment have kept them relevant across decades.The dynamic presence of Debbie Harry, combined with the band’s musical versatility, has left an indelible mark on popular culture.
In recent years, Blondie has continued to tour and produce new music.Their 2017 album “Pollinator” received critical acclaim, featuring collaborations with contemporary artists and bridging the gap between classic and modern sounds.As of December 2024, they are working on a new album set for release in 2025, produced by John Congleton.Their ability to evolve while maintaining their distinctive style ensures their lasting influence in the music industry.
Complete List Of Blondie Songs From A to Z
A Rose by Any Name (featuring Beth Ditto) – Ghosts of Download – 2014
Accidents Never Happen – Eat to the Beat – 1979
Already Naked – Pollinator – 2017
Angels on the Balcony – Autoamerican – 1980
A Shark in Jets Clothing – Blondie – 1976
Atomic – Eat to the Beat – 1979
Attack of the Giant Ants, The – Blondie – 1976
Background Melody (The Only One) – The Curse of Blondie – 2003
Backroom – Ghosts of Download – 2014
Bang a Gong (Get It On) (recorded live November 4, 1978, at The Paradise in Boston, MA) – Parallel Lines – 1978
Beast, The – The Hunter – 1982
Bermuda Triangle Blues (Flight 45) – Plastic Letters – 1978
Best Day Ever – Pollinator – 2017
Boom Boom in the Zoom Zoom Room – No Exit – 1999
Breaks, The – Pollinator – 2017
Call Me – Ghosts of Download – 2014
Call Me (Original Long Version) – Autoamerican – 1980
Call Me (live at Lyceum Ballroom, London, November 22, 1998) – No Exit – 1999
Call Me (Spanish Version) – Autoamerican – 1980
Can’t Stop Wanting – Ghosts of Download – 2014
Can I Find the Right Words (To Say) – The Hunter – 1982
X Offender (Original Private Stock single version) – Blondie – 1976
Youth Nabbed as a Sniper – Ghosts of Download – 2014
Youth Nabbed as Sniper – Plastic Letters – 1978
11:59 – Parallel Lines – 1978
Albums
Blondie (1976): 16 songs
Plastic Letters (1978): 18 songs
Parallel Lines (1978): 22 songs
Eat to the Beat (1979): 16 songs
Autoamerican (1980): 19 songs
The Hunter (1982): 12 songs
No Exit (1999): 19 songs
The Curse of Blondie (2003): 17 songs
Panic of Girls (2011): 16 songs
Ghosts of Download (2014): 40 songs
Pollinator (2017): 16 songs Total songs: 211
Check out our fantastic and entertaining Blondie articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Now, come on, have a sense of humor. This one is for the old timers out there who grew up with this classic Television show. As the theme song of the 1965 television series My Mother the Car, it stands out for blending elements of comedy and fantasy, reflecting the quirky premise of a man whose deceased mother is reincarnated as an antique 1928 Porter touring car. The song’s playful tone mirrors the whimsical nature of the series itself, which, despite being short-lived, has achieved a certain cult status over the years. Written and performed by Paul Hampton, the theme’s upbeat rhythm and lighthearted lyrics introduce the fantastical storyline in which the car (voiced by Ann Sothern) communicates with its owner, Dave Crabtree (played by Jerry Van Dyke), through its radio.
Recording details of the theme song are limited, but it was composed by Ralph Carmichael with Hampton contributing lyrics. This creative pairing produced a tune that complements the light and comedic elements of the show. The score is full of lively brass and catchy rhythms that immediately set the tone for the eccentric premise. Although the series itself was critically panned and later ranked as one of the worst television shows in history, its theme song remains a memorable relic of 1960s television’s experimental storytelling.
Lyrically, the song doesn’t delve into complex emotions or heavy metaphors, but it perfectly captures the whimsical essence of the show’s premise. It introduces the car as a character in a humorous way, playing on the absurdity of a talking vehicle. The simple, catchy repetition in the lyrics makes it easy to remember, ensuring that the song remains tied to the nostalgic memory of a bizarre but charming show. As the first song on this list, “My Mother the Car” opens the discussion by showcasing how cars have been used as central figures in pop culture, here becoming the vehicle (pun intended) for an entire comedic fantasy narrative. From here, the list will explore other ways the concept of a car, both literal and metaphorical, is woven into music.
# 9 – Mercedes Benz – Janis Joplin
# 8 – Wheels – Lone Justice
“Wheels” is a track from Shelter, the second album by Lone Justice, released in November 1986. Produced by Little Steven, Jimmy Iovine, and the band itself, the album was recorded across three major studios: A&M in Hollywood, Atlantic in New York City, and The Village Recorder in Los Angeles. The song reflects Lone Justice’s blend of country rock with hints of folk and rock elements, powered by Maria McKee’s commanding vocal presence. The band, which included McKee on vocals, Ryan Hedgecock and Shane Fontayne on guitar, Gregg Sutton on bass and backing vocals, Bruce Brody on keyboards, and Rudy Richman on drums, created a sound that was both rugged and heartfelt, well-suited to the themes of longing and reflection present in “Wheels.”
Lyrically, “Wheels” captures the emotional weight of memories attached to a lost love, symbolized by the sound of car wheels. The line “I know the sound of your wheels” emphasizes how the narrator associates the familiar sound of wheels with the emotional pain and unresolved feelings of a past relationship. The song draws on the universal theme of heartache, using the metaphor of a car’s wheels to represent how the past keeps coming back, like a vehicle returning to the same place over and over again. This metaphor is strengthened as the lyrics reveal the narrator’s struggle to escape the memories of a love that they wish they could forget. The repetitive nature of the chorus, “Yeah, yeah, yeah / I know the sound of your wheels,” creates a sense of inevitability, echoing the relentlessness of these haunting memories.
In the context of Shelter, the song’s melancholic tone and introspective lyrics are complemented by Lone Justice’s blend of country rock with cinematic touches. The production brings out the raw emotion in McKee’s voice, enhancing the sense of vulnerability within the song’s story. The band’s use of guitars, bass, and drums evokes the open road imagery, making “Wheels” a perfect addition to this list of car-themed songs, alongside “Mercedes Benz” by Janis Joplin, which also explores a car as a symbol of desire and yearning. Where Joplin’s song takes a satirical approach, “Wheels” is more somber, reflecting the emotional toll of loss rather than material wants. This contrast highlights the different ways cars are used as metaphors in music, whether representing freedom, escape, or painful reminders of the past.
Overall, “Wheels” is a poignant example of how Lone Justice uses evocative lyrics and a strong musical foundation to tell stories that resonate with universal themes of love, loss, and the struggle to move on from the past.
“Let Me Be Your Car” is a unique and energetic collaboration between Rod Stewart and Elton John, written by Elton John and his long-time lyricist Bernie Taupin. This track appears on Stewart’s fifth solo album, Smiler, released on September 27, 1974. The album itself was a mix of original tracks and covers, showcasing Stewart’s eclectic musical influences, and it reached number one in the UK album charts and number 13 in the US. Produced by Rod Stewart and Elton John, the recording of Smiler took place in various locations, including A&M Studios in Hollywood and Morgan Studios in London, capturing the raw energy and charisma of both artists.
“Let Me Be Your Car” is a bluesy, rock-infused track that uses car-related metaphors to convey desire, confidence, and a sense of freedom. In the song, Stewart offers to “be your car,” suggesting that he can provide the excitement and reliability that his love interest seeks. The lyrics, penned by Bernie Taupin, are playful and laden with double meanings, comparing the narrator to a car, ready to take his partner on a thrilling ride. The repeated lines “Let me be your car for a while” and “Shift me into gear and I’ll be there” evoke the imagery of a powerful, fast-moving vehicle, while also hinting at the desire to be in control and trusted in a relationship.
Musically, the song thrives on the vocal interplay between Stewart’s raspy, raw voice and the classic Elton John sound, which adds depth to the driving energy of the track. The instrumentation is highlighted by powerful piano work, rhythm guitars, and a steady beat, with John’s influence clear in the catchy, upbeat structure. This collaboration showcases Stewart’s ability to merge rock with blues influences while drawing from the unique energy brought by Elton John and Taupin’s songwriting.
When compared to other songs on this list, “Let Me Be Your Car” shares a similar thematic approach with “Wheels” by Lone Justice, where cars serve as metaphors for emotional movement and connection. However, where “Wheels” deals with the haunting sound of a lost love’s car, Stewart’s track takes a more confident, assertive tone, using the car as a symbol of power, trust, and adventure. Both songs reflect how vehicles are used in music as symbols of relationships and personal identity, yet Stewart’s approach is more playful and seductive, while Wheels evokes melancholy and longing.
In terms of lyrical analysis, the metaphor of the car allows Stewart to express a sense of strength and reliability in the relationship, with references to being stuck in the “fast lane” and invoking figures like Frankenstein and Jekyll and Hyde to show the complexity and intensity of his emotions. The line “I’ve got an engine underneath my hood” suggests that despite outward appearances, there is passion and drive beneath the surface, adding layers to the song’s theme of love as a powerful journey. The car imagery reinforces the idea of being ready for the ride, offering companionship and adventure.
“Let Me Be Your Car” stands out as a quintessential example of how artists in the 1970s used metaphors to craft deeper meanings, and it holds its own among other car-themed songs with its mixture of humor, romance, and rock-driven energy.
“Cars” is a groundbreaking single by English musician Gary Numan, released on August 24, 1979, as part of his debut solo album The Pleasure Principle. Numan had previously achieved success with his band Tubeway Army, but with “Cars,” he stepped fully into the spotlight, cementing his place in music history. The song quickly became a major international hit, topping charts in multiple countries, including the UK and Canada, and reaching number 9 on the Billboard Hot 100 in the United States. Known for its futuristic sound and pioneering use of synthesizers, “Cars” is still one of the most iconic tracks of the late 1970s and early 1980s, recognized as a quintessential example of synthpop.
The track was recorded at Marcus Music Studio in London, with Gary Numan handling most of the synthesizer and keyboard work, along with Cedric Sharpley on drums and Paul Gardiner on bass guitar. Produced by Gary Numan and recorded between May and June 1979, “Cars” is noted for its minimalistic approach, with Numan’s detached vocals and the dominant electronic arrangement creating a sense of isolation and alienation. The synthesizers take center stage, giving the track its distinctive, robotic texture. This was one of the first hits to so heavily feature synthesizers, making it revolutionary at the time of its release and a defining moment in electronic music’s emergence into the mainstream.
Lyrically, “Cars” offers an intriguing exploration of modern disconnection, with the car serving as a symbol of both protection and emotional distance. Numan uses the metaphor of the car to describe a sense of safety and control, juxtaposed with an underlying loneliness. The lyrics “Here in my car, I feel safest of all” suggest that the car acts as a fortress against the outside world, while lines like “I can listen to you, it keeps me stable for days” reflect the emotional isolation that comes with seeking refuge in a mechanical object. This theme of detachment is further emphasized by Numan’s cold, robotic vocal delivery, which mirrors the song’s synthetic instrumentation.
When compared to other songs in this list, like Rod Stewart’s “Let Me Be Your Car,” Numan’s “Cars” stands out for its focus on technology and the future, in contrast to the more romantic and human-centered metaphors seen in Stewart’s track. While Stewart uses the car as a playful symbol of love and desire, Numan presents it as a means of escaping human connection entirely. This adds a darker, more introspective layer to his song, making it distinct within the car-themed songs in rock history.
“Cars” resonated with listeners around the world, both for its innovative sound and its relatable depiction of the car as a personal sanctuary. It became a landmark single, influencing a generation of musicians in the burgeoning new wave and synthpop movements.
“Red Barchetta” is a standout track from Rush’s iconic 1981 album Moving Pictures. Written by drummer and lyricist Neil Peart, the song was inspired by Richard Foster’s 1973 short story “A Nice Morning Drive,” which explores a future where aggressive, hulking Modern Safety Vehicles dominate the roads, leaving smaller, older cars to be targeted in a violent sport of “bouncing.” In the song, Peart envisions a similar dystopia where most cars have been outlawed under a “Motor Law,” except for the classic red Barchetta, which becomes a symbol of freedom, rebellion, and nostalgia.
Recorded between October and November 1980 at Le Studio in Morin-Heights, Quebec, Moving Pictures was produced by Rush alongside Terry Brown. “Red Barchetta” showcases the band’s seamless blend of intricate musicianship and evocative storytelling. The track features Geddy Lee on bass and vocals, Alex Lifeson on guitar, and Neil Peart on drums, with each musician contributing to the song’s powerful, cinematic quality. The song is often hailed as one of the band’s finest narrative pieces, blending progressive rock with vivid lyrical imagery that takes the listener on a high-speed journey.
Lyrically, “Red Barchetta” tells the tale of a young man who escapes the oppressive confines of the Motor Law by visiting his uncle’s hidden farm, where an old red Barchetta sports car has been preserved in pristine condition. Every Sunday, the narrator commits a “weekly crime” by taking the car out for a thrilling ride through the countryside, culminating in a high-stakes chase with futuristic “air cars.” The adrenaline-fueled race ends when the narrator outsmarts his pursuers by crossing a one-lane bridge, which the wider air cars cannot navigate. The song captures the tension between the old and the new, freedom and control, as well as the joy of driving.
“Red Barchetta” is a celebration of the classic car, a nostalgic ode to a bygone era of automotive freedom, making it a fitting addition to this list of car-themed songs. When compared to Gary Numan’s “Cars,” which explores the sense of isolation within the confines of a car, “Red Barchetta” focuses on the liberating experience of driving. Both songs reflect on cars as symbols of personal freedom but approach the theme from vastly different angles—Numan’s track is more about protection and detachment, while Rush’s anthem is a romanticized escape from a restrictive future. The song’s narrative depth and dynamic energy make it one of the most beloved car-themed rock songs, perfectly capturing the thrill of the open road.
“409” is a quintessential car song from The Beach Boys, known for its place in the early 1960s hot rod culture. Written by Brian Wilson, Mike Love, and Gary Usher, the track was released in 1962 as the B-side to the band’s hit single “Surfin’ Safari.” It was later featured on their Surfin’ Safari album the same year and included again in the 1963 album Little Deuce Coupe. The song is credited with igniting the hot rod music craze of the 1960s, which became a defining element of The Beach Boys’ early identity, tying their surf-rock sound to the burgeoning car culture of Southern California.
The song’s title refers to Chevrolet’s powerful 409-cubic-inch-displacement “big block” V-8 engine, which was renowned for its strength and speed. The lyrics describe the pride and thrill of owning such a car, emphasizing the narrator’s hard work to save up for the vehicle. The phrase “four speed, dual quad, Posi-Traction 409” highlights the technical specifications of the car’s engine, which achieved the coveted 1 horsepower per cubic inch. The vivid description of the car’s performance at the track, with its unbeatable speed, mirrors the larger-than-life excitement that car enthusiasts felt for high-performance vehicles during the 1960s.
In terms of production, “409” was recorded at Capitol Studios in Hollywood, under the guidance of producer Nik Venet. The band’s lineup at the time featured Mike Love on lead vocals, Brian Wilson on bass and backing vocals, Carl Wilson on lead guitar, David Marks on rhythm guitar, and Dennis Wilson on drums. Brian Wilson’s use of sound effects—featuring the revving of a car engine—adds an extra layer of authenticity to the song, immersing the listener in the world of drag racing.
Lyrically, “409” focuses on the pride of car ownership and the thrill of speed, themes that would come to define the hot rod genre in rock music. The track’s high-energy pace and enthusiastic vocal delivery perfectly complement the narrative of owning and driving a fast car. Comparatively, this song stands out alongside other entries on the list, such as Gary Numan’s “Cars,” which explores the more introspective and isolating experience of being in a car. Where Numan’s track delves into detachment and safety, The Beach Boys’ “409” celebrates the joy of pushing a vehicle to its limits and the communal excitement of car culture.
“409” remains a landmark in car-themed rock music, blending the feel-good harmonies of The Beach Boys with the adrenaline-fueled excitement of hot rod culture. Its enduring appeal lies in its ability to capture the youthful passion for cars that was so prominent during the time, making it a crucial addition to any list of car-themed rock songs.
“Rocket 88,” recorded in Memphis in March 1951, is widely recognized as a landmark in music history, often cited as one of the first true rock and roll songs. Credited to Jackie Brenston and his Delta Cats, the song was actually performed by Ike Turner and his Kings of Rhythm, with Brenston on lead vocals. It became an immediate success, reaching number one on the Billboard R&B chart, and helped shape the emerging sound of rock and roll. The song celebrated the Oldsmobile Rocket 88, a powerful symbol of American car culture in the postwar era, drawing on the cultural and automotive landscape of the time.
The recording of “Rocket 88” took place at Sam Phillips’ Memphis Recording Service, which would later become the birthplace of Sun Records, famed for launching the careers of artists like Elvis Presley and Johnny Cash. The track was rooted in the jump blues style but stripped down to its rawest elements. It emphasized driving piano rhythms from Turner, a powerful vocal delivery from Brenston, and a sharp tenor saxophone solo by Raymond Hill. This energetic, unpolished sound captured the youth and excitement of 1950s car culture and set the stage for the rise of rock and roll.
Lyrically, the song celebrates the thrill of driving, focusing on the power and speed of the Oldsmobile Rocket 88 engine. The lyrics are straightforward but loaded with cultural significance, presenting the car as a symbol of freedom and an object of admiration. Compared to other songs on this list, such as The Beach Boys’ “409”, which also glorifies a high-performance car, “Rocket 88” stands out for its role in the very foundation of rock and roll. While “409” celebrates hot rods in a fun and surf-rock style, “Rocket 88” exudes a raw energy, embodying the early rock sound and rebellious spirit that would define much of the genre in the years to come.
Its impact continues to resonate, and its influence can be traced in every subsequent car-themed rock song, solidifying its place in the pantheon of both automotive and musical history.
“Mustang Sally” is a defining rhythm and blues (R&B) track that became iconic after Wilson Pickett covered it in 1966, transforming the song into a timeless classic. Originally written and recorded by Mack Rice in 1965, Pickett’s rendition added an unmistakable energy and soul, solidifying its place in both R&B and pop culture. The song was featured on Pickett’s album The Wicked Pickett and is widely considered one of his signature tracks. It also became an anthem for the 1960s car culture, combining elements of romance and rebellion with the powerful image of a fast car, specifically a 1965 Ford Mustang.
Pickett’s version was recorded at FAME Studios in Muscle Shoals, Alabama, with the famous Muscle Shoals Rhythm Section contributing to the song’s distinctive sound. The track is driven by a pulsating rhythm section, brass flourishes, and Pickett’s gravelly, impassioned vocal delivery. Musicians involved in the session include Roger Hawkins on drums, Jimmy Johnson on guitar, and David Hood on bass, all of whom helped shape the soulful, gritty atmosphere of the song. With its tight, bold arrangement, the brass section adds a layer of excitement that perfectly complements the song’s playful and somewhat confrontational lyrics.
Lyrically, “Mustang Sally” revolves around a man frustrated with a woman—Sally—who spends too much time riding around in her flashy Mustang, ignoring him in the process. The song captures the carefree, fast-paced lifestyle of the 1960s, using the Mustang as a symbol of independence and freedom. The repeated chorus, “All you wanna do is ride around Sally,” taps into the metaphor of the Mustang as not just a car, but a vehicle for living freely without commitment. Compared to other songs on this list, such as The Beach Boys’ “409”, which celebrates the joy of owning a car, “Mustang Sally” takes a more personal, relationship-driven approach, highlighting how the freedom associated with the car can create tension.
Critically, the song has been hailed for its infectious groove and undeniable energy. The call-and-response style between Pickett and the backing vocals adds to its dynamic flow, while the horns punctuate the track, giving it a bold and brassy feel. “Mustang Sally” has remained relevant across generations, becoming a staple of R&B and even crossing over into rock and roll. It continues to be a standout car-themed song, standing alongside other greats like Gary Numan’s “Cars” for its ability to weave together the imagery of automobiles and human experience.
“Racing in the Street” is the concluding track for this list of the 10 Best Songs About Cars, bringing the emotional depth and raw storytelling that Bruce Springsteen is known for. Featured on his 1978 album Darkness on the Edge of Town, this song embodies Springsteen’s vivid storytelling and ability to weave human emotion into the grit and romance of car culture. The song was recorded over several months, with sessions beginning on July 2, 1977, at Atlantic Studios in New York City and later completed at the Record Plant. Produced by Springsteen and his longtime collaborator Jon Landau, the song showcases the musical contributions of the E Street Band, particularly Roy Bittan’s elegant piano work, which opens and closes the track, creating a melancholic yet hopeful tone.
Musically, “Racing in the Street” is a ballad that alternates between restrained, quiet passages and swelling, emotional crescendos. Along with Bittan’s piano, Max Weinberg’s soft yet impactful drumming and Danny Federici’s organ come together to form a somber atmosphere that frames the song’s story. The protagonist’s pride in his 1969 Chevy with a 396 engine and his joy in racing create a sense of freedom that contrasts with the bleakness of his everyday life. This tension between the joy of racing and the hardships of life mirrors the themes found in other car-centric songs on this list, such as The Beach Boys’ “409” and Wilson Pickett’s “Mustang Sally”, but Springsteen goes deeper by exploring the emotional toll that life and the open road can have on relationships.
Lyrically, the song paints a picture of a man who has built his car from scratch with his partner, Sonny, and now races in the streets of the Northeast for money. The car represents an escape from the dead-end routine of life, as well as a form of personal pride and identity. However, this passion begins to take a toll on his relationship, as his partner—initially won over by the thrill of racing—now feels abandoned and trapped in a life that hasn’t lived up to her dreams. This emotional complexity separates “Racing in the Street” from more celebratory car songs like Gary Numan’s “Cars”, which focus on the freedom cars provide without delving into the darker aspects of that freedom. In Springsteen’s song, the car is both a source of exhilaration and alienation, leading to guilt and sorrow for the narrator.
The song concludes with the protagonist seeking redemption and reconciliation, vowing to take his partner to the sea to “wash these sins off our hands.” The ending, like much of the song, can be interpreted in different ways—some see it as hopeful. In contrast, others view it as bleak, reflecting the same tension that exists throughout the song between freedom and responsibility, passion and pain. As the final song on this list, “Racing in the Street” encapsulates the full range of what cars have represented in music—symbols of freedom, power, identity, but also of emotional distance and unfulfilled dreams. It leaves listeners with a poignant reflection on the intersection of life, love, and the open road.
Bryan Adams’s career is a testament to perseverance, talent, and an unyielding passion for music. Born on November 5, 1959, in Kingston, Ontario, Canada, he grew up in a family that moved frequently due to his father’s diplomatic career. Living in Portugal, Austria, and Israel before settling in North Vancouver, Adams was exposed to diverse cultures but found his true calling in music at a young age. By his teenage years, he was already immersed in the local rock scene, dropping out of school and devoting himself entirely to his craft. His early determination to break into the industry would soon pay off in ways few could have predicted.
A pivotal moment in Adams’s journey came in 1978 when he met Jim Vallance, a seasoned songwriter and musician best known for his work with the band Prism. The collaboration between Adams and Vallance proved to be one of the most successful songwriting partnerships in rock history. Vallance, who had been looking for a young, driven artist to collaborate with, saw promise in Adams, and together they began crafting songs that would define the next decade of rock music. Their early efforts secured Adams a record deal with A&M Records, leading to his self-titled debut album in 1980. Though the album didn’t make a significant commercial impact, it laid the foundation for what was to come.
The turning point arrived with Cuts Like a Knife in 1983, an album that showcased Adams’s raw energy and knack for anthemic songwriting. Tracks like “Straight from the Heart” and the title song gained heavy airplay, setting the stage for his global breakthrough. The follow-up, Reckless (1984), cemented Adams as an international superstar. It was a juggernaut of an album, spawning six hit singles, including “Run to You,” “Summer of ’69,” “Heaven,” and “Somebody.” Vallance played an instrumental role in co-writing most of these tracks, helping to refine Adams’s signature mix of rock intensity and emotional sincerity. Reckless remains one of the best-selling Canadian albums of all time and established Adams as a mainstay on rock radio.
Adams and Vallance continued their partnership into the late 1980s, crafting Into the Fire (1987), which took a more introspective approach compared to its predecessor. While it didn’t reach the same commercial heights as Reckless, songs like “Heat of the Night” and “Hearts on Fire” showed Adams’s willingness to evolve. However, the early 1990s brought a shift. Vallance and Adams parted ways professionally around this time, and Adams began working with producer Robert John “Mutt” Lange. Their collaboration led to Waking Up the Neighbours (1991), featuring “(Everything I Do) I Do It for You,” which became one of the best-selling singles of all time, topping the charts in over thirty countries. Other hits from the album, like “Can’t Stop This Thing We Started” and “Thought I’d Died and Gone to Heaven,” solidified Adams’s continued relevance as he entered a new decade.
Over the course of his career, Adams has released 18 studio albums, maintaining a work ethic that has kept him at the forefront of rock music. Notable releases include 18 til I Die (1996), Room Service (2004), and So Happy It Hurts (2022), each reflecting his ability to adapt while staying true to his signature sound. His catalog of hit singles is vast, with classics such as “Please Forgive Me,” “All for Love” (with Rod Stewart and Sting), and “Have You Ever Really Loved a Woman?” showcasing his range from rock anthems to heartfelt ballads. His songwriting—both with Vallance and later collaborators—has been a defining element of his success, with a mix of raw emotion, storytelling, and stadium-ready hooks.
Adams’s contributions to music have been recognized with numerous awards and honors. He has won 20 Juno Awards and received 16 Grammy nominations, winning Best Song Written Specifically for a Motion Picture or Television for “(Everything I Do) I Do It for You” in 1992. His songwriting has earned him three Academy Award nominations and five Golden Globe nominations. In addition to being inducted into the Canadian Music Hall of Fame, he has received a star on Canada’s Walk of Fame and was awarded the Order of Canada and the Order of British Columbia for his contributions to music and philanthropy.
Beyond music, Adams has carved out an impressive career in photography, with his work published in Vogue, Vanity Fair, and Harper’s Bazaar. He has also released several photography books and used his talent to advocate for social causes, often capturing images of wounded soldiers and disadvantaged youth. His Bryan Adams Foundation has funded numerous educational and humanitarian projects worldwide, further demonstrating his dedication to making a difference beyond the stage.
Bryan Adams’s legacy is built on more than just hit songs—his impact as a songwriter, performer, and humanitarian has made him one of the most respected figures in rock music. His ability to connect with audiences across generations, combined with his relentless drive to create, ensures that his influence will continue for years to come. Whether through his timeless music, his striking photography, or his philanthropic efforts, Adams has secured his place in history as an artist whose reach extends far beyond the charts.
Complete List Of Bryan Adams Songs From A to Z
(I Wanna Be) Your Underwear – 18 til I Die – 1996
18 til I Die – 18 til I Die – 1996
Ain’t Gonna Cry – Reckless – 1984
All I Want Is You – Waking Up the Neighbours – 1991
All or Nothing – Shine a Light – 2019
Always Have, Always Will – So Happy It Hurts – 2022
Another Day – Into the Fire – 1987
Any Time at All – Tracks of My Years – 2014
Before the Night Is Over – On a Day Like Today – 1998
Black Pearl – 18 til I Die – 1996
Blessing in Disguise – Room Service (UK/Japan Bonus Track) – 2004
Brand New Day – Get Up – 2015
Brand New Day (acoustic version) – Get Up – 2015
Broken Wings – 11 – 2008
Brothers Under the Sun – Spirit: Stallion of the Cimarron – 2002
C’mon C’mon C’mon – On a Day Like Today – 1998
C’mon Everybody – Tracks of My Years (Deluxe edition) – 2014
Can’t Stop This Thing We Started – Waking Up the Neighbours – 1991
Cloud Number Nine – On a Day Like Today – 1998
Coming Home – You Want It You Got It – 1981
Cuts Like a Knife – Cuts Like a Knife – 1983
Cuts Like a Knife (Live in Hammersmith Odeon) – Reckless (30th Anniversary edition) – 1984
Depend on Me – Waking Up the Neighbours – 1991
Do I Have to Say the Words? – Waking Up the Neighbours – 1991
Do to You – 18 til I Die – 1996
Do What Ya Gotta Do – Get Up – 2015
Don’t Drop That Bomb on Me – Waking Up the Neighbours – 1991
Don’t Even Try – Get Up – 2015
Don’t Even Try (acoustic version) – Get Up – 2015
Don’t Leave Me Lonely – Cuts Like a Knife – 1983
Don’t Let Go (featuring Sarah McLachlan) – Spirit: Stallion of the Cimarron – 2002
Don’t Look Back – Shine a Light – 2019
Don’t Look Now – You Want It You Got It – 1981
Don’t Ya Say It – Bryan Adams – 1980
Down on the Corner – Tracks of My Years – 2014
Draw the Line – Reckless (30th Anniversary edition) – 1984
Driving Under the Influence of Love – Shine a Light – 2019
East Side Story – Room Service – 2004
(Everything I Do) I Do It for You – Waking Up the Neighbours – 1991
Fearless – On a Day Like Today – 1998
Fits Ya Good – You Want It You Got It – 1981
Fits Ya Good (Live at the Budokan) – You Want It You Got It (Japan 2012 SHM-CD Bonus Track) – 1981
Flower Grown Wild – 11 – 2008
Flying – Room Service – 2004
Get Off My Back – Spirit: Stallion of the Cimarron – 2002
Getaway – On a Day Like Today – 1998
Give Me Your Love – Bryan Adams – 1980
Go Down Rockin’ – Get Up – 2015
God Only Knows – Tracks of My Years – 2014
Have You Ever Really Loved a Woman? – 18 til I Die – 1996
Hearts on Fire – Into the Fire – 1987
Hearts on Fire (From Live! Live! Live!) – Into the Fire (Japan 2012 SHM-CD Bonus Track) – 1987
Heat of the Night – Into the Fire – 1987
Heat of the Night (From Live! Live! Live!) – Into the Fire (Japan 2012 SHM-CD Bonus Track) – 1987
Too Hot to Handle – Reckless (30th Anniversary edition) – 1984
Touch the Hand – Waking Up the Neighbours – 1991
Try to See It My Way – Bryan Adams – 1980
Vanishing – Waking Up the Neighbours – 1991
Victim of Love – Into the Fire – 1987
Wait and See – Bryan Adams – 1980
Walk on By – 11 – 2008
Wastin’ Time – Bryan Adams – 1980
We Did It All – Get Up – 2015
We Did It All (acoustic version) – Get Up – 2015
We Found What We Were Looking For – 11 – 2008
We’re Gonna Win – 18 til I Die – 1996
What’s It Gonna Be – Cuts Like a Knife – 1983
When You’re Gone (with Melanie C) – On a Day Like Today – 1998
Where Angels Fear to Tread – On a Day Like Today – 1998
Whiskey in the Jar – Shine a Light – 2019
Why Do You Have to Be So Hard to Love? – Room Service – 2004
Win Some, Lose Some – Bryan Adams – 1980
Yesterday Was Just a Dream – Get Up – 2015
You Belong to Me – Get Up – 2015
You Belong to Me (acoustic version) – Get Up – 2015
You Can’t Take Me – Spirit: Stallion of the Cimarron – 2002
You Lift Me Up – So Happy It Hurts – 2022
You Shook Me – Tracks of My Years (Deluxe edition) – 2014
You Want It, You Got It – You Want It You Got It – 1981
You’ve Been a Friend to Me – Tracks of My Years (Deluxe edition) – 2014
You’re Still Beautiful to Me – 18 til I Die – 1996
Albums
Bryan Adams (1980): 10 songs
You Want It You Got It (1981): 11 songs
Cuts Like a Knife (1983): 12 songs
Reckless (1984): 32 songs (Including 10 original album tracks, 7 bonus tracks from 30th Anniversary edition, and 15 live tracks)
Into the Fire (1987): 13 songs (Including 10 original album tracks and 3 bonus tracks)
Waking Up the Neighbours (1991): 15 songs
18 til I Die (1996): 17 songs (Including 13 original album tracks, 1 Japanese bonus track, and 3 SHM-CD bonus tracks)
On a Day Like Today (1998): 15 songs (Including 13 original album tracks and 2 bonus tracks)
Spirit: Stallion of the Cimarron (2002): 11 songs
Room Service (2004): 12 songs (Including 11 standard tracks and 1 bonus track)
11 (2008): 15 songs (Including 11 standard tracks and 4 bonus tracks)
Tracks of My Years (2014): 17 songs (Including 11 standard tracks, 5 deluxe edition tracks, and 1 Japanese bonus track)
Get Up (2015): 13 songs (Including 9 original tracks and 4 acoustic versions)
Shine a Light (2019): 13 songs (Including 12 standard tracks and 1 Japan bonus track)
So Happy It Hurts (2022): 12 songs
Total songs: 218
Check out our fantastic and entertaining Bryan Adams articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
One band he certainly hasn’t drummed for is prog legends Yes!
A regular feature from the drum tuition website Drumeo’s YouTube channel is that host, Canadian drummer Brandon Toews, gets well-known drummers to listen to a piece of music with the drums removed that they’ve never heard before and then to drum along with it.
It’s a great premise and the results are always engaging and entertaining. So see what you make of Kenny Aronoff’s attempt to handle Changes…
Kenny Aronoff Hears Yes For The First Time – YouTube
Feature Photo: LivePict.com, CC BY-SA 3.0 , via Wikimedia Commons
A Certain ‘Je Ne Sais Quoi’ – Fundamental: Further Listening 2005-2007 (2012) A Cloud in a Box – Super (2016) A Different Point of View – Very (1993) A Face Like That – Elysium (2012) A Man Could Get Arrested – Alternative (1985) A New Bohemia – Nonetheless (2024) A New Life – Alternative (1987) A Powerful Friend – Release: Further Listening 2001-2004 (2002) A Red Letter Day – Bilingual (1996) Absolutely Fabulous – Very: Further Listening 1992-1994 (1994) Adrenaline – Nonetheless Expanded Edition (2024) After the Event – Fundamental: Further Listening 2005-2007 (2009) All Over the World – Yes (2009) All the Young Dudes – Nonetheless Expanded Edition (2024) Alone Again (Naturally) – Release: Further Listening 2001-2004 (2005) Always – Release: Further Listening 2001-2004 (2002) Always on My Mind – Introspective (1987) An Open Mind – Hotspot (2019) Angelic Thug – My Beautiful Laundrette (2020) Answer the Phone – Fundamental: Further Listening 2005-2007 (2017) At Rock Bottom – Hotspot (2020) Axis – Electric (2013)
(B)
Baby – Release: Further Listening 2001-2004 (2012) Beautiful Laundrette – My Beautiful Laundrette (2020) Beautiful People – Yes (2009) Beauty Has Laid Siege to the City – Nonetheless (2024) Before – Bilingual (1996) Being Boring – Behaviour (1990) Believe/Song for Guy – Nightlife: Further Listening 1996-2000 (1997) Bet She’s Not Your Girlfriend – Alternative (1990) Betrayed – Bilingual: Further Listening 1995-1997 (1996) Between Two Islands – Release: Further Listening 2001-2004 (2002) Birthday Boy – Release (2002) Blue on Blue – Release: Further Listening 2001-2004 (2006) Bolshy – Electric (2013) Boy Strange – Nightlife (1999) The Boy Who Couldn’t Keep His Clothes On – Bilingual: Further Listening 1995-1997 (1997) Break 4 Love – Release (2002) Breathing Space – Elysium (2012) Bright Young Things – Release: Further Listening 2001-2004 (2006) Building a Wall – Yes (2009) Bullet for Narcissus – Nonetheless (2024) Burn – Super (2016) Burning the Heather – Hotspot (2019)
(C)
Call Me Old-Fashioned – Nightlife: Further Listening 1996-2000 (2017) The Calm Before the Storm – Bilingual: Further Listening 1995-1997 (1996) Can You Forgive Her? – Very (1993) Casanova in Hell – Fundamental (2006) Casting a Shadow – Nightlife: Further Listening 1996-2000 (1999) Clean Air Hybrid Electric Bus – Nonetheless: Furthermore (Japan) (2024) Closer to Heaven – Nightlife (1999) Confidential – Very: Further Listening 1992-1994 (1996) Cricket Wife – Fan Club Release (2021)
(D)
Dancing in the Dusk – Fundamental: Further Listening 2005-2007 (2017) Dancing Star – Nonetheless (2024) The Dark End of the Street – Nonetheless Expanded Edition (2024) The Dead Can Dance – Super (2016) Decadence – Alternative (1994) Decide – Hotspot (2019) Delusions of Grandeur – Bilingual: Further Listening 1995-1997 (1997) The Dictator Decides – Super (2016) Did You See Me Coming? – Yes (2009) Disco Potential – Bilingual: Further Listening 1995-1997 (1997) Discoteca – Bilingual (1996) DJ Culture – Discography: The Complete Singles Collection (1991) Do I Have To? – Alternative (1987) Domino Dancing – Introspective (1988) Don Juan – Alternative (1988) Dreaming of the Queen – Very (1993) Dreamland – Hotspot (2019) The Dumpling Song – Yes: Further Listening 2008-2010 (2017)
(E)
Ego Music – Elysium (2012) E-Mail – Release (2002) The End of the World – Behaviour (1990) Entschuldigung! – Electric (2013) Euroboy – Alternative (1994) Everybody Will Dance – Nonetheless (2024) Everything Means Something – Elysium (2012)
(F)
Falling – Bilingual: Further Listening 1995-1997 (2001) Feel – Nonetheless (2024) Flamboyant – PopArt: The Hits (2003) Fluorescent – Electric (2013) Footsteps – Nightlife (1999) For All of Us – Nightlife: Further Listening 1996-2000 (2017) For Your Own Good – Nightlife (1999) Forever in Love – Very Relentless (1993) The Forgotten Child – Agenda (EP) (2019) The Former Enfant Terrible – Fundamental: Further Listening 2005-2007 (2009) Friendly Fire – Nightlife: Further Listening 1996-2000 (2002) Fugitive – Fundamental: Further Listening 2005-2007 (2006)
(G)
Generic Jingle – Behaviour: Further Listening 1990-1991 (1991) Get It Online – Electric (2013) The Ghost of Myself – Nightlife: Further Listening 1996-2000 (1999) Gin and Jag – Yes: Further Listening 2008-2010 (2009) Girls and Boys – Very: Further Listening 1992-1994 (1995) Girls Don’t Cry – Fundamental: Further Listening 2005-2007 (2006) Give It a Go – Elysium (2012) Give Stupidity a Chance – Agenda (EP) (2019) Glad All Over – Yes: Further Listening 2008-2010 (2010) God Willing – Fundamental (2006) Go West – Very (1993) Groovy – Super (2016)
(H)
Happiness – Super (2016) Happiness Is an Option – Nightlife (1999) Happy People – Hotspot (2020) Heart – Actually (1987) Hell – Elysium: Further Listening 2011-2012 (2012) Here – Release (2002) Hey, Headmaster – Alternative (1993) Hit and Miss – Bilingual: Further Listening 1995-1997 (1996) Hit Music – Actually (1987) Hold On – Elysium (2012) Home and Dry – Release (2002) Hoping for a Miracle – Hotspot (2020) How Can You Expect to Be Taken Seriously? – Behaviour (1990) How I Learned to Hate Rock ‘n’ Roll – Bilingual: Further Listening 1995-1997 (1996)
(I)
I Cried for Us – Yes: Further Listening 2008-2010 (2010) I Didn’t Get Where I Am Today – Release: Further Listening 2001-2004 (2004) I Don’t Know What You Want But I Can’t Give It Any More – Nightlife (1999) I Don’t Wanna – Hotspot (2020) I Get Along – Release (2002) I Get Excited (You Get Excited Too) – Alternative (1988) I Made My Excuses and Left – Fundamental (2006) I Started a Joke – Elysium: Further Listening 2011-2012 (2012) I Want a Dog – Introspective (1988) I Want a Lover – Please (1986) I Want To Wake Up – Actually (1987) I Will Fall – Lost (EP) (2023) I Wouldn’t Normally Do This Kind of Thing – Very (1993) If Jesus Had a Sister – Nonetheless (2024) If Looks Could Kill – Disco 3 (2002) If Love Were All – Alternative (1994) I’m Not Scared – Introspective (1988) I’m With Stupid – Fundamental (2006) In Bits – Super (2016) In Denial – Nightlife (1999) In His Imagination – Elysium: Further Listening 2011-2012 (2012) In My House – Introspective (1988) In Private – Release: Further Listening 2001-2004 (2006) In Slow Motion – Elysium: Further Listening 2011-2012 (2017) In the Night – Disco (1985) Indefinite Leave to Remain – Fundamental (2006) Inner Sanctum – Super (2016) Inside – Elysium: Further Listening 2011-2012 (2012) Inside a Dream – Electric (2013) Integral – Fundamental (2006) Into Thin Air – Super (2016) Invisible – Elysium (2012) It Always Comes as a Surprise – Bilingual (1996) It Couldn’t Happen Here – Actually (1987) It Doesn’t Often Snow at Christmas – Nightlife: Further Listening 1996-2000 (1997) It Must Be Obvious – Alternative (1990) It’s Alright – Introspective (1988) It’s a Sin – Actually (1987) It’s Not a Crime – Nonetheless (2024) I’ve Got Plans (Involving You) – Nonetheless (2024)
(J)
Jack and Jill Party – Release: Further Listening 2001-2004 (2004) Jack the Lad – Alternative (1986) Je t’aime… moi non plus – I Don’t Know What You Want But I Can’t Give It Any More (1999) Jealousy – Behaviour (1990) Johnny’s Dark Side – My Beautiful Laundrette (2020) Johnny’s Theme – My Beautiful Laundrette (2020)
(K)
Kaputnik – Lost (EP) (2023) Kazak – Release: Further Listening 2001-2004 (2017) KDX 125 – Very Relentless (1993) King of Rome – Yes (2009) King’s Cross – Actually (1987)
(L)
The Last to Die – Electric (2013) Later Tonight – Please (1986) Leaving – Elysium (2012) Left to My Own Devices – Introspective (1988) Legacy – Yes (2009) Liberation – Very (1993) Lies – Nightlife: Further Listening 1996-2000 (1999) Listening – Elysium: Further Listening 2011-2012 (2012) Living in the Past – Lost (EP) (2023) London – Release (2002) Loneliness – Nonetheless (2024) Losing My Mind – Alternative (1991) The Lost Room – Lost (EP) (2023) Love Comes Quickly – Please (1986) Love Etc. – Yes (2009) Love Is a Bourgeois Construct – Electric (2013) Love Is a Catastrophe – Release (2002) Love Is the Law – Nonetheless (2024) Love Life – Release: Further Listening 2001-2004 (2010) The Loving Kind – Yes: Further Listening 2008-2010 (2017) Luna Park – Fundamental (2006)
(M)
The Man Who Has Everything – Very Relentless (1993) Memory of the Future – Elysium (2012) Metamorphosis – Bilingual (1996) Minimal – Fundamental (2006) Miracles – PopArt: The Hits (2003) Miserablism – Alternative (1990) Miserere – Nonetheless Expanded Edition (2024) Monkey Business – Hotspot (2020) More Than a Dream – Yes (2009) Motoring – Release: Further Listening 2001-2004 (2017) Music for Boys – Alternative (1991) My Girl – Christmas (EP) (2009) My Head Is Spinning – Very Relentless (1993) My October Symphony – Behaviour (1990)
(N)
Nervously – Behaviour (1990) New Boy – Hotspot (2020) New London Boy – Nonetheless (2024) New York City Boy – Nightlife (1999) The Night I Fell in Love – Release (2002) The Night Is a Time to Explore Who You Are – Release: Further Listening 2001-2004 (2017) Night Sings (Popa’s Theme) – My Beautiful Laundrette (2020) Night Song – Yes: Further Listening 2008-2010 (2010) Nightlife – Nightlife: Further Listening 1996-2000 (2002) No Boundaries – My Beautiful Laundrette (2020) No Excuse – Release: Further Listening 2001-2004 (2017) No More Ballads – Electric (2013) No Time for Tears – Battleship Potemkin (2005) Nothing Has Been Proved – Introspective: Further Listening 1988-1989 (2001) Numb – Fundamental (2006)
(O)
Odd Man Out – Electric (2013) Omar’s Theme – My Beautiful Laundrette (2020) On Social Media – Agenda (EP) (2019) One-hit Wonder – Super (2016) One in a Million – Very (1993) One More Chance – Actually (1984) One Night – Fundamental: Further Listening 2005-2007 (2012) One of the Crowd – Alternative (1988) One Thing Leads to Another – Very Relentless (1993) One-Way Street – Fundamental: Further Listening 2005-2007 (2017) The Only One – Nightlife (1999) Only the Dark – Hotspot (2020) Only the Wind – Behaviour (1990) Opportunities (Let’s Make Lots of Money) – Please (1985)
(P)
Pandemonium – Yes (2009) Paninaro – Disco (1986) Party in the Blitz – Nonetheless (2024) Party Song – Release: Further Listening 2001-2004 (2006) Pazzo! – Super (2016) The Performance of My Life – Fundamental: Further Listening 2005-2007 (2017) Pet Shop Boys – West End Girls (1984) Playing in the Streets – Nightlife: Further Listening 1996-2000 (2017) The Pop Kids – Super (2016) Positive Role Model – Disco 3 (2002) Postscript – Very (1993) Psychological – Fundamental (2006)
(Q-R)
Radiophonic – Nightlife (1999) Rent – Actually (1987) Requiem in Denim and Leopardskin – Elysium (2012) The Resurrectionist – Fundamental: Further Listening 2005-2007 (2006) Reunion – Release: Further Listening 2001-2004 (2017) Ring Road – Fundamental: Further Listening 2005-2007 (2017) Run, Girl, Run – Release: Further Listening 2001-2004 (2001)
(S)
Sad Robot World – Super (2016) Sail Away – Nightlife: Further Listening 1996-2000 (1999) The Samurai in Autumn – Release (2002) Saturday Night Forever – Bilingual (1996) Say It to Me – Super (2016) The Schlager Hit Parade – Nonetheless (2024) Screaming – Nightlife: Further Listening 1996-2000 (1998) Se a vida é (That’s the Way Life Is) – Bilingual (1996) Searching for the Face of Jesus – Release: Further Listening 2001-2004 (2002) The Secret of Happiness – Nonetheless (2024) Sense of Time – Nonetheless (2024) Sexy Northerner – Release: Further Listening 2001-2004 (2002) Shameless – Alternative (1993) She Pops – Elysium: Further Listening 2011-2012 (2017) Shopping – Actually (1987) Shouting in the Evening – Electric (2013) Silver Age – Nightlife: Further Listening 1996-2000 (1999) Single-Bilingual – Bilingual (1996) Skeletons in the Closet – Lost (EP) (2023) So Hard – Behaviour (1990) So Sorry, I Said – Introspective: Further Listening 1988-1989 (2001) The Sodom and Gomorrah Show – Fundamental (2006) Some Speculation – Alternative (1994) Somebody Else’s Business – Disco 3 (2003) Somewhere – PopArt: The Hits (1997) The Sound of the Atom Splitting – Alternative (1988) Suburbia – Please (1986)
(T)
The Survivors – Bilingual (1996) Tall Thin Men – Nightlife: Further Listening 1996-2000 (2017) That’s My Impression – Alternative (1986) The Theatre – Very (1993) This Must Be the Place I Waited Years to Leave – Behaviour (1990) This Used to Be the Future – Yes: Etc. (2009) Through You – Nonetheless (2024) Thursday – Electric (2013) Time on My Hands – Disco 3 (2003) To Face the Truth – Behaviour (1990) To Speak Is a Sin – Very (1993) To Step Aside – Bilingual (1996) Together – Ultimate (2010) Tonight Is Forever – Please (1986) Too Many People – Alternative (1993) Transfer – Fundamental: Further Listening 2005-2007 (2007) Transparent – Release: Further Listening 2001-2004 (2003) The Truck Driver and His Mate – Bilingual: Further Listening 1995-1997 (1996) Try It (I’m in Love with a Married Man) – Disco 3 (2003) Two Divided by Zero – Please (1986) Twentieth Century – Fundamental (2006) Twenty-something – Super (2016)
(U-V)
Undertow – Super (2016) Up Against It – Bilingual (1996) Up and Down – Yes: Further Listening 2008-2010 (2009) Vampires – Nightlife (1999) The View from Your Balcony – Bilingual: Further Listening 1995-1997 (1997) Violence – Please (1986) Viva la Vida/Domino Dancing – Christmas (EP) (2009) Vocal – Electric (2013) Vulnerable – Yes (2009)
(W)
Was It Worth It? – Discography: The Complete Singles Collection (1991) Was That What It Was? – Alternative (1986) Water – Fundamental: Further Listening 2005-2007 (2017) The Way It Used to Be – Yes (2009) The Way Through the Woods – Elysium: Further Listening 2011-2012 (2012) We All Feel Better in the Dark – Behaviour: Further Listening 1990-1991 (1990) We Came from Outer Space – Very Relentless (1993) Wedding in Berlin – Hotspot (2020) We’re All Criminals Now – Yes: Further Listening 2008-2010 (2009) We’re the Pet Shop Boys – Release: Further Listening 2001-2004 (2003) West End Girls – Please (1984) What Are We Going to Do About the Rich? – Agenda (EP) (2019) What Have I Done to Deserve This? – Actually (1987) What Keeps Mankind Alive? – Alternative (1988) Where Are You? – Fundamental: Further Listening 2005-2007 (2017) Where the Streets Have No Name (I Can’t Take My Eyes Off You) – Discography: The Complete Singles Collection (1991) The White Dress – Super (2016) Why Am I Dancing? – Nonetheless (2024) Why Don’t We Live Together? – Please (1986) Wiedersehen – Super (2016) Will-o-the-Wisp – Hotspot (2020) Wings and Faith – Yes: Further Listening 2008-2010 (2017) Winner – Elysium (2012)
(X-Z)
Yesterday, When I Was Mad – Very (1993) You Are The One – Hotspot (2020) You Choose – Release (2002) You Know Where You Went Wrong – Alternative (1987) You Only Tell Me You Love Me When You’re Drunk – Nightlife (1999) Young Offender – Very (1993) Your Early Stuff – Elysium (2012) Your Funny Uncle – Alternative (1988)
Check out our fantastic and entertaining Pet Shop Boys articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
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Camel never quite made it into prog’s top flight – but they remain hugely influential, and no progressive rock collection is complete without Mirage and Moonmadness.
Originally available on 2023’s retrospective Air Born box set, these remastered and remixed versions of arguably their best two albums have now been released as standalone items for the discerning consumer.
Both are presented here as two-CD plus Blu-ray boxes, including plenty of unreleased extra tracks, plus new stereo and 5.1 mixes from Stephen W Tayler, who’s surely mounting a serious challenge to Steven Wilson as the hardest working remixer in prog. Tayler has already done exemplary work for the likes of Van der Graaf Generator and Hawkwind, and these mixes continue that trend, bringing out new dynamics in the music while staying true to its spirit.
In contrast to the fuggy post-psych of Camel’s debut LP, 1974’s Mirage grabs attention from the off, with the chopped metallic chords of Freefall crisp and explosive in Tayler’s mix. An already fabulous performance feels even more vital, its sudden ascents, twists and turns thrillingly kinetic.
The Traveller (Decca Studios Demo Session / 15th July 1973) – YouTube
The Tolkien-referencing The White Rider is now a widescreen production as Peter Bardens’ synth solo fizzes with furious energy while Andy Ward sounds like he’s grown an extra set of limbs behind the drum kit. The epic Lady Fantasy is a showcase for Andy Latimer’s lyrical guitar playing – in many ways the real ‘voice’ of Camel.
Tayler’s mix emphasises the lushness of the arrangements
Of the previously unheard tracks, Autumn is a reflective ballad while The Traveller is a terrific slice of prog boogie. The latter also forms part of an alternative demo version of Mirage which feels more live and less dry than the final product.
After the commercial breakthrough of 1975’s The Snow Goose, Moonmadness was Camel’s most successful album, their deeply melodic instincts combining with an increasingly prominent jazz rock vibe. Tayler’s mix emphasises the lushness of the arrangements, with the complex but seemingly effortless Chord Change polished to a translucent sheen.
The haunting Spirit Of The Water plugs into Britain’s rich seam of bucolic mysticism, while Another Night is a taut, propulsive rocker with a crunching outro. But it’s Lunar Sea that remains the album’s dazzling highlight – Tayler has some fun with its tripped-out, spacey opening, before Latimer’s piercingly pure lead cuts loose over Doug Ferguson’s throbbing bass.
A team-playing band rather than grandstanding individualists, Camel’s music bypasses the brain and goes straight for the heart.
The box set editions of Mirage and Moonmadness are on sale now via Esoteric Records.
Joe is a regular contributor to Prog. He also writes for Electronic Sound, The Quietus, and Shindig!, specialising in leftfield psych/prog/rock, retro futurism, and the underground sounds of the 1970s. His work has also appeared in The Guardian, MOJO, and Rock & Folk. Joe is the author of the acclaimed Hawkwind biographyDays Of The Underground (2020). He’s on Twitter and Facebook, and his website is https://www.daysoftheunderground.com/.
Remember Nandi Bushell? Of course, you do. The pint-sized, frizz-haired drummer lit up the internet with a viral drum battle against Dave Grohl back in 2020, a series of shenanigans that culminated in an appearance onstage with Foo Fighters the following year at The Forum in Los Angeles.
Well, now she’s back*. This time she’s playing Led Zeppelin‘s classic Good Times Bad Times, and, because Nandi doesn’t do things by halves, she plays John Bonham‘s iconic drum track wearing a pair of extremely high heels, a task so herculean even the great Bonzo himself might have struggled.
Bushell has released the video to publicise her upcoming single The Only One, which is scheduled to arrive on March 3.
“If you want to see the true meaning of rock ‘n’ roll, watch Nandi play the drums,” Dave Grohl told Rolling Stone in 2021. “That is as inspiring as any Beatles record, any Zeppelin record, any AC/DC record, any Stones record.
“To watch her play the drums and see her passion and belief in this music… If that doesn’t inspire you, I don’t know what will.”
*In truth, Bushell has never been away. Since appearing with The Foos in Los Angeles, she’s appeared at the Taylor Hawkins tribute concert at Wembley Stadium in London, released three singles (The Children Will Rise Up!, The Shadows and Sweet Nightmares), played an animated version of herself on the Cartoon Network’s Teen Titans Go!, played Brian May’s goddaughter on the BBC show Andy And The Band, and received awards from online drumming platform Drumeo and legendary UK children’s TV show Blue Peter.
And she’s still only 14.
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‘The Only One’ my next single – 3rd of March 2025! Until then enjoy me performing @ledzeppelin – YouTube
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