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Our Top 10 Bill Withers Songs takes a look at the songs of one of the most cherished and soulful singer-songwriters of all time. Everyone loved Bill Withers because he sang with passion, spirit, and a sense of hope through a voice that was simply pitch-perfect. His songs crossed musical genres because they were simply too good to be strangled by categorization. While the majority of Bill Withers’ recorded output was released in the 1970s, his songs such as “Lean On Me,” and “Ain’t No Sunshine,” have become timeless. At a time when songwriters such as Jim Croce, Harry Chapin, James Taylor etc… were all succeeding in the singer-songwriter movement of the early 1970s, Bill Withers took it one step further by adding R&B to the lone singer-songwriter genre of pop-folk music. There was an originality to the Bill Withers sound that captivated audiences across the board.

Bill Withers released seven studio albums in the 1970s and a final studio album in 1985. Bill Withers would also celebrate multiple collaborations with other musical artists. One of Bill Withers’ biggest hits occurred when he teamed up with saxophonist Grover Washington Jr. on the Bill Withers penned song “Just The Two Of Us”. The song won a Grammy Award in 1981.

Our Top 10 Bill Withers Songs list looks back at ten of our favorite Bill Withers songs. It is by no means a definitive list, but rather just a small sampling of the music of one of the greatest R&B singers and songwriters of all time.

# 10 – Three Nights And A Morning / Harlem

We open up our top 10 Bill Withers songs list with a double header from Bill Withers. “Three Nights and a Morning” was Bill Withers’ first single release in 1967. It’s a smoking R&B track that remains one of our favorite Bill Withers songs. Just listen to that horn section dance around Bill Withers’ killer vocals. When Bill Withers released his first album, he recorded the song again and titled it “Harlem.” The album version is much different from the original 1967 release. It’s fascinating to listen to both of them. Bill Withers released “Harlem” a few times throughout his career.

# 9 – Lovely Night for Dancing

If there ever was a reason for checking out these top 10 lists, it’s because of songs like this. This is such a great song that most people have probably never heard of unless you owned the album Menagerie. The song “Lovely Night for Dancing” defines the meaning of soul!  With such fine explicitness, the words “Get up and dance with me” grooved on this one. Bill Withers recorded “Lovely Night for Dancing” for his sixth studio album, Menagerie, which was released in October 1977 by Columbia Records. The album was produced by Withers himself alongside Clarence McDonald and recorded at The Record Plant in Los Angeles. Withers provided lead vocals, bringing along a stellar lineup of musicians including Ray Parker Jr. on guitar, Jerry Knight on bass, Russ Kunkel on drums, and Clarence McDonald on keyboards. Paul Riser’s smooth horn and string arrangements enriched the track, perfectly complementing Withers’ effortless vocal style.

# 8 – The Same Love That Made Me Laugh

The sound of 1970s soul and pop explodes on this great song “The Same Love That Made Me Laugh.” This smoking Bill Withers song was released on the album Justments.  released by Sussex Records in April 1974. Withers himself penned this deeply introspective track, produced alongside Melvin Dunlap, James Gadson, Ray Jackson, and John Barnes. The song was recorded at The Record Plant in Los Angeles, featuring Withers on lead vocals and guitar, complemented by the smooth precision of James Gadson on drums, Melvin Dunlap on bass, and Ray Jackson and Benorce Blackmon adding expressive guitar work. John Barnes provided sensitive keyboard textures, crafting an arrangement that seamlessly mirrored the reflective mood of Withers’ lyricism.

Upon its release, “The Same Love That Made Me Laugh” resonated significantly with both audiences and critics, climbing to number 50 on the Billboard Hot 100 chart and reaching number 10 on the Billboard R&B chart. This success reinforced Withers’ reputation as a skilled songwriter adept at translating complex emotions into accessible, heartfelt compositions.  In the context of the top ten Bill Withers songs explored in this article, “The Same Love That Made Me Laugh” stands out for its frankness and introspective maturity. While songs like “Lovely Night for Dancing” celebrated life’s simple pleasures, this track embraced emotional complexity, highlighting Withers’ impressive range as both a vocalist and lyricist.

# 7 – Oh Yeah

The mid-1980s tune by Bill Withers utilizes the grooves and sounds of 80s tech in the most magnificent fashion underneath the great soulful singing of Bill Withers. It’s interesting to hear Bill Withers sing over this type of arrangement. It’s very different from his 1970s material and reflects the time period more than anything else. The song “Oh Yeah” was released on the album Watching You Watching Me. It was a top 40 hit on the Billboard Hot R&B charts in 1985.

# 6 – Lonely Town, Lonely Street

Bill Withers recorded “Lonely Town, Lonely Street” for his celebrated second studio album, Still Bill, released in May 1972 by Sussex Records. Withers collaborated closely with the accomplished musicians who also co-produced the album, including Benorce Blackmon on guitar, Raymond Jackson on keyboards, James Gadson on drums, and Melvin Dunlap on bass. Recording sessions took place at The Record Plant in Los Angeles, capturing the organic and emotionally charged soulfulness that became Withers’ hallmark. The track was not released as a single, but its vibrant instrumentation and raw vocal authenticity made it an essential part of the album’s lasting appeal.

In “Lonely Town, Lonely Street,” Withers confronted the paradox of isolation within crowded urban environments through vivid imagery and emotionally direct lyricism. Lyrics like “You can live your life in a crowded city, you can walk along a crowded street, but the city really ain’t no bigger than the friendly people that you meet” highlighted Withers’ insightful observation of urban anonymity and the elusive pursuit of meaningful connection. His verses emphasized that superficial charm and outward confidence—being a “sweet-toned high-class talker” or a “stone expert at kissing”—ultimately fall short without genuine interaction and understanding. This honest portrayal of loneliness contrasted powerfully with the joyful optimism captured in tracks like “Lovely Night for Dancing,” showcasing Withers’ remarkable emotional versatility.

Musically, “Lonely Town, Lonely Street” balanced funk-driven rhythms with soulful vocal intensity, underscored by Gadson’s crisp drumming and Dunlap’s rhythmic basslines. The compelling groove accentuated Withers’ ability to deliver lyrics with conviction, resonating with listeners who related to the universal theme of isolation in an impersonal modern world. Withers’ vocals, raw and richly textured, served as the emotional core of the song, amplifying its impact beyond mere instrumental arrangement.

Critically acclaimed upon release, Still Bill reached number 4 on the Billboard 200 chart, firmly establishing Withers as an artist of profound depth and accessibility. While the album was best known for classics such as “Lean on Me” and “Use Me,” tracks like “Lonely Town, Lonely Street” demonstrated Withers’ thoughtful songwriting and vocal command, solidifying his reputation as a genuine and insightful voice in soul music. Critics highlighted the song’s honest lyrical approach, emphasizing Withers’ skill at dissecting social themes with clarity and emotional precision.

Within this compilation of Bill Withers’ top songs, “Lonely Town, Lonely Street” uniquely represents the intersection of societal commentary and personal introspection. Unlike the romantic celebration of “Lovely Night for Dancing” or the emotional vulnerability of “The Same Love That Made Me Laugh,” this track confronted the listener with stark truths about human relationships and personal authenticity. Withers’ gift for capturing complex emotional landscapes in accessible and resonant ways placed “Lonely Town, Lonely Street” firmly among his most enduring and insightful works.

# 5 – Lovely Day

Bill Withers recorded “Lovely Day” for his sixth studio album, Menagerie, released by Columbia Records in late 1977. This optimistic soul anthem was produced by Withers and Clarence McDonald, and recording sessions took place at The Record Plant studio in Los Angeles. The musicians featured alongside Withers included Ray Parker Jr. on guitar, Jerry Knight on bass, Russ Kunkel on drums, and Clarence McDonald on keyboards, with Ralph MacDonald contributing percussion. The arrangement was beautifully enriched by a vibrant horn and string section, arranged by Paul Riser, amplifying the track’s uplifting mood.

Lyrically, “Lovely Day” radiates positivity and emotional warmth, offering a timeless reflection on the healing power of love and companionship. The song’s memorable opening line, “When I wake up in the morning, love, and the sunlight hurts my eyes,” immediately sets a relatable scenario of facing life’s daunting uncertainties. Yet, Withers swiftly pivots toward optimism as he sings, “Then I look at you, and the world’s alright with me,” encapsulating the reassuring comfort of having someone who transforms even difficult days into moments filled with hope. The repetition of “lovely day,” famously sustained by Withers’ impressively prolonged vocal note, emphasizes the simplicity and sincerity of the song’s joyful message.

The instrumental arrangement echoes the upbeat theme of the lyrics, marked by a rhythmic groove driven by Kunkel’s steady drums, Knight’s dynamic basslines, and Parker Jr.’s subtle guitar flourishes. The interplay of the lush horn and string arrangements adds elegance without overshadowing the rhythmic foundation. This vibrant musical atmosphere contrasts markedly with the introspective melancholy of Withers’ earlier songs like “Lonely Town, Lonely Street” or “The Same Love That Made Me Laugh,” highlighting his exceptional emotional range as an artist.

Upon its release, “Lovely Day” achieved significant chart success, peaking at number 6 on Billboard’s R&B chart and number 30 on the Billboard Hot 100 in early 1978. The song enjoyed a resurgence in popularity internationally, notably reaching number 7 in the UK Singles Chart. Critics praised “Lovely Day” for its flawless blend of melodic accessibility and sophisticated musicianship, solidifying its place among Withers’ finest works. The song’s enduring popularity has since transformed it into an anthem frequently used in films, commercials, and media to signify moments of happiness and optimism.

Within this collection of Bill Withers’ greatest songs, “Lovely Day” distinctly embodies a sense of joy and buoyancy, showcasing Withers at his most celebratory and life-affirming. Unlike the emotional introspection found in other tracks such as “The Same Love That Made Me Laugh,” here Withers emphasizes the bright side of life’s emotional spectrum. Ultimately, the universal appeal of “Lovely Day” endures precisely because it reminds listeners of the profound strength found in simple moments of connection, love, and positivity—qualities that have become emblematic of Withers’ legacy.

# 4 – Use Me

If we were going to make a list of the most incredible bass lines ever written in pop music history, Bill Withers’ bass line from “Use Me” would heavily anchor the list. The classic track “Use Me” was released on the Still Bill album. The record was released in 1972. The song “Use Me” was a huge success for Bill Withers. It just missed becoming a number one hit as it peaked at number two on the U.S. Billboard Hot 100 in 1972. Chuck Berry’s novelty song “My Ding-a-Ling” prevented it from hitting number one.

# 3 – Just The Two Of Us

“Just the Two of Us,” recorded by Grover Washington Jr. with Bill Withers providing soulful lead vocals, was featured on Washington’s 1980 album Winelight, released by Elektra Records. This collaboration between Washington and Withers came to life through recording sessions at Rosebud Recording Studio in New York City, under the production guidance of Ralph MacDonald and William Salter. The session featured an exceptional lineup, with Grover Washington Jr. himself delivering iconic saxophone solos, Marcus Miller on bass guitar, Richard Tee on keyboards, Eric Gale on guitar, and Steve Gadd on drums. This esteemed gathering of musicians crafted an elegant, sophisticated blend of smooth jazz and soul, perfectly complementing Withers’ warm vocal presence.

Lyrically, “Just the Two of Us” paints vivid imagery of intimacy, optimism, and the transformative power of love. Opening with the poetic phrase, “I see the crystal raindrops fall, and the beauty of it all is when the sun comes shining through,” Withers effortlessly captures life’s delicate balance between struggle and serenity. Throughout the lyrics, he repeatedly emphasizes the strength and possibility found within a close relationship: “Just the two of us, we can make it if we try.” The chorus—celebrating unity and mutual support—resonates profoundly, communicating an essential truth: life’s challenges are lighter when faced alongside someone beloved. This heartfelt optimism aligns emotionally with other uplifting Withers classics on this list, notably “Lovely Day,” where simple moments become profound sources of joy.

Instrumentally, the song is underscored by Washington’s mellow, expressive saxophone, which gracefully weaves around Withers’ confident vocal delivery, creating a gentle, smooth sonic experience. The song’s unmistakable rhythmic groove and melodic sophistication earned significant acclaim upon release, striking a balance between accessible pop sensibilities and the nuanced musicianship of jazz. With its memorable hook and lyrical sincerity, the track secured an impressive commercial performance, peaking at number two on the Billboard Hot 100 in 1981. It further dominated Billboard’s Adult Contemporary chart at number two and reached number three on the R&B chart. The song’s enduring popularity eventually earned it the Grammy Award for Best R&B Song in 1982, marking one of Withers’ career highlights.

Within the context of Bill Withers’ greatest songs, “Just the Two of Us” showcases his gift for conveying powerful emotional truths through deceptively simple imagery. Unlike the introspective loneliness expressed in “Lonely Town, Lonely Street,” or the emotional vulnerability of “The Same Love That Made Me Laugh,” this track radiates optimism, illustrating love’s potential to lift the spirit and empower individuals to overcome difficulties together. The song’s engaging fusion of soul and jazz, matched with Withers’ universally relatable lyricism, has made it a lasting favorite, frequently sampled and referenced in contemporary music.

“Just the Two of Us” stands as a testament to the collaborative magic between two musical giants—Washington’s instrumental prowess and Withers’ lyrical clarity—making it an essential selection in the top ten Bill Withers songs. Its lasting resonance underscores Withers’ timeless appeal, demonstrating his rare ability to express nuanced emotional landscapes with both poetic sensitivity and musical elegance.

# 2 – Ain’t No Sunshine

Listen to how this brilliant musical piece starts out. Bill Withers’ incredible voice is so strong and heart-wrenchingly soulful that he doesn’t need any musical accompaniment to captivate the listener instantly. With just a little bass, the song moves forward in its minor chord progression becoming even more interesting. As soon as the strings explode into the arrangement, you know you listening to one of the most stunning R&B pop songs ever recorded, This one was and will always be really special.

The song “Ain’t No Sunshine” was written by Bill Withers. The song was released on his album Just As I Am. The album was released in 1971. The song was a huge hit for Bill Withers. “Ain’t No Sunshine” peaked at number three on the Billboard Hot 100 in 1971.

# 1 – Lean On Me

Anyone alive in the early 1970s will no doubt remember how popular this song was. Bill Withers composed and released this legendary song on his Still Bill album in 1972. At a time of much turmoil in the United States, with the Kent State shootings a year earlier, the Vietnam War still raging on, and the matters of civil rights still resonating, Bill Withers’s “Lean On Me” echoed throughout society as a song of hope with a gesture of a helping hand. The song’s message, written without any self-directives towards any one group or party, has vibrated continuously with every new generation since its release. That is the mark of a timeless song.

In 1972, Bill Withers’ song “Lean On Me” went straight to number one on the Billboard Hot 100. The song hit number one on the US Billboard Hot Soul Singles charts. Fifteen years later, the musical act Club Nouveau would cover the song and score a number one hit with their version of “Lean On Me,” in 1987. There have been fewer than ten songs in history that have hit number one on the Billboard Hot 100 recorded by two different artists.

Photo: Sussex Records / Public domain

Top 10 Bill Withers Songs  article published on ClassicRockHistory.com© 2025

Deep Purple first formed in Hertford, Hertfordshire, England, in 1968, when musicians Ritchie Blackmore, Jon Lord, Ian Paice, Rod Evans, and Nick Simper came together, initially under the name “Roundabout,” before finally choosing the iconic name Deep Purple. The band’s origins were steeped in a love for blues and progressive rock, which quickly evolved into a signature brand of hard rock and heavy metal, pioneering elements that would inspire countless musicians across generations.

The band’s journey in the recording industry began with their debut album, Shades of Deep Purple (1968), followed closely by The Book of Taliesyn and Deep Purple, which showcased their initial psychedelic influences and burgeoning experimental style. However, it was their fourth album, Deep Purple in Rock (1970), that solidified their direction and marked a shift toward heavier rock music. Deep Purple have released 23 studio albums, along with numerous live recordings, compilations, and box sets, demonstrating their impressive longevity in a notoriously fickle industry.

Deep Purple’s international breakthrough came with their 1972 album, Machine Head, recorded under extraordinary circumstances in Montreux, Switzerland, after a fire destroyed their planned recording venue. This event inspired their most famous song, “Smoke on the Water,” instantly recognizable by its iconic guitar riff. “Smoke on the Water” reached number four on the Billboard Hot 100, becoming their signature track. Other major hits include “Black Night,” “Strange Kind of Woman,” “Child in Time,” and “Highway Star,” each demonstrating the band’s mastery of powerful vocals, virtuosic musicianship, and memorable songwriting.

Deep Purple has undergone numerous lineup changes, known famously by fans as “Mark” lineups, each iteration reflecting shifts in musical direction and band chemistry. The Mark II lineup—consisting of Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, and Ian Paice—is widely regarded as the definitive formation, responsible for their most acclaimed works, including Machine Head, Fireball, and the legendary live album Made in Japan (1972). This lineup highlighted the band’s unparalleled musicianship, particularly Jon Lord’s distinctive Hammond organ sound and Blackmore’s virtuoso guitar playing, both central to the group’s enduring legacy.

Deep Purple’s impact on rock music has not gone unnoticed by their peers or the broader industry. They’ve sold over 100 million records worldwide, and VH1 ranked them number 22 on their list of the Greatest Artists of Hard Rock. In recognition of their groundbreaking career and significant influence on rock music, Deep Purple was inducted into the Rock and Roll Hall of Fame in 2016, affirming their lasting imprint on popular culture and music history.

Beyond their extraordinary musical career, Deep Purple’s members have also pursued meaningful projects outside music. Ian Gillan, notably, has been actively involved in charity work, including significant contributions to various humanitarian causes. Jon Lord, until his death in 2012, dedicated much of his later career to composing classical works, collaborating with orchestras and exploring musical avenues far beyond the hard rock genre, highlighting the band’s capacity for artistic evolution and cultural breadth.

Deep Purple remains revered in rock music not simply for their commercial success but for their ability to innovate continually. Their sophisticated blend of raw rock power, classical influences, and blues roots, combined with their groundbreaking performances, has cemented their status as legendary musical icons. Fans and fellow musicians alike deeply appreciate Deep Purple for their authenticity, enduring creativity, and unwavering dedication to the spirit of rock and roll.

Complete List Of Deep Purple Songs From A to Z

Studio Albums

Shades of Deep Purple (1968): 10 songs

The Book of Taliesyn (1968): 13 songs

Deep Purple (1969): 10 songs

Deep Purple in Rock (1970): 7 songs

Fireball (1971): 8 songs

Machine Head (1972): 7 songs

Who Do We Think We Are (1973): 7 songs

Burn (1974): 9 songs

Stormbringer (1974): 9 songs

Come Taste the Band (1975): 10 songs

Perfect Strangers (1984): 10 songs

The House of Blue Light (1987): 10 songs

Slaves and Masters (1990): 10 songs

The Battle Rages On… (1993): 10 songs

Purpendicular (1996): 13 songs

Abandon (1998): 12 songs

Bananas (2003): 12 songs

Rapture of the Deep (2005): 12 songs

Now What?! (2013): 12 songs

Infinite (2017): 14 songs

Whoosh! (2020): 13 songs

Turning to Crime (2021): 17 songs

Check out our fantastic and entertaining Deep Purple articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Ian Paice of Deep Purple: The ClassicRockHistory.com Interview

Roger Glover of Deep Purple: The ClassicRockHistory.com Interview

Steve Morse Interview: Deep Purple Road Stories

Steve Morse Interview: 10 Albums That Changed My Life

Complete List Of Deep Purple Band Members And Lineups

Complete List Of Deep Purple Albums And Discography

Top 10 Deep Purple Songs

All About The Musicians Who Played On Deep Purple Albums

Complete List Of Deep Purple Studio Albums And Songs

10 Biggest Deep Purple Hits

Deep Purple Come Taste the Band: Album Review

Top 10 Deep Purple Albums

Deep Purple Returns To Classic Rock Form With InFinite Album

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Deep Purple Songs From A to Z article published on ClassicRockHistory.com© 2025

Rock music, often synonymous with power, rebellion, and volume, has also long been a genre capable of evoking something far more elusive: the ethereal. In its purest sense, ethereal describes that which feels otherworldly—delicate, intangible, and emotionally suspended above the ordinary. In rock music, this can manifest through a spectral vocal delivery, an ambient arrangement, a slow drift in tempo, or lyrics that conjure memory, dream, or spiritual dislocation. Sometimes it’s created through sheer sonic atmosphere; other times, it’s found in a single, weightless phrase that hangs in the air long after the song ends. This list explores ten songs that didn’t just lean into that feeling—they embodied it, offering listeners an escape into soundscapes where time folds and emotion breathes in slow motion.

Yes constructed vast architectural sound journeys where melody and philosophy climbed side by side toward transcendence, while Pink Floyd, ever the masters of sonic space, used restraint, echo, and narrative to explore emotional distance on a planetary scale. David Bowie turned a tale of space exploration into a metaphor for isolation, transforming silence and static into poetry, and Radiohead blurred the boundaries between consciousness and confusion, surrendering melody to mood in favor of surreal psychological drift. The Moody Blues wove orchestration and Mellotron into romantic longing, creating a song that floats endlessly on melancholy, while Tangerine Dream did not merely compose songs—they designed audio environments, with “Stratosfear” unfolding like a lucid dream rendered in analog circuitry.

Brian Eno distilled ambient music to its most essential elements, letting stillness, tone, and decay do the work of narrative, and Led Zeppelin explored the darker end of the ethereal spectrum, crafting a track that used slowness and myth to summon the cold space between dimensions. The Beatles conjured a childhood memory into surreal abstraction, allowing tape loops, disjointed arrangements, and lyrical ambiguity to merge into reverie, and Simon & Garfunkel, in a hushed invocation, gave silence itself a voice, closing this list with a song that lingers like a ghost in the walls of modern life.

Together, these ten tracks form a constellation of rock’s most spectral moments—proof that the genre’s power doesn’t always come from volume or velocity. Sometimes, it’s found in what’s barely there at all.

# 10 – Nights in White Satin – The Moody Blues

Recorded between October 1966 and March 1967 at Decca Studios in London, “Nights in White Satin” was composed by Justin Hayward and served as the closing track on Days of Future Passed, the Moody Blues’ groundbreaking second album. The song was produced by Tony Clarke, with orchestral arrangements conducted by Peter Knight and performed by the London Festival Orchestra, creating a fusion of symphonic classical music and progressive rock. The lineup for the recording featured Justin Hayward on lead vocals and acoustic guitar, John Lodge on bass, Mike Pinder on Mellotron and piano, Ray Thomas on flute and backing vocals, and Graeme Edge on drums. Its initial release as a single in 1967 saw moderate success, but a 1972 reissue brought it to wider acclaim, reaching No. 2 on the Billboard Hot 100 and No. 9 on the UK Singles Chart.

Built around lush Mellotron textures, swelling orchestral crescendos, and Hayward’s aching vocal delivery, the track evoked a sense of suspended time. It was one of the earliest examples of rock music that fully embraced orchestration not just for embellishment, but as a structural and emotional core. That sense of floatation and introspection places “Nights in White Satin” squarely among the most ethereal songs in rock history. The poem that closes the song, often referred to as “Late Lament,” was written and recited by drummer Graeme Edge and set to Knight’s orchestral backdrop, anchoring the song’s surreal beauty in abstract, existential reflection.

Lyrically, “Nights in White Satin” conjured romantic longing and emotional isolation, filtered through stream-of-consciousness imagery and confessional vulnerability. Lines like “Letters I’ve written, never meaning to send” and “beauty I’d always missed with these eyes before” suggested a narrator suspended between memory and dream, struggling to articulate love in a world that feels distant and indifferent. This lyrical ambiguity contributed heavily to its dreamlike quality, aligning it thematically with the existential yearning expressed in “Echoes” by Pink Floyd and the emotional ambiguity of “Entangled” by Genesis—both songs that also explore the liminal spaces between consciousness and emotion through extended compositions and subtle instrumental layering.

Critical reception of the song evolved significantly over time. While early reviews in the UK press were cautious about the album’s classical-rock hybrid approach, retrospective assessments have recognized “Nights in White Satin” as a landmark in both progressive rock and symphonic pop. Its atmospheric innovations, from Pinder’s Mellotron to the seamless integration of Knight’s orchestration, have been cited as foundational for the development of art rock in the 1970s. The track’s enduring appeal lies in its ability to evoke an emotional landscape that feels both grand and intensely personal—an effect achieved through a convergence of technical restraint and emotional excess.

Ultimately, the legacy of “Nights in White Satin” resides in its ability to bridge progressive rock’s ambition with accessible emotional storytelling. It remains one of the Moody Blues’ most defining achievements and a song that continues to resonate across generations. Its lush arrangement, melancholic tone, and poetic depth not only carved out a new path for rock balladry but also helped define what it means for a rock song to be truly ethereal.

Read More: An Interview With John Lodge Of The Moody Blues

# 9 – In Limbo – Radiohead

“In Limbo” was recorded by Radiohead for their fourth studio album, Kid A, which was released on October 2, 2000, in the United Kingdom and a day later in the United States. The album was produced by longtime collaborator Nigel Godrich and the band, and the sessions took place at several locations, including Guillaume Tell Studios in Paris, Medley Studios in Copenhagen, and the band’s own studio in Oxfordshire. The lineup for the recording consisted of Thom Yorke on vocals and guitar, Jonny Greenwood on keyboards and effects, Ed O’Brien on guitar and backing vocals, Colin Greenwood on bass, and Phil Selway on drums and percussion. “In Limbo” was not released as a single, but its placement on Kid A served as a disorienting midpoint in an album that deliberately distanced itself from conventional rock structure.

The track presented a blurred, hypnotic soundscape driven by off-kilter drum patterns and a heavily processed guitar progression that created a sense of fluid instability. The band employed complex time signatures and layered textures to evoke a sensation of drifting without control—mirroring the song’s title and lyrical content. Thom Yorke’s vocal performance was submerged in reverb, often difficult to decipher, as though his voice were being transmitted from another dimension. The lyrics—”You’re living in a fantasy world / You’re living in a fantasy”—reinforced this alienated tone, suggesting a detachment from reality that aligned conceptually with the album’s broader themes of anxiety, technological alienation, and emotional paralysis.

Lyrically, “In Limbo” explored a psychological space of dislocation and helplessness. Lines such as “I’m lost at sea / Don’t bother me / I’ve lost my way” painted a portrait of inner drift, evoking a dream state where direction and intention dissolve. The repetition of “I’m lost at sea” underscored the song’s fixation on disorientation, echoing the emotional weight of “Nights in White Satin” by The Moody Blues, another entry on this list. However, where the Moody Blues used orchestration and romantic melancholy to evoke their dreamlike state, Radiohead utilized digital manipulation, looping structures, and rhythmic distortion to craft a sound more anxious and abstract—yet equally ethereal in its effect.

Critics and scholars often cited “In Limbo” as a pivotal moment in the album’s descent into abstraction. The track followed the fragmented chaos of “Idioteque” and preceded the glacial resignation of “Morning Bell,” serving as a bridge between panic and surrender. Its fractured rhythms and ghostly textures challenged listeners to relinquish their expectations of melody and form, placing them directly into the disoriented headspace Yorke was describing. Within the context of this article, “In Limbo” represents one of the purest sonic depictions of the ethereal—a song that doesn’t just describe detachment but fully embodies it through both its sound design and lyrical opacity.

Read More:Complete List Of Radiohead Songs From A to Z

# 8 – No Quarter – Led Zeppelin

With “No Quarter,” Led Zeppelin retreated from the thunderous force that defined much of their early work and instead constructed a slow-moving, immersive soundscape that felt suspended in some half-lit, dreamlike realm. The track was recorded during the sessions for Houses of the Holy, which took place in 1972 at both Stargroves in Hampshire and Olympic Studios in London. Produced by Jimmy Page and engineered by Eddie Kramer, the recording featured Robert Plant on vocals, John Bonham on drums, Jimmy Page on guitar, and John Paul Jones at the center of the arrangement, performing both electric piano and synthesizers. The track’s final form was shaped by deliberate manipulation—tape speed was slowed, creating a thick, sluggish atmosphere where every note seemed to linger in a fog.

The track’s sonic palette was built around a sense of creeping tension and isolation. Jones’s use of the Hohner electric piano, processed through vari-speed controls, gave the opening chords an underwater weight, while Page’s guitar drifted in and out of the arrangement like a distant signal. Bonham, typically a dominant force, dialed back his power in favor of spacious, echo-washed snare hits and barely-there cymbals. Rather than using tempo to drive forward momentum, the band let the song unfold like a procession through a desolate winter landscape. That glacial pacing and textural layering places “No Quarter” in conversation with tracks like Radiohead’s “In Limbo,” which also relied on disorientation and rhythmic fog to blur the boundaries between consciousness and detachment.

Lyrically, the song evoked images of men journeying through brutal elements with grim resolve. “Walking side by side with death / The devil mocks their every step” is delivered in Plant’s processed, frostbitten vocal, not as a warning or a cry but as a mantra—cold, resigned, and determined. The phrase “no quarter” itself—a refusal to grant mercy—transformed from a military concept into a metaphor for spiritual endurance in the face of annihilation. Rather than offer narrative, the lyrics painted a psychological state: hardened, mystical, and suspended between the physical and metaphysical. This lyrical abstraction, paired with the atmosphere of the music, echoes the emotional limbo explored in “Nights in White Satin,” though Zeppelin replaces longing with stoicism and mystery.

Though never released as a single, “No Quarter” became a centerpiece of the band’s live sets during the mid-to-late 1970s, often expanded well past ten minutes to allow Jones to explore extended keyboard improvisations. These live renditions turned the song into something closer to a ritual, reinforcing its status as one of Zeppelin’s most exploratory compositions. Critics in later years have praised the track not just for its mood but for its role in marking a clear shift in the band’s sonic ambitions—away from riff-centric hard rock and into realms of space, tone, and tension.

Read More: Complete List Of Led Zeppelin Songs From A to Z

# 7 – Stratosfear – Tangerine Dream

Tangerine Dream didn’t just flirt with ethereal soundscapes—they defined the terrain. Had this list aimed to represent just one group, it could easily have been comprised entirely of their work. “Stratosfear,” the title track from their 1976 album Stratosfear, was recorded by the trio of Edgar Froese, Christopher Franke, and Peter Baumann. The album was produced by Tangerine Dream themselves and recorded at Audio Studios in Berlin. Released by Virgin Records, it marked the band’s continued evolution from the analog sequencer-based minimalism of their earlier work into something more melodic, structured, and texturally rich—without sacrificing their commitment to sonic atmosphere.

“Stratosfear” unfolded over ten minutes and thirty-five seconds of shifting moods and electronic textures, combining modular synthesizers with acoustic piano, Mellotron, and electric guitar. Unlike the more abstract constructions of Phaedra or Rubycon, this composition introduced recurring themes and motifs, including a central descending melodic figure that floated through various instrumental voicings. The piece opened with sequenced pulses and ambient winds before slowly blooming into a cyclical melody that seemed to breathe. Franke’s sequencer patterns formed the foundation, while Froese added guitar flourishes and Baumann contributed the synth washes that gave the piece its immersive depth. The result was a sonic environment that never settled, yet felt meditative and suspended—like drifting through layers of sky that never fully solidified into form.

Though it contained no lyrics, “Stratosfear” conveyed emotional and thematic weight entirely through its textures and dynamics. It captured a sense of longing and solitude without needing to articulate it. In this way, it operated in the same emotional register as “Nights in White Satin” by The Moody Blues, even though one was built around orchestral balladry and the other around electronic architecture. Both songs evoked an introspective dream state—one through romantic melancholy, the other through spatial abstraction. “Stratosfear” also paralleled the disorientation present in Radiohead’s “In Limbo,” but where Radiohead leaned into vocal unease and digital glitch, Tangerine Dream approached the same sensation by dissolving structure and allowing melody to blur at the edges.

Critics and listeners alike have often pointed to Stratosfear as one of Tangerine Dream’s most accessible works, but that accessibility never came at the expense of atmosphere. The album retained the deep-space ambiance of their earlier output while introducing elements of melody and harmony that made it feel more emotionally immediate. “Stratosfear,” in particular, served as a bridge between progressive rock and Berlin School electronic music—a piece that felt equally at home beside Pink Floyd’s more ambient excursions or the synthesizer interludes of Wish You Were Here. It proved that electronic composition could be just as emotionally evocative and spiritually expansive as any traditional rock instrumentation.

Within the context of this article, “Stratosfear” deserves its place not only because of its transportive quality, but because it represented an entirely different method of achieving the ethereal. Where other songs here use lyrics, harmonic progressions, or symphonic arrangements to achieve a dreamlike state, Tangerine Dream relied on tone, pacing, and atmosphere. The absence of a traditional narrative was precisely what allowed the listener to insert their own. The emotional experience was subjective, yet universally understood: a feeling of floating without tether, moving through unseen dimensions. In that sense, “Stratosfear” wasn’t just a song—it was an environment, one that quietly rewrote the boundaries of what rock-adjacent music could be.

Read More: Top 10 Tangerine Dream Songs

# 6 – Close To The Edge – Yes

Composed and recorded in the spring and summer of 1972, “Close to the Edge” occupied the entire first side of Yes’s fifth studio album, Close to the Edge, released on September 13 of that year. The sessions took place at Advision Studios in London and were co-produced by the band and Eddie Offord. The lineup featured Jon Anderson on vocals, Steve Howe on guitars, Chris Squire on bass, Rick Wakeman on keyboards, and Bill Bruford on drums. This would be Bruford’s final studio recording with the band before his departure to King Crimson. Spanning eighteen minutes and forty-three seconds, the track was structured in four continuous sections—“The Solid Time of Change,” “Total Mass Retain,” “I Get Up I Get Down,” and “Seasons of Man”—each moving through complex shifts in tempo, texture, and harmonic development.

The song’s opening—a jagged, atonal collage of guitar fragments, keyboard runs, and field-recorded nature sounds—set a disorienting tone before launching into one of the most intricate progressive rock arrangements of the era. Wakeman’s Mellotron and church organ passages provided the track’s most ethereal moments, particularly during the “I Get Up I Get Down” section, where Anderson and Howe’s harmonized vocals floated over slowly rising synth pads and cathedral-like ambiance. Unlike the spatial melancholy of “Strawberry Fields Forever” or the ambient desolation of Tangerine Dream’s “Stratosfear,” “Close to the Edge” achieved its dreamlike state not through minimalism, but through maximalist layering—blending classical motifs, jazz-fusion rhythms, and shifting time signatures into a single, immersive experience.

The lyrics, largely written by Jon Anderson, were loosely inspired by Hermann Hesse’s novel Siddhartha, and wove spiritual philosophy into abstract, image-rich language. Lines such as “A seasoned witch could call you from the depths of your disgrace” and “Now that it’s all over and done, now that you find, now that you’re whole” did not offer linear meaning, but rather invited the listener to surrender interpretation in favor of sensation. Much like the lyrical ambiguity of “In Limbo” or the mystical solemnity of “No Quarter,” Anderson’s words became another instrument within the mix—gliding between ideas of personal awakening, transcendence, and dissolution. The repeated refrain “I get up, I get down” underscored the cyclical nature of the track’s emotional arc, reinforcing the ethereal quality of its middle section as a moment of suspension before the return to momentum.

Critics and audiences alike recognized “Close to the Edge” as a landmark of progressive rock composition. Its ambition drew both praise and skepticism at the time, but its influence endured, often cited as one of the definitive works of the genre. The album reached No. 3 on the Billboard 200 and No. 4 on the UK Albums Chart, marking the band’s commercial breakthrough. The song became a centerpiece of Yes’s live performances, frequently extended even further with improvisational segments. Decades later, its studio version remains a technical and emotional high-water mark—not just for the band, but for the entire progressive movement.

In the context of this list, “Close to the Edge” earns its place for its ability to merge density with air, complexity with serenity. While other songs here achieve ethereality through atmosphere or minimalism, Yes created a vast, layered construction that still felt unbound by gravity. From the shimmering organ swells to the introspective vocal layers, the song mapped a spiritual journey as immersive as it was elusive—an epic ascent into sonic transcendence.

Read More: Complete List Of Yes Studio Albums And Songs

# 5 – An Ending (Ascent) Brian Eno

Brian Eno recorded “An Ending (Ascent)” in 1983 as part of the soundtrack album Apollo: Atmospheres and Soundtracks, a collaboration with his brother Roger Eno and producer Daniel Lanois. The album was conceived as a sonic accompaniment to For All Mankind, the 1989 documentary film compiled from NASA’s Apollo space mission footage. Sessions for the album took place at Grant Avenue Studio in Hamilton, Ontario, with Lanois engineering and contributing pedal steel guitar and processing. Eno handled the majority of the synthesizer arrangements, sound design, and production, crafting ambient textures specifically designed to evoke the silence and immensity of outer space. Though “An Ending (Ascent)” was never released as a single, it became one of Eno’s most widely recognized compositions, frequently used in films, television, and commemorative events.

The track ran just over four minutes, but its impact stemmed not from duration or structure, but from restraint. Built on a slowly shifting bed of synthesizer chords, subtle harmonic dissonances, and a complete absence of percussion, the composition moved without rhythm, time signature, or melody in the traditional sense. The piece created a sensation of weightlessness, evoking a kind of serene detachment from earthly concerns. Unlike the immersive density of “Close to the Edge” by Yes or the electronic sequencing of Tangerine Dream’s “Stratosfear,” this piece achieved its ethereal quality through minimalism—allowing each note to decay naturally into silence, mirroring the infinite openness of its subject matter. It did not build or resolve; it simply floated.

Though entirely instrumental, “An Ending (Ascent)” communicated profound emotional weight. Its title suggested both closure and transcendence, implying a passage from one state into another—perhaps even from life into death. That interpretive ambiguity, combined with the stillness of the music, gave the piece a deeply spiritual undertone. While “Nights in White Satin” conjured longing through orchestral grandeur and “Strawberry Fields Forever” painted a surreal psychological landscape through lyrical abstraction, Eno dispensed with words altogether, proving that the most ethereal moments in music can be those that speak in tone rather than language.

Critical reception of the piece has evolved over time. Initially a relatively obscure entry in Eno’s catalog, “An Ending (Ascent)” has since become one of the most referenced works in the ambient genre. Its use in visual media—from Traffic to NASA retrospectives—has reinforced its reputation as a sonic shorthand for awe, memory, and the sublime. The track’s simplicity, far from limiting its scope, allowed it to become a canvas onto which listeners projected their own emotional interpretations. In a list of songs chosen for their ability to transport, dissolve, and evoke a sense of the otherworldly, “An Ending (Ascent)” represents the essence of ethereal music at its most elemental.

Read More: Top 10 Brian Eno Songs

# 4 – Strawberry Fields Forever- The Beatles

The earliest sessions for “Strawberry Fields Forever” began on November 24, 1966, at EMI Studios in London, making it the first song recorded for what would become Sgt. Pepper’s Lonely Hearts Club Band, though it was ultimately released as a non-album single. Produced by George Martin, the song featured John Lennon on lead vocals, Mellotron, and acoustic guitar; Paul McCartney on bass and piano; George Harrison on slide guitar and swarmandal; and Ringo Starr on drums and percussion. After weeks of experimentation—including multiple takes in radically different arrangements—Martin famously fused two versions of the track into one by adjusting the pitch and speed of the recordings, resulting in a final product that felt hypnotic, disorienting, and otherworldly. Released in February 1967 as a double A-side with “Penny Lane,” the single peaked at No. 2 in the UK and No. 8 on the Billboard Hot 100.

Musically, “Strawberry Fields Forever” presented a sonic dreamscape constructed from Mellotron flutes, reversed tape loops, Indian instrumentation, and a descending cello arrangement that gave the track a woozy, liquified feeling. The song constantly shifted textures and tonal centers, creating a drifting sensation that echoed the psychological dissociation in the lyrics. Lennon’s vocals were double-tracked and processed, sounding as though he were singing through fog or underwater. Every production choice seemed designed to remove the listener from physical reality, replacing it with a sound world that ebbed and folded inward. Unlike the deliberate structural clarity of “No Quarter” by Led Zeppelin or the linear build of “Nights in White Satin” by The Moody Blues, this song avoided musical resolution entirely, as if trying to remain indefinitely afloat within its own subconscious.

The lyrics carried the same sense of unease and detachment. “Living is easy with eyes closed, misunderstanding all you see,” Lennon wrote, not as a statement of comfort but as a diagnosis of emotional evasion. The title itself referred to a Salvation Army children’s home in Liverpool near where Lennon grew up, but the imagery of the song was anything but nostalgic. “Nothing is real,” he sang in the chorus—a direct declaration that the song was meant to operate inside a constructed interior world. As with Radiohead’s “In Limbo,” which also surrendered meaning to sensation, “Strawberry Fields Forever” eschewed clarity in favor of ambiguity. But while Radiohead emphasized anxiety and detachment, The Beatles rendered their unreality as a melancholic daydream—comforting, elusive, and haunted by the impossibility of returning to the past.

Critics have often pointed to “Strawberry Fields Forever” as the moment when The Beatles transitioned fully into studio experimentalists. George Martin’s role in sculpting the final version has been widely praised, particularly his ability to merge incompatible takes into a seamless final cut. The song has since been recognized as one of the band’s most innovative and influential recordings, widely cited in discussions of psychedelic and progressive music. It offered a blueprint for how pop composition could intersect with avant-garde production without sacrificing emotional impact.

Among the ten songs featured in this article, “Strawberry Fields Forever” remains one of the most surreal. Its dreamlike construction, non-linear structure, and fragile vocal performance created an atmosphere that felt both intimate and untethered—like remembering a place that never quite existed. In a list that includes the drifting pulse of “Stratosfear” by Tangerine Dream and the mythic chill of “No Quarter,” this track remains essential for the way it transformed personal memory into a floating, immersive sound experience. It did not merely reflect the idea of the ethereal—it became its definition in popular music.

Read More: Complete List Of The Beatles Songs From A to Z

# 3 – Us And Them – Pink Floyd

“Us and Them” was recorded between June 1972 and January 1973 at Abbey Road Studios in London for Pink Floyd’s The Dark Side of the Moon, released on March 1, 1973. The track was produced by the band alongside longtime engineer Alan Parsons, who played a key role in the album’s spatial dynamics and sonic clarity. Richard Wright composed the original chord progression on piano during the Zabriskie Point sessions in 1969, and Roger Waters later added lyrics reflecting themes of war, social division, and alienation. The lineup for the recording featured David Gilmour on lead vocals and guitar, Wright on piano and Hammond organ, Waters on bass, and Nick Mason on drums. Session saxophonist Dick Parry contributed the track’s signature solos, and background vocals were provided by Doris Troy, Lesley Duncan, Liza Strike, and Barry St. John.

The song’s ethereal tone emerged from its slow tempo, expansive dynamics, and spacious arrangement. Wright’s use of suspended chords and delayed reverb on the Rhodes electric piano gave the track its drifting, weightless quality, while Gilmour’s restrained phrasing and double-tracked vocals added a sense of inner detachment. The dynamic contrast between the verses and the chorus—where the instrumentation swells with Parry’s saxophone and gospel-infused backing vocals—created a push-pull effect that mirrored the lyrical tension. While Tangerine Dream’s “Stratosfear” reached the ethereal through abstract electronic landscapes, and Brian Eno’s “An Ending (Ascent)” used tonal stillness to evoke transcendence, “Us and Them” relied on mood, harmony, and contrast to maintain its dreamlike sway.

Lyrically, the song explored the futility of conflict and the arbitrary lines that separate people, anchored by lines such as “With, without / And who’ll deny it’s what the fighting’s all about.” Waters delivered a message that felt both philosophical and intimate, floating between commentary and lament. The refrain “Us and them / And after all, we’re only ordinary men” captured the song’s emotional core—an elegy for common humanity fractured by invisible systems of power. Like “Strawberry Fields Forever,” which blurred personal memory and fantasy, or “No Quarter,” which veiled its narrative in mythic abstraction, “Us and Them” wrapped its critique of modern life in a soundscape that made the listener feel unmoored, as if observing Earth from a distant orbit.

Though not initially released as a single in the UK, “Us and Them” was issued as a single in the United States in 1974, reaching No. 72 on the Billboard Hot 100. More significantly, the track became one of the emotional and atmospheric anchors of The Dark Side of the Moon, an album that spent over 950 weeks on the Billboard 200 and remains one of the most critically acclaimed records in history. “Us and Them” was regularly performed during Pink Floyd’s 1970s tours and has been featured on multiple live releases, including Pulse and Delicate Sound of Thunder.

Among the songs featured on this list, “Us and Them” stands as one of the most emotionally resonant depictions of the ethereal—not through abstraction or surrealism, but through vulnerability and contrast. The use of space in the mix, the softness of Gilmour’s delivery, the mournful arcs of Parry’s saxophone—all contributed to a sense of emotional suspension. It was a song that never rushed, never resolved, but instead hovered in a delicate state of introspection, making it one of the most enduringly atmospheric pieces in Pink Floyd’s catalog.

Read More: 25 Classic Pink Floyd Songs Everyone Should Know

# 2 – Space Oddity – David Bowie

Read More: Complete List Of David Bowie Songs From A to Z

# 1 – The Sound Of Silence – Simon & Garfunkel

“The Sound of Silence” was originally recorded by Simon & Garfunkel on March 10, 1964, at Columbia Studios in New York City, produced by Tom Wilson. The initial version appeared on their debut album Wednesday Morning, 3 A.M., and featured only Paul Simon on acoustic guitar and both Simon and Art Garfunkel on vocals. That release failed to gain commercial traction, prompting the duo to briefly split. In 1965, without Simon and Garfunkel’s knowledge, Wilson added electric guitar, bass, and drums to the original recording, transforming it into a folk-rock arrangement using session musicians including Al Gorgoni and Bobby Gregg. This new version was released as a single in September 1965, and by January 1, 1966, it had reached No. 1 on the Billboard Hot 100, launching the duo’s mainstream career.

From the opening line—“Hello darkness, my old friend”—the song established its unmistakable tone of hushed reflection. Unlike the expansive arrangements found in “Close to the Edge” by Yes or the layered electronics of Tangerine Dream’s “Stratosfear,” “The Sound of Silence” achieved its ethereal quality through minimalism and emotional stillness. The reverb-drenched vocals and delicate phrasing gave the illusion of distance, as though the singer were delivering thoughts from a place removed, internal, and infinite. The instrumentation, sparse even in the overdubbed version, preserved a sense of haunting stillness, creating a sonic void that felt both intimate and vast. It was this paradox—of solitude rendered with immediacy—that gave the song its ghostly power.

The lyrics functioned as both an observation and indictment. Simon wrote of people “talking without speaking, hearing without listening,” casting the song as a critique of modern alienation in an age of noise and disconnection. The repeated use of the word “silence” transformed it from a condition into a character—one that loomed, watched, and ultimately triumphed. “The words of the prophets are written on the subway walls,” Simon warned, not as prophecy, but as a resignation to a world incapable of listening. This sense of warning cloaked in poetry paralleled the emotional gravity of “Us and Them” by Pink Floyd, which also used space and restraint to confront the quiet violence of human division. Yet where Pink Floyd layered instrumental swells and jazz textures, Simon & Garfunkel relied on silence itself to carry the emotional weight.

As the final entry on this list of the ten most ethereal songs in rock music, “The Sound of Silence” closes the arc not with grandeur or technological immersion, but with a return to something more elemental. It reminded listeners that the ethereal need not require synthesisers or orchestral layering to achieve transcendence. Sometimes, as this song proved, all it takes is an unresolved chord progression, two voices in harmony, and a lyric that stares into the void without blinking. More than a hit single or a folk anthem, “The Sound of Silence” has endured because it created a space where the listener could confront stillness without resistance—a space just as transportive, and just as haunting, as anything else on this list.

Read More: Complete List Of Simon & Garfunkel Songs From A to Z

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10 Most Ethereal Songs in Rock Music article published on ClassicRockHistory.com© 2025

Eric Clapton had already carved out a respectable career before he issued his first solo album in 1970.

In his first six years as a recording artist, he appeared on records by the Yardbirds, John Mayall‘s Bluesbreakers, Cream, Blind Faith and Delaney & Bonnie & Friends (and, shortly after his self-titled debut, Derek and the Dominos).

Since then, he’s released nearly two dozen LPs under his name. And it’s been kind of a roller-coaster ride for the guitar hero, with personal and professional setbacks often inspiring his work – from a crippling drug addiction (which kept him out of the spotlight for several years) to the death of his young son (which spurred a huge comeback hit).

READ MORE: How Eric Clapton Opened His Heart and Made a Masterpiece

Through it all, though, he’s rarely lost the focus and drive that made him one of the most buzzed-about musicians in the ’60s. While recent records may not be fueled by the creative hunger that fed his best work, he’s grown into his older years by playing the music that sounds right for him at this stage. If nothing else, Clapton has aged more gracefully than most contemporaries.

Still, his solo career is spotty. Only a handful of Eric Clapton albums are on the same level as his classic LPs with the Yardbirds, Cream and Derek and the Dominos. As we rank Clapton’s solo albums from worst to best, one thing is certain: With as many comebacks as he’s had over the years, we’re not counting him out. He may still have another classic record in him.

Eric Clapton Albums Ranked

He had already carved out a respectable career before his first solo album. Then he got busy.

Gallery Credit: Michael Gallucci

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Lindsey Buckingham is in the studio with former bandmate Mick Fleetwood for the first time since Fleetwood Mac fired him in 2018.

Fleetwood and Buckingham have remained friends, memorably appearing together in February at the sixth annual Jam For Janie Grammy Awards viewing party at the Hollywood Palladium, but their last studio project together dates to Lindsey Buckingham Christine McVie. That Top 20 2017 LP featured every member of Fleetwood Mac except Stevie Nicks.

Swedish producer Carl Falk, who is helming the Fleetwood solo record, said Buckingham stopped by the studio – and something magical happened. “Slightly unreal moment to sit with Lindsey Buckingham and Mick Fleetwood to play Lindsey the album we have been working on,” Falk wrote on Threads. “And to see his genuine happiness for Mick to finally do his own album and offering to play guitar and to sing on it. Can’t wait to finish this one.”

READ MORE: The Most Overlooked Song From Each Fleetwood Mac LP

Falk has previously worked with more pop-leaning acts like Madonna, Demi Lovato, One Direction and Ariana Grande, among others. He’s posted studio images of Buckingham and Fleetwood together, and another with Fleetwood and War On Drugs frontman Adam Granduciel. One image of Buckingham was captioned: “Mick and Lindsey together again, what a flawless guitar player.”

Fleetwood recently released 2024’s Blues Experience, recorded with ukulele virtuoso and composer Jake Shimabukuro. His last solo album was Something Big in 2004. Fleetwood Mac hasn’t toured since 2019, when they appeared with Mike Campbell and Neil Finn in place of Buckingham. Nicks has nixed any talk of a reunion in the wake of Christine McVie‘s death in 2022.

Despite Fleetwood’s steadfast encouragement, Nicks also vowed never to work with one-time partner Buckingham again. “I always have a fantasy that she and Lindsay would pal up a bit more and just say everything’s OK for them both,” Fleetwood said in February at the Janie’s Fund event.

Nicks, however, remains firm. “I dealt with Lindsey for as long as I could,” she told Rolling Stone. “You could not say that I did not give him more than 300 million chances.”

Fleetwood Mac Ex-Members: Where Are They Now?

Fleetwood Mac has had massive success, and a difficult time keeping a lineup together.

Gallery Credit: Dave Lifton

Rock Feuds: Stevie Nicks vs. Lindsey Buckingham

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Psychedelic rockers Kula Shaker encountered a stumble when they went to make their second album, 1999’s Peasants, Pigs & Astronauts. Fortunately prog producer extraordinaire Bob Ezrin came to their rescue – and although the record wasn’t an immediate success, it’s been reappraised in recent years. In 2022 vocalist and guitarist Crispian Mills told Prog about the experience.

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“We started making Peasants, Pigs & Astronauts in America with Rick Rubin and George Drakoulias both producing. We ended up back in England, and Bob Ezrin was happy to come over and work with us.

He was obsessed with the running order of the songs – the absolute priority for him was telling the story. We were completely up for the theatrics: bringing the curtain up at the beginning of the album and bringing it down at the end.

I learned from his eye for detail, his ear for the difference between a good and bad take. “There’s never enough overdubs,” he’d say. “You can always add on more and it will feel just right.”

We spent seven months on David Gilmour’s boat, the Astoria – one of the most beautiful studios in the world – and almost bankrupted ourselves, but Bob encouraged us to dream big.

It could be intimidating working with him. The track Mystical Machine Gun has quite a big guitar moment, and I remember thinking, “This is the who guy recorded David Gilmour’s solo on Comfortably Numb!”

Whether it’s The Wall, Lou Reed’s Berlin, or his work with Alice Cooper, Bob’s a guy who appreciates albums as “musical books.”

And he’s got a delinquent panache to him. He looks refined and behaves well around the record label guys, but he’s actually complete maniac, possessed by rock’n’roll demons! But with these kinds of albums, you need that sense of drama, tension and danger.

I saw a TV interview with him while he’d been working with Deep Purple. He pushed up the faders, up came Steve Morse’s guitars and Bob said: ‘And there you have it – a concerto of guitars.’ He never said that about my guitar playing… but anyone who can say ‘concerto of guitars’ with a straight face gets my vote!

Peasants, Pigs & Astronauts wasn’t very successful at the time, but for our fans old and new it’s become one of the most loved and listened to. Bob brought out our prog sensibility. I think of him as my big, mad uncle. We love him.”

Incubus first took shape in Calabasas, California, in 1991, when vocalist Brandon Boyd, guitarist Mike Einziger, and drummer José Pasillas, who had been classmates, came together through a mutual passion for creating music. The band quickly gained recognition locally for their dynamic live performances and unique fusion of alternative rock, funk, metal, and experimental sounds, setting them apart from their peers and laying the groundwork for national attention.

The band’s major-label debut, S.C.I.E.N.C.E. (1997), showcased their distinctive style, blending genres into a potent musical statement. This release positioned them as a band unafraid of experimentation, laying the foundation for broader mainstream appeal. However, their true breakthrough arrived with the album Make Yourself in 1999. This pivotal record produced iconic singles such as “Drive,” “Stellar,” and “Pardon Me,” tracks that not only defined Incubus’s career but significantly influenced the landscape of alternative rock at the turn of the millennium.

Throughout their career, Incubus has released eight studio albums: Fungus Amongus (1995), S.C.I.E.N.C.E. (1997), Make Yourself (1999), Morning View (2001), A Crow Left of the Murder… (2004), Light Grenades (2006), If Not Now, When? (2011), and 8 (2017). Their fourth album, Morning View, further solidified their success with singles like “Wish You Were Here” and “Nice to Know You,” becoming one of their most beloved albums and reinforcing their reputation as artists capable of emotional depth and musical versatility.

Incubus’s exceptional songwriting and innovative sound have earned them substantial recognition in the music industry. They have garnered multiple nominations from prestigious award institutions, including a Grammy nomination for Best Hard Rock Performance in 2005 for their hit single “Megalomaniac.” This acknowledgment is reflective of their sustained excellence, creative authenticity, and ability to consistently deliver powerful, relatable music.

One reason Incubus remains deeply respected and widely loved is their genuine connection with fans through their heartfelt lyrics, musical sincerity, and unpretentious approach. Their ability to blend introspective lyricism with energetic performances has continually captivated audiences, establishing a lasting bond with listeners that has endured for decades. Fans resonate deeply with the authenticity and vulnerability expressed in their music, solidifying Incubus as a cornerstone of modern rock.

Beyond their musical endeavors, Incubus actively engages in meaningful philanthropy, demonstrating a profound commitment to positive change. In 2003, the band founded the Make Yourself Foundation, dedicated to funding various environmental, artistic, educational, and humanitarian causes. Through this foundation, they have raised substantial amounts for numerous charities worldwide, reflecting their genuine dedication to using their platform to benefit society at large.

Incubus’s enduring impact stems from their continuous willingness to evolve artistically while remaining steadfast in their commitment to authenticity. With a legacy defined by musical innovation, heartfelt connection, and genuine humanitarian effort, Incubus continues to inspire new generations, cementing their role as influential and beloved artists in the contemporary music landscape.

Complete List Of Incubus Songs From A to Z

1. 11am – Morning View – 2001
2. A Certain Shade of Green – S.C.I.E.N.C.E. – 1997
3. A Crow Left of the Murder – A Crow Left of the Murder… – 2004
4. A Kiss to Send Us Off – Light Grenades – 2006
5. Absolution Calling – Trust Fall (Side A) – 2015
6. Adolescents – If Not Now, When? – 2011
7. Agoraphobia – A Crow Left of the Murder… – 2004
8. Anna Molly – Light Grenades – 2006
9. Aqueous Transmission – Morning View – 2001
10. Are You In? – Morning View – 2001
11. Azwethinkweiz – Let Me Tell Ya ‘Bout Root Beer EP – 1995 / Enjoy Incubus EP – 1997
12. Battlestar Scralatchtica – Make Yourself – 1999
13. Beware! Criminal – A Crow Left of the Murder… – 2004
14. Blood on the Ground – Morning View – 2001
15. Calgone – S.C.I.E.N.C.E. – 1997
16. Circles – Morning View – 2001
17. Clean – Make Yourself – 1999
18. Consequence – Make Yourself – 1999
19. Crowded Elevator – Make Yourself – 1999 / When Incubus Attacks Volume 1 – 2000
20. Dance Like You’re Dumb – Trust Fall (Side A) – 2015
21. Deep Inside – S.C.I.E.N.C.E. – 1997
22. Defiance – If Not Now, When? – 2011
23. Diamonds and Coal – Light Grenades – 2006
24. Dig – Light Grenades – 2006
25. Drive – Make Yourself – 1999
26. Earth to Bella (Part I) – Light Grenades – 2006
27. Earth to Bella (Part II) – Light Grenades – 2006
28. Echo – Morning View – 2001
29. Familiar Faces – 8 – 2017
30. Favorite Things – S.C.I.E.N.C.E. – 1997
31. Friends and Lovers – If Not Now, When? – 2011
32. Glass – S.C.I.E.N.C.E. – 1997
33. Glitterbomb – 8 – 2017
34. Have You Ever – Morning View – 2001
35. Here in My Room – A Crow Left of the Murder… – 2004
36. Hilikus – Fungus Amongus – 1995 / Enjoy Incubus EP – 1997
37. Hold Me Down – If Not Now, When? – 2011
38. I Miss You – Make Yourself – 1999
39. Idiot Box – S.C.I.E.N.C.E. – 1997
40. If Not Now, When? – If Not Now, When? – 2011
41. In the Company of Wolves – If Not Now, When? – 2011
42. Into the Summer – Trust Fall (Side B) – 2020
43. Isadore – If Not Now, When? – 2011
44. Just a Phase – Morning View – 2001
45. Karma, Come Back – Trust Fall (Side B) – 2020
46. Leech – A Crow Left of the Murder… – 2004
47. Light Grenades – Light Grenades – 2006
48. Loneliest – 8 – 2017
49. Look Alive – Light Grenades – 2006
50. Love Hurts – Light Grenades – 2006
51. Love in a Time of Surveillance – 8 – 2017
52. Made for TV Movie – A Crow Left of the Murder… – 2004
53. Magic Medicine – S.C.I.E.N.C.E. – 1997
54. Make No Sound in the Digital Forest – 8 – 2017
55. Make Out Party – Trust Fall (Side A) – 2015
56. Make Yourself – Make Yourself – 1999
57. Medium – Fungus Amongus – 1995
58. Megalomaniac – A Crow Left of the Murder… – 2004
59. Mexico – Morning View – 2001
60. Monuments and Melodies – A Crow Left of the Murder… – 2004
61. Nebula – S.C.I.E.N.C.E. – 1997
62. New Skin – Let Me Tell Ya ‘Bout Root Beer EP – 1995 / S.C.I.E.N.C.E. – 1997
63. Nice to Know You – Morning View – 2001
64. Nimble Bastard – 8 – 2017
65. No Fun – 8 – 2017
66. Nowhere Fast – Make Yourself – 1999
67. Oil and Water – Light Grenades – 2006
68. On Without Me – Trust Fall (Side B) – 2020
69. Our Love – Trust Fall (Side B) – 2020
70. Out from Under – Make Yourself – 1999
71. Pantomime – A Crow Left of the Murder… – 2004
72. Paper Cuts – Trust Fall (Side B) – 2020
73. Paper Shoes – Light Grenades – 2006
74. Pardon Me – Make Yourself – 1999
75. Pendulous Threads – Light Grenades – 2006
76. Pistola – A Crow Left of the Murder… – 2004
77. Priceless – A Crow Left of the Murder… – 2004
78. Privilege – Make Yourself – 1999
79. Promises, Promises – If Not Now, When? – 2011
80. Psychopsilocybin – Fungus Amongus – 1995
81. Punch Drunk – Light Grenades – 2006
82. Quicksand – Light Grenades – 2006
83. Rebel Girls – If Not Now, When? – 2011
84. Redefine – S.C.I.E.N.C.E. – 1997
85. Rogues – Light Grenades – 2006
86. Segue 1 – S.C.I.E.N.C.E. – 1997
87. Shaft! – Fungus Amongus – 1995 / Enjoy Incubus EP – 1997
88. Sick Sad Little World – A Crow Left of the Murder… – 2004
89. Sink Beneath the Line – Fungus Amongus – 1995
90. Smile Lines – A Crow Left of the Murder… – 2004
91. Southern Girl – A Crow Left of the Murder… – 2004
92. Speak Free – Fungus Amongus – 1995
93. State of the Art – 8 – 2017
94. Stellar – Make Yourself – 1999
95. Summer Romance (Anti-Gravity Love Song) – S.C.I.E.N.C.E. – 1997
96. Surface to Air – If Not Now, When? – 2011
97. Switchblade – If Not Now, When? – 2011
98. Take Me to Your Leader – Fungus Amongus – 1995 / Enjoy Incubus EP – 1997
99. Talk Shows on Mute – A Crow Left of the Murder… – 2004
100. The Answer – Fungus Amongus – 1995
101. The Original – If Not Now, When? – 2011
102. The Warmth – Make Yourself – 1999
103. Thieves – If Not Now, When? – 2011
104. Throw Out the Map – 8 – 2017
105. Tomorrow’s Food – If Not Now, When? – 2011
106. Trouble in 421 – Fungus Amongus – 1995
107. Trust Fall – Trust Fall (Side A) – 2015
108. Undefeated – 8 – 2017
109. Under My Umbrella – Morning View – 2001
110. Version – Enjoy Incubus EP – 1997
111. Vitamin – S.C.I.E.N.C.E. – 1997
112. Warning – Morning View – 2001
113. When I Became a Man – 8 – 2017
114. When It Comes – Make Yourself – 1999
115. Wish You Were Here – Morning View – 2001
116. You Will Be a Hot Dancer – Fungus Amongus – 1995 / Enjoy Incubus EP – 1997
117. Zee Deveel – A Crow Left of the Murder… – 2004

Album Song Count (Running Total)

Let Me Tell Ya ‘Bout Root Beer EP (1995): 2 songs

Fungus Amongus (1995): 10 songs

Enjoy Incubus EP (1997): 6 songs (with 5 that appeared on previous releases + 1 new song)

S.C.I.E.N.C.E. (1997): 13 songs

Make Yourself (1999): 14 songs

When Incubus Attacks Volume 1 (2000): 6 songs (all previously released)

Morning View (2001): 13 songs

A Crow Left of the Murder… (2004): 16 songs

Light Grenades (2006): 15 songs

If Not Now, When? (2011): 14 songs

Trust Fall (Side A) (2015): 4 songs

8 (2017): 11 songs

Trust Fall (Side B) (2020): 5 songs

Check out our fantastic and entertaining Incubus articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Complete List Of Incubus Band Members

Complete List Of Incubus Albums And Discography

Top 10 Incubus Songs

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Incubus Songs From A to Z article published on ClassicRockHistory.com© 2025

Peter Murphy has revealed details of his forthcoming tenth solo album, Silver Shade, set for release on May 9 via Metropolis Records.

The long-anticipated follow-up to 2014’s Lions, the album was produced by Killing Joke bassist Youth (Martin Glover), and features collaborations with Nine Inch Nails‘ Trent Reznor (on Swoon), Boy George (on Let The Flowers Grow) and Tool bassist Justin Chancellor, on new single The Artroom Wonder.

Speaking about the new single, Murphy describes it as “an echo from my 4th year at senior school.”

Revisiting the moment in question, he explains, “Daniel Ash [former Bauhaus bandmate] and I are listening to the mysterious 6th year cool intelligentsia that have gathered in the artroom. We have dared to enter their conclave, and the music coming from it is intriguing. We discover that the song being played is [David Bowie’s] ‘The Bewlay Brothers’, highly intelligent, mystical and sensual, with the singer’s voice as seductive as anyone I’d ever heard.”

Listen to the single below:

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Murphy describes his work with Youth on the record as “a symbiotic relationship born of artistic collaboration” and states “this new album is as powerful as any of my work to date.”

The album is available for pre-order now.

Malevolence have announced their biggest headline shows to date, in support of their forthcoming Where Only The Truth Is Spoken album.

In a statement announcing the tour, frontman Alex Taylor says, “We are very excited to announce the biggest headline tour of career yet…It’s absolutely insane to us that we are booked in these huge, historic & legendary venues and we need all of your support to prove to the world of metal that we are capable to smash them as a headliner. We put together the sickest support bill we could possibly find, featuring some of the coolest current bands from across the world – with the goal of creating the biggest and baddest Malev show of all time. We can’t wait.”

Malevolence Where Only The Truth Is Spoken tour

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Watch the video for If It’s All The Same To You, featuring Snatch villain Brick Top (Alan Ford), below.

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