Author: u0zp4y

# 10 – I Hate Myself For Loving You – Joan Jett

Joan Jett’s I Hate Myself for Loving You serves as the powerful opening track for the new list of the 10 Best Rock Songs About Being Used. Released in 1988 as part of her album Up Your Alley, this song became one of Jett’s most successful hits, reaching number 8 on the Billboard Hot 100. The song was co-written by Jett and Desmond Child, a renowned songwriter and producer, who had previously collaborated with major rock acts. The track was recorded at Criteria Studios in Miami and Conway Recording Studios in Los Angeles, capturing the raw energy that defines much of Jett’s music. I Hate Myself for Loving You has become a defining anthem in her career, embodying the frustration and heartache that comes with loving someone who continually takes advantage of that love.

Musically, the song is a quintessential example of late 80s hard rock, driven by Jett’s signature gritty guitar riffs and her fiery vocal delivery. The song’s polished production, led by Desmond Child, perfectly balances the rawness of Jett’s punk roots with the mainstream rock sound that dominated the charts during the time. The musicians on the track include Jett on guitar and vocals, Ricky Byrd on lead guitar, and Thommy Price on drums, all contributing to the track’s fierce and unrelenting energy.

Lyrically, the song embodies the anguish of feeling used in a toxic relationship. The opening lines, “Midnight, gettin’ uptight, where are you? / You said you’d meet me, now it’s quarter to two,” set the tone of betrayal and unfulfilled promises. Jett captures the inner conflict of someone who knows they’re being mistreated but can’t seem to break free from their emotions. The chorus, “I hate myself for loving you / Can’t break free from the things that you do,” drives home the theme of self-blame and emotional entrapment, making it a fitting entry as the first song on a list exploring the darker sides of being used in relationships.

Read More: Our 10 Favorite Joan Jett Songs

# 9 – The First Cut Is the Deepest – Rod Stewart

Rod Stewart’s rendition of The First Cut Is the Deepest, originally written by Cat Stevens, brings a raw, emotional depth to the song’s portrayal of heartache and the challenge of opening up to love after being hurt. Released in 1977 as part of his album A Night on the Town, Stewart’s version became one of his most successful singles, reaching number 1 on the UK Singles Chart and maintaining that position for four weeks. It was recorded at Muscle Shoals Sound Studio in Alabama, a place known for its deep connection to Southern soul and rock. The track’s production was handled by Tom Dowd, and the song’s instrumental backing featured a signature blend of Stewart’s gravelly vocals, a smooth rhythm section, and a poignant guitar riff that accentuates the bittersweet theme.

Musically, Stewart’s take on The First Cut Is the Deepest deviates slightly from earlier versions by artists like P.P. Arnold, infusing it with his unique rock sensibilities while maintaining the tenderness of the original. Stewart omits one of the concluding lines from the chorus, giving his version a slightly different emotional weight. The song’s arrangement is driven by the interplay between acoustic guitar and gentle percussion, creating a reflective atmosphere that enhances the melancholic lyrics.

Lyrically, the song delves into the vulnerability and emotional scars left behind by a failed first love. The opening lines—“I would have given you all of my heart / But there’s someone who’s torn it apart”—set the stage for a narrative of loss and hesitance. The recurring refrain, “The first cut is the deepest,” underscores the idea that the pain of first heartbreak leaves an indelible mark, making it difficult to fully trust in love again. This sentiment of being used and emotionally wounded fits seamlessly into the theme of this list, as the narrator struggles with the aftermath of love gone wrong, echoing similar themes in other tracks about emotional recovery.

Read More: Top 10 Rocking Rod Stewart Songs From The 1970s

# 8 – Dirty Work – Steely Dan

“Dirty Work,” from Steely Dan’s 1972 debut album Can’t Buy a Thrill, presents a story of emotional entanglement, regret, and self-awareness. Written by Donald Fagen and Walter Becker, the song narrates the perspective of a man trapped in an affair with a married woman. He knows he’s being used solely for physical comfort, but he remains caught in a cycle of self-loathing and dependence. Recorded between 1971 and 1972 at ABC Studios in Los Angeles, the album was co-produced by Gary Katz, and “Dirty Work” features David Palmer on lead vocals, giving the track a softer, more vulnerable tone compared to Fagen’s typical sharp, sardonic delivery.

Musically, the song combines soft rock with elements of jazz, which became the hallmark of Steely Dan’s sound. Palmer’s warm vocal delivery complements the laid-back arrangement, which features guitar work by Jeff Baxter, bass by Walter Becker, drums by Jim Hodder, and piano by Donald Fagen. This subtle instrumentation provides a smooth backdrop for the song’s deeper message, a sharp contrast to the bitter emotions portrayed in the lyrics. The organ line, in particular, adds an air of melancholy that matches the theme of emotional manipulation.

Lyrically, “Dirty Work” highlights the central theme of being used. The protagonist knows he’s merely a temporary fix for the woman’s needs (“You have sent the maid home early / Like a thousand times before”), but he continues in his role despite recognizing its futility. His self-awareness is poignant in lines like “I’m a fool to do your dirty work,” which underscores the cyclical nature of his emotional entrapment. The image of the rook in chess (“Like a castle in its corner in a medieval game”) cleverly illustrates his restricted, cornered position in the affair. This theme of manipulation and feeling trapped echoes similar sentiments found in Rod Stewart’s “The First Cut Is the Deepest,” where emotional damage from a past love leaves one vulnerable in future relationships.

While Joan Jett’s “I Hate Myself for Loving You” explores a more aggressive approach to being used, filled with frustration and anger, “Dirty Work” takes a more resigned tone. Steely Dan’s track shows a man who is fully aware of his compromised position but is too emotionally tied to break free. Jett’s protagonist, on the other hand, is more defiant and angry about the betrayal, emphasizing the different emotional responses to the same issue. Both tracks reveal the pain and frustration inherent in relationships where power dynamics are uneven, but “Dirty Work” expresses these emotions through a more subdued, introspective lens.

Critically, “Dirty Work” has often been overshadowed by the bigger hits from Can’t Buy a Thrill, like “Reelin’ In the Years” and “Do It Again.” However, it remains one of the album’s standout tracks due to its sophisticated blending of pop, jazz, and soul, coupled with sharp, self-reflective lyrics. The track is widely regarded as a prime example of Steely Dan’s ability to marry complex emotional themes with intricate musical compositions. Its narrative of manipulation and emotional vulnerability also resonates with other tracks on this list, particularly those that delve into themes of heartache and emotional turmoil caused by being used by others.

Read More: Steely Dan’s Best Song On Each Of Their Studio Albums

# 7 – Use Me – Bill Withers

“Use Me” is one of Bill Withers’ most iconic tracks, featured on his 1972 album Still Bill. Released as a single, it became a commercial success, peaking at No. 2 on the Billboard Hot 100 chart and No. 1 on the R&B chart. The song’s infectious groove and funky rhythm were enhanced by the tight musicianship of the band, including Withers on guitar and vocals, Ray Jackson on bass, and James Gadson on drums. The song was produced by Withers and Benorce Blackmon and recorded at The Record Plant in Los Angeles, where Withers captured a raw, yet polished sound that showcased his blend of soul, funk, and R&B. A live version of “Use Me,” which is over eight minutes long, opens Withers’ critically acclaimed 1973 Live at Carnegie Hall album, further cementing its place as a fan favorite.

“Use Me” stands out for its unique perspective on being used in a relationship. While the lyrics focus on Withers’ friends and family expressing concern over how he is being mistreated, the protagonist openly admits that he enjoys being “used” because of the pleasure it brings him. The chorus, “If it feels this good getting used, then just keep on using me until you use me up,” flips the conventional narrative of exploitation, turning it into a declaration of empowerment through love and passion. Withers’ raspy and soulful delivery, combined with the song’s groovy bassline and minimalistic arrangement, make it an anthem of unapologetic desire and vulnerability.

Lyrically, “Use Me” taps into the complexities of relationships, exploring themes of control, dependence, and reciprocity. While it mirrors the themes of infidelity and being taken advantage of, as seen in Steely Dan’s “Dirty Work,” Withers’ take is more personal and self-aware. Both songs address the emotional toll of being “used,” but while “Dirty Work” is laced with regret and longing, “Use Me” is more about embracing the give-and-take nature of human relationships. Withers acknowledges that although he’s being taken advantage of, he’s also using the situation for his own fulfillment. This dynamic creates a sense of mutual understanding, making “Use Me” a standout reflection on the complexities of love and personal satisfaction.

In conclusion, “Use Me” remains one of Bill Withers’ most enduring tracks, blending a funky groove with candid, introspective lyrics about love and dependency. Its success on the charts, combined with Withers’ passionate delivery and thoughtful lyrics, has made it a timeless hit that continues to resonate with listeners.

Read More: Top 10 Bill Withers Songs

# 6 – Maggie May – Rod Stewart

“Maggie May” was a game-changing track for Rod Stewart, co-written by Stewart and Martin Quittenton and released as part of his 1971 album Every Picture Tells a Story. Initially the B-side to “Reason to Believe,” radio DJs quickly flipped the script by favoring “Maggie May,” which launched Stewart’s solo career to global success. The track famously combines folk, rock, and a touch of mandolin, played by Ray Jackson of Lindisfarne, creating a unique sound that helped it stand out from other releases of the time. The intro, a 30-second guitar solo called “Henry” by Quittenton, sets the tone for what would become one of Stewart’s most iconic tracks. Recorded at Morgan Sound Studios in London, the song was produced by Stewart himself and released by Mercury Records.

The song’s narrative tells the story of a young man’s infatuation with an older woman, who is ultimately using him for companionship and amusement. Stewart’s vocals are laced with a mix of emotional vulnerability and resignation, singing lines like, “I know I keep you amused, but I feel I’m being used.” The protagonist wrestles with his feelings, lamenting how Maggie led him away from his life and goals, but he is too attached to break away. “Maggie, I couldn’t have tried anymore,” is a refrain that underscores his feeling of defeat and emotional manipulation. The pain of being used is central to the lyrics, with Stewart confessing that she “stole his soul” and “made a first-class fool” out of him. The song blends feelings of heartache and affection, with the speaker’s youthful naivety allowing him to be manipulated despite knowing he’s being used.

Comparing “Maggie May” to “Dirty Work” by Steely Dan, both songs depict a man who is aware of being used by someone he loves yet struggles to break free from the relationship. While “Dirty Work” focuses on a man being used in an affair, Stewart’s song delves into the emotional and personal ramifications of an unbalanced relationship. In “Maggie May”, the use is not just physical but also emotional, as the young man loses both his heart and his direction in life because of Maggie’s manipulations. Similarly, in “Use Me” by Bill Withers, the protagonist is conscious of being used but finds a strange satisfaction in it, mirroring Stewart’s mix of heartbreak and attachment to Maggie. However, while Withers finds some pleasure in the dynamic, Stewart’s speaker is left feeling more defeated and regretful.

Chart-wise, “Maggie May” became a massive success, reaching No. 1 in the UK, US, Australia, and Canada. Its commercial performance and critical reception cemented it as a classic rock staple, frequently appearing on best-of compilations and live albums.

Read More: Complete List Of Rod Stewart Albums And Discography

# 5 – You Didn’t Need – Rollins Band

“You Didn’t Need” by Rollins Band, from their 1992 album The End of Silence, stands as an intense and emotionally charged track dealing with betrayal, rejection, and the pain of being used in a relationship. Recorded at Showplace Studios in Dover, New Jersey, in October 1991, this album marked a turning point for Rollins Band, giving them broader exposure with their new label, Imago Records. The album, their most commercially successful release, introduced the band’s uncompromising hard rock sound to a wider audience and established Rollins’ reputation for combining deeply personal lyrics with ferocious musical energy. Produced by Theo Van Rock and engineered by Steve Ett, the album featured Henry Rollins on vocals, Chris Haskett on guitar, Sim Cain on drums, and Andrew Weiss on bass.

“You Didn’t Need” explores the raw emotional aftermath of a failed relationship, where the speaker reflects on the pain of being manipulated and discarded. Rollins’ performance is visceral, his delivery fraught with frustration and unresolved anger. Lines like “You ripped your feelings all across my back / You didn’t see that I was bleeding” symbolize the intense emotional wounds inflicted by the partner, while the refrain, “You didn’t need / To do that to me,” expresses the singer’s bitter realization of betrayal. The repetitive bridge, “Some people are better left alone,” reinforces the feeling of abandonment and loss, while also suggesting that, in retrospect, the relationship should have never happened.

The themes of being used in “You Didn’t Need” draw direct parallels to other tracks on this list, like Steely Dan’s “Dirty Work” and Rod Stewart’s “Maggie May.” In “Dirty Work”, the singer is consciously aware of being used in an affair but finds himself unable to break free from the situation. Similarly, in “Maggie May”, Stewart’s character is used by an older woman for emotional support and companionship, only to realize too late how much she’s taken from him. While both of these tracks reflect more passive or resigned reactions to being used, “You Didn’t Need” captures the raw, almost violent anger of someone who has been emotionally torn apart and is struggling to cope with the aftermath. Rollins brings an unmatched intensity that fits perfectly with the heavy, driving sound of the band.

The album itself peaked at number 160 on the Billboard 200, and “You Didn’t Need” reflects the band’s relentless energy and emotionally direct approach. This track, with its lyrical focus on manipulation and emotional damage, stands out as one of the most powerful examples of the toll relationships can take when love turns to exploitation.

Read More: Top 10 Henry Rollins Songs

# 4 – You Oughta Know – Alanis Morissette

“You Oughta Know,” released in 1995, marks a pivotal moment in Alanis Morissette’s career as she transitioned from her earlier pop sound to a raw, angst-filled alternative rock style. Featured on her breakthrough album Jagged Little Pill, the track was co-written with producer Glen Ballard and reflects a sharp shift in Morissette’s artistic direction. The song’s biting lyrics express feelings of anger and betrayal following a tumultuous relationship, setting the tone for the album’s confessional, emotionally intense nature. The song was recorded in Los Angeles and features standout contributions from Red Hot Chili Peppers members Dave Navarro on guitar and Flea on bass, whose gritty instrumentation complements Morissette’s scathing vocals.

Lyrically, “You Oughta Know” stands as a definitive expression of being used and discarded in a relationship. Morissette delivers lines like, “And every time you speak her name, does she know how you told me you’d hold me until you died? / ‘Til you died, but you’re still alive,” with a raw intensity that exposes the deep emotional wounds inflicted by a lover’s betrayal. The explicit mention of intimate details, such as “Would she go down on you in a theater?” underscores the personal and raw nature of the song, showcasing the emotional vulnerability of someone who feels deeply wronged. It’s a fearless anthem of empowerment and catharsis, with Morissette channeling her hurt into biting sarcasm and righteous anger.

Thematically, “You Oughta Know” connects to other songs on this list like “Dirty Work” by Steely Dan and “Maggie May” by Rod Stewart, where the protagonists grapple with feelings of being used by someone they once trusted. However, while “Dirty Work” and “Maggie May” feature more passive resignation in their lyrics, Morissette’s song stands out for its confrontational tone, embodying anger rather than regret. Its unapologetic nature resonates with listeners who have experienced similar feelings of betrayal, making it a definitive track about being used. In terms of commercial success, “You Oughta Know” became a multi-format hit, peaking in the top ten in several countries and winning Grammy Awards for Best Rock Song and Best Female Rock Vocal Performance in 1996.

Read More: Top 10 Alanis Morissette Songs

# 3 – You’re So Vain – Carly Simon

Read More: Top 10 Carly Simon Songs

# 2 – You’re No Good – Linda Ronstadt

“You’re No Good” became one of Linda Ronstadt’s signature hits, reaching No. 1 on the U.S. Billboard Hot 100 in 1975 and marking a high point in her career. Initially performed by Dee Dee Warwick in 1963 and covered by several artists, including Betty Everett and The Swinging Blue Jeans, Ronstadt’s version from her 1974 album Heart Like a Wheel brought the song mainstream attention. The track was recorded at the Sound Factory in Los Angeles, with Peter Asher serving as the producer. The final version was re-recorded after Ronstadt rejected the first attempt, opting for a more rock-infused groove, largely thanks to guitarist Andrew Gold’s layered instrumental work. Ronstadt’s vocal performance was bold and unapologetic, aligning with the song’s theme of personal liberation and empowerment after a toxic relationship.

Lyrically, the song reflects the moment when the narrator realizes their partner is “no good” and decides to move on. The recurring line, “You’re no good, you’re no good, you’re no good, baby, you’re no good,” highlights the disillusionment with a lover who has caused emotional harm. The narrator also expresses remorse for breaking the heart of someone who was gentle and kind, further emphasizing the emotional complexity of the situation. The lyrics resonate with feelings of self-reflection, growth, and ultimately, self-respect—a common theme in songs about relationships where one partner feels used, much like in “Maggie May” by Rod Stewart, where the protagonist also feels emotionally exploited but manages to regain a sense of identity.

Ronstadt’s version of “You’re No Good” stands out from other tracks on this list because of its distinctive rock and country influences, which gave it a crossover appeal. Compared to songs like “Use Me” by Bill Withers, where the narrator accepts the dynamic of being used, Ronstadt’s take is more defiant, rejecting the manipulative behavior outright. Her vocal delivery is assertive, making the song not just a breakup anthem but also a declaration of independence. The contrast between her vulnerable admission of being hurt and her ultimate decision to walk away adds depth to the song’s narrative, solidifying its place as a classic rock anthem about reclaiming power from a destructive relationship.

Read More: Linda Ronstadt’s Best Song On Each Of Her 1970s Studio Albums

# 1 – Whipping Post – The Allman Brothers Band

“Whipping Post” by The Allman Brothers Band is one of rock’s most intense anthems about emotional torment and betrayal. Written by Gregg Allman, the song first appeared as a five-minute studio version on the band’s 1969 debut album. However, it truly came into its own during live performances, most notably the 22-minute version on the legendary 1971 live album At Fillmore East. This extended performance became a defining moment for the band, allowing them to showcase their improvisational skills and deep blues roots.

Musically, the song blends Southern rock with blues and jazz influences, thanks in large part to the instrumental prowess of the band. Gregg Allman’s vocals and organ playing, along with Duane Allman’s soaring guitar work, brought both fire and vulnerability to the track. The song’s famous 11/8 time signature riff gives it a unique, off-kilter feel, helping to convey the sense of disorientation and anguish expressed in the lyrics. “Whipping Post” serves as a powerful metaphor for the suffering that comes with being used and betrayed, much like other songs on this list such as “Maggie May” by Rod Stewart, where the protagonist feels emotionally manipulated by someone they trusted.

Lyrically, “Whipping Post” speaks of betrayal, heartache, and the feeling of being punished for loving someone who has taken advantage of that love. The narrator describes being “tied to the whipping post,” a metaphor for the repeated emotional abuse he endures at the hands of a woman who has lied, taken his money, and betrayed him with one of his friends. Despite knowing he’s been a fool for sticking around, he can’t escape the cycle of pain. The lyrics capture a visceral sense of helplessness, echoed in the song’s grinding, emotional intensity. In this way, it mirrors other songs about being used, such as “You Oughta Know” by Alanis Morissette, where the betrayal is not only personal but deeply scarring. However, “Whipping Post” focuses less on anger and more on the weariness and suffering of the betrayed, making it a distinct and raw addition to this list of songs about being used.

The lyrics of “Whipping Post” delve deeply into the pain of being used and betrayed, evoking a sense of profound emotional suffering. The recurring metaphor of being “tied to the whipping post” is central to the song’s impact. In a literal sense, a whipping post is a device used for physical punishment, but in the context of the song, it symbolizes the emotional torment the protagonist endures as he’s repeatedly hurt by someone he loves. Gregg Allman’s lyrics paint a vivid picture of how betrayal, especially from someone close, feels like a punishment that leaves one powerless and vulnerable. The repetition of the line “Good Lord, I feel like I’m dyin’” emphasizes the ongoing, unbearable nature of this suffering. Even though the protagonist knows he’s been a fool for staying with the person who betrayed him, the emotional ties are too strong to break, leaving him trapped in a cycle of pain.

The lyrics also touch on feelings of humiliation and regret, with lines like “She took all my money, wrecks my new car / Now she’s with one of my good-time buddies, they’re drinkin’ in some cross-town bar.” The image of his lover betraying him with one of his friends highlights not just personal betrayal but the broader sense of isolation and loss of dignity. Throughout the song, there is no resolution or hope offered for escape, underscoring the depth of emotional manipulation and use.

As the closing song on this list of “10 Best Rock Songs About Being Used”, “Whipping Post” encapsulates the rawest form of emotional exploitation, where betrayal cuts deep, leaving scars that never fully heal. It’s a fitting conclusion to the list, bringing together themes of anguish, manipulation, and helplessness explored in earlier songs like “You’re So Vain” by Carly Simon and “Maggie May” by Rod Stewart. The sheer intensity of “Whipping Post”—both lyrically and musically—provides a powerful closing statement on the emotional toll of being used by those you trust.

Read More: Complete List Of Allman Brothers Band Albums And Songs

10 Best Rock Songs About Being Used  article published on Classic RockHistory.com© 2024

Internationally acclaimed heavy metallers, Sabaton, are celebrating their 25-year milestone in the music industry. They have shared a new livestream video along with the following message:

“For our 10th and last (for now) listening party, we blast our latest studio album, The War To End All Wars, while hanging out and having a few drinks. This is a different experience this time round since this album is from 2022, and we’ve played its songs a lot on recent tours. Fun fact! Did you know that we tried something different for ‘The Unkillable Soldier’ music video compared to our previous music videos? Although it’s historical, it was more tongue in cheek. Make sure you check it out after you watch this!”

Sabaton recently announced that over 700 cinemas spanning 26 territories are taking part in the global premiere of their explosive concert film, Sabaton – The Tour To End All Tours in Europe.

The band recently announced that the event will also premiere in the US and Canada, which is news that will surely delight its legion of diehard fans. The concert event will land in nearly 500 North American cinemas for two nights only – October 30 and October 31.

Go here to find the cinema and screening location nearest you and to purchase tickets.

Other participating countries include Australia, Austria, Belgium, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Latvia, Lithuania, Luxembourg, Moldova, Netherlands, New Zealand, Norway, Poland, Romania, Slovakia, Sweden, Switzerland, and the UK. It is truly a global extravaganza.

If you’re a seasoned Sabaton fan who has seen the band many times, this concert event will mimic that experience and transport you to the last time you saw the band. If you’ve not yet witnessed Sabaton live and in the flesh, this is the next best thing.

The Sabaton – The Tour To End All Tours concert film was recorded at the sold-out Ziggo Dome in Amsterdam, where 16,000 fans gathered to watch the band during their 2023 European tour. This is a heavy metal journey like no other that gives the audience a front row seat to one of the most epic, explosive live shows to date, throwing them right into the heart of the action!

Join the band as they relive the triumphs and sheer adrenaline of their biggest tour ever, captured in stunning detail on the big screen. This is an opportunity to experience Sabaton’s live performances like never before!

Sabaton frontman, Joakim Brodén, comments: “The initial plan with this concert film was to bring an explosive Sabaton show right to our fans’ doorsteps! We’ve packed every ounce of our live energy into this experience, making it as close as you can get to a Sabaton show without actually being there in person. This isn’t just a film; it’s an immersive heavy metal experience and we can’t wait for our fans to see and feel the power of our music through the big screen like never before. Who knows, maybe we’ll pick up some new fans along the way!”

Meanwhile, Sabaton band manager and bassist, Pär Sundström, says: “In 2023, we embarked on our biggest tour ever, and in Europe alone, we covered over 50,000 kilometres with a dedicated team of 170 amazing people, 9 buses, 12 trucks, and even a tank! The Tour To End All Tours was an unforgettable journey for each of us – unique, thrilling, and deeply eye-opening. We wanted to share this extraordinary experience with everyone, especially those who couldn’t attend our live shows for whatever reason.”

Sabaton – The Tour To End All Tours isn’t just a movie – it’s a testament to the power of music, the strength and unwavering dedication of the Sabaton community. It’s a cinematic experience that will transcend borders, unite nations and celebrate the universal language of metal. Buckle up because it’s going to be one hell of a ride!

Sabaton – The Tour To End All Tours will be shown in theatres in collaboration with All Things Live and Folkets Hus och Parker.

Finnish musician / producer Otu, who works under the banner Moonic Productions, has shared his take on what would happen if Ozzy Osbourne wrote the Village Peoplehit, “Y.M.C.A.” Check it out below, get the full version via Otu’s Patreon page here.

Ozzy Osbourne is preparing to return to the stage for the first time in over a year, despite struggling with mobility issues that make it difficult for him to walk or stand for extended periods, reports The UK’s Daily Record.

The legendary rocker, 75, confirmed he will perform during his induction into The Rock and Roll Hall of Fame next month in Cleveland, Ohio.

Sources close to the Black Sabbath frontman say he has informed his band that he will travel from his home in Los Angeles, California to be part of the celebration.

The Birmingham-born rocker hopes to have the support of Guns N’ Roses guitarist Slash at the event. “He is a really nice fella,” Ozzy said. “He speaks to me a lot.”

To read the complete article, visit this location.

Roger Daltrey, Sammy Hagar, and Slash are among the artists confirmed to appear at the 2024 Rock & Roll Hall Of Fame induction ceremony on October 19.

Organizers recently revealed the performers and presenters. Others set to appear include Busta Rhymes, Dr. Dre, Demi Lovato, Dua Lipa, Ella Mai, James Taylor, Jelly Roll, Julia Roberts, Keith Urban, Kenny Chesney, Lucky Daye, Mac McAnally, Method Man, and The Roots.

It’s currently unclear what role each artist will play at the event.

Ozzy Osbourne, Peter Frampton, Foreigner, and MC5 are among the 16 artists named to the 2024 Inductee Class for The Rock & Roll Hall Of Fame. The complete list can be viewed below.

“It’s still hard to believe I’m about to be a two-time inductee into the Rock & Roll Hall of Fame,” Ozzy Osbourne said. “I’m really looking forward to attending the induction ceremony in Cleveland this October. More importantly, I am so blessed to have had such an incredible career with amazing fans who have stuck by me through thick and thin over the years.”

The 2024 Rock & Roll Hall Of Fame Induction will be seen live on Saturday, October 19 from the Rocket Mortgage Fieldhouse in Cleveland, Ohio. The 2024 ceremony will once again stream live on Disney+ with a special airing on ABC at a later date and available on Hulu the next day.

Most music fans agree: George Harrison was under-appreciated as a songwriter during his time with the Beatles. Between 1962 and 1970, the Fab Four released a little over 200 songs, only a small fraction of which were penned by Harrison.

It would not be until the latter portion of the band’s tenure and into the early years of Harrison’s solo career that his talent earned more recognition — 1970’s All Things Must Pass, for example, was one of the best-selling albums of the ’70s and is consistently cited today as a landmark singer-songwriter release. Or you can look at it this way: two of the most-streamed Beatles songs ever were written by Harrison, “Here Comes the Sun” and “Something.”

Appearing on 1969’s Abbey Road, “Something” was Harrison’s very first A-side Beatles single — seven years after the band began releasing music. It was a No. 1 hit in the U.S., as well as No. 4 in the U.K., and almost immediately, fellow musicians recognized its strength and starting covering the song both live and on their own records.

“I realize that the sign of a good song is when it has lots of cover versions,” Harrison would say in The Beatles Anthology. We agree. Below, in no particular order, are the 10 Best Covers of ‘Something’ by George Harrison.

Frank Sinatra

Frank Sinatra did “Something” his way. He started performing the song live at his concerts not long after the song was released, and also included it on his 1972 album Frank Sinatra’s Greatest Hits, Vol. 2. “It’s one of the best love songs I believe to be written in 50 or 100 years,” Sinatra said just before performing the show at the Concert for Americas in the Dominican Republic in 1982, “and it never says ‘I love you’ in the song, but it really is one of the finest.” The singer was in his mid 60s then — compared to Harrison, who was 26 when he laid down the original demos of the song — lending it a sort of wisened tone.

Joe Cocker

If there is one person who might be considered the king of Beatles covers, it may be Joe Cocker, who put his own soulful spin on a number of their songs over the years. Harrison actually offered “Something” to Cocker first before recording his own version. Cocker’s rendition came out the month after the Beatles’ did, on his second album Joe Cocker! (That album also contained covers of Bob Dylan‘s “Dear Landlord,” Leonard Cohen‘s “Bird on a Wire” and another Beatles song from the same album as “Something,” “She Came in Through the Bathroom Window.”)

Booker T. and the M.G.’s

Booker T. Jones of Booker T. & the M.G.’s was thousands of miles away from the Beatles when Abbey Road was released. It stopped him in his tracks. “I was in California when I heard Abbey Road, and I thought it was incredibly courageous of the Beatles to drop their format and move out musically like they did,” he hold the A.V. Club in 2009. “To push the limit like that and reinvent themselves when they had no need to [do] that. They were the top band in the world but they still reinvented themselves. The music was just incredible so I felt I needed to pay tribute to it.” Pay tribute he did in the form of his own cover of “Something.” It appeared on the 1970 album McLemore Avenue, the cover of which showed the band walking single file across a street like the Beatles on Abbey Road.

Elvis Presley

It’s possible that without Elvis Presley, there may not have been the Beatles. Like numerous budding musicians, Presley was a significant influence on Harrison and his bandmates. “It had an incredible impact on me just because I’d never heard anything like it,” Harrison once recalled. “I mean, coming from Liverpool, we obviously — we didn’t really hear the very early Sun Records. The first record I can remember hearing was probably the big hit by the time it got across the Atlantic. It was ‘Heartbreak Hotel’ – ‘Heartburn Motel’ as Elvis called it.” Things came full circle when Presley performed “Something” on his 1973 Aloha From Hawaii TV special, seen below. A 1970 version was also included on Presley’s 1995 box set, Walk a Mile in My Shoes: The Essential ’70s Masters.

James Brown

“The best one I ever heard was [from] James Brown and he did it in 1972,” Harrison explained in a 1988 interview with MuchMusic (via Far Out Magazine), “but he did [it] only as the B-side of a re-recorded version of ‘Think,’ which is a very old song of his. So it was only on the B-side. I sent him a postcard and said: ‘You should make it the A-side, it’s a killer! It’s really good.”

Shirley Bassey

“I recorded ‘Something’ after I had seen Peggy Lee perform the song on The Ed Sullivan Show in the States,” Shirley Bassey told Record Mirror in July of 1970, about a month before she released an album that not only included her cover of “Something,” but was named after it. (Both the song and LP were Top 5 hits in the U.K.) “I thought it was a ‘communication song.’ I’ve always admired the Beatles’ work anyway — at least until they went a little strange — and I think this George Harrison song is just beautiful.”

Smokey Robinson

In a 1974 interview with Sounds, Harrison was asked about which contemporary artists he liked. “Smokey Robinson,” he replied. “I’m madly in love with Smokey Robinson.” Of course, Harrison’s love of Robinson could be traced back many years — the Beatles had recorded the Miracles’ “You Really Got a Hold on Me” back in 1963 for their second British album, With the Beatles, featuring both Harrison and John Lennon singing the lead harmony vocal. (Harrison and Robinson would later become friends when they both lived in Los Angeles.)

Ray Charles

Sometimes a hit arrives in the lap of a songwriter thanks in part to their thinking of someone else. In the case of “Something,” Harrison had one particular singer in mind when he sat down at the piano, the instrument on which he wrote the song. “It has probably got a range of five notes, which fits most singers’ needs best,” he explained in The Beatles Anthology. “When I wrote it, in my mind I heard Ray Charles singing it, and he did do it some years later.”

It turned out that Charles’ version wasn’t Harrison’s favorite. “As it happened, the song ended up with over 150 cover versions,” he said in a 1979 joint interview with none other than Michael Jackson. “But when Ray Charles did it, I was really disappointed. It was a bit corny, the way he did it.” Still, there’s something captivating about the soul Charles put into this recording.

Sarah Vaughan

This one is a bit more out there than the others, but it wouldn’t be unreasonable to think Harrison would appreciate an arrangement departure like the one presented in Sarah Vaughan’s cover of “Something.” Vaughan’s version appeared on her 1981 album Songs of the Beatles, and she was accompanied on the track by the Brazilian singer and musician Marcos Valle. David Paich, David Hungate, and both Jeff and Steve Porcaro of Toto also appear on the album.

Norah Jones

Norah Jones has a particularly special connection to Harrison. Her father, the Indian sitarist and composer Ravi Shankar, was one of Harrison’s musical idols. Over the years she’s covered a number of Beatles (and solo Harrison) songs, and is a friend of Harrison’s only son, Dhani, but her 2014 cover of “Something” is especially memorable with Jones’ velvety vocal.

Honorable Mention: Paul McCartney

Frankly we would be remiss if we didn’t at least give an honorable mention to Harrison’s own Beatles bandmate Paul McCartney. For years now, McCartney has been paying tribute to his late friend with live covers of “Something” featuring the ukulele, one of Harrison’s favorite instruments. “Sometimes if you’d go ’round to George’s house, after you’d have dinner, the ukuleles would come out,” McCartney said when he introduced the song at the 2002 Concert for George, held on the one year anniversary of Harrison’s passing. “And one time not so long ago, we were playing and I said, ‘There’s a song I do on the ukulele.’ I played it for him—[I’ll] play it for you now. It’s a tribute to our beautiful friend.”

# 10 – Tangled and Dark – Bonnie Rait

The opening track of our list of the 10 Best Rock Songs About Getting Sober is Bonnie Raitt’s “Tangled and Dark,” from her acclaimed 1991 album Luck of the Draw. Written during a creative retreat in Northern California, this album marked a significant point in Raitt’s career, not just musically but personally as well. Having confronted her issues with alcohol, Raitt emerged with a new perspective on life and creativity, which shines through in the honesty and depth of songs like “Tangled and Dark.” Dedicated to the late Stevie Ray Vaughan, who had encouraged Raitt to embrace sobriety, this song reflects the struggles and triumphs of making a life-altering change.

Recorded at Ocean Way Recording in Los Angeles between March and May of 1991, Luck of the Draw was co-produced by Bonnie Raitt and Don Was. The musicians who contributed to the track include Raitt herself on guitar and vocals, along with a stellar lineup of session musicians. The song, like the album as a whole, was a critical and commercial success, with Luck of the Draw selling over seven million copies in the United States and earning Raitt further Grammy nominations. Though not one of the more well-known singles from the album, “Tangled and Dark” is a deeply introspective track, exploring the emotional complexity of confronting one’s fears and addictions.

Lyrically, “Tangled and Dark” delves into the metaphorical journey of going deep into one’s psyche, confronting the demons lurking there, and ultimately finding a way to give up the heart to healing and love. The lines “Gonna give them demons a call, babe / Gonna find out once and for all” reflect the courage it takes to face inner turmoil head-on, a process many experience when trying to overcome addiction. The song’s raw emotional power is matched by Raitt’s soulful delivery, making it a perfect fit for this list of songs that address sobering up, offering listeners a reminder that true healing begins with honesty and the willingness to face the darkest parts of ourselves.

Read More: Complete List Of Bonnie Raitt Albums And Discography

# 9 – One Day at a Time – Joe Walsh

In the song “One Day at a Time” from Joe Walsh’s 2012 album Analog Man, the legendary musician candidly reflects on his journey to sobriety. This track stands out as a raw and honest testimony of Walsh’s struggles with alcohol and drug addiction, providing listeners with insight into his personal transformation. After spending years battling substance abuse, Walsh, with the support of his wife Marjorie Bach, committed to a healthier lifestyle. The title of the song echoes the common mantra in recovery programs, emphasizing the importance of taking life in small, manageable steps, one day at a time.

Analog Man, Walsh’s first solo studio album in 20 years, was co-produced by Jeff Lynne of Electric Light Orchestra fame. This collaboration marked a turning point for Walsh as it helped him rediscover his creative voice post-recovery. The production of the album brought together an impressive cast of musicians, including Ringo Starr, David Crosby, Graham Nash, and members of Walsh’s former bands, the James Gang and Barnstorm. “One Day at a Time” emerged as a standout track, both musically and thematically, as it explores the delicate balance of personal accountability and spiritual guidance that Walsh credits for helping him regain control of his life.

Lyrically, the song is autobiographical, detailing Walsh’s struggles with addiction and his eventual realization that he was responsible for his own problems. Lines like “I finally got around to admit that I was the problem” and “Guess I have to learn to live my life one day at a time” capture the humility and self-awareness Walsh gained through his recovery journey. The song’s tone is a mix of regret and hope, underscoring the difficulty of overcoming addiction while celebrating the possibility of change. In the context of this list of songs about getting sober, “One Day at a Time” serves as a powerful anthem of resilience, offering both a cautionary tale and a message of redemption.

Read More: Top 10 Joe Walsh Songs

# 8 – Amazing – Aerosmith

“Amazing” is a powerful and emotional ballad by Aerosmith, featured on their 1993 album Get a Grip. Written by lead singer Steven Tyler and frequent collaborator Richie Supa, the song delves into Tyler’s personal struggles with addiction, recovery, and self-discovery. Released as a single in November 1993, it achieved commercial success, peaking at number 24 on the US Billboard Hot 100, number three on the Billboard Album Rock Tracks chart, and charting in the top five in countries such as Canada and Norway. The song features Don Henley providing backing vocals, and its music video, directed by Marty Callner, became a staple of the MTV era.

“Amazing” is deeply reflective, offering an introspective look at Tyler’s battle with drug abuse and his eventual sobriety. The song opens with the poignant line, “I kept the right ones out and let the wrong ones in,” immediately setting the tone of regret and redemption. The lyrics describe the emotional turmoil of hitting rock bottom, with moments like “I was so sick and tired of living a lie, I was wishing that I would die,” illustrating the despair of addiction. But it’s the moments of realization and recovery that provide the emotional core, encapsulated in the recurring chorus: “It’s amazing / With the blink of an eye, you finally see the light.” The song takes listeners on a journey from darkness to hope, as Tyler reflects on the highs and lows of his life.

Musically, “Amazing” blends rock balladry with a soaring sense of optimism, propelled by the band’s classic hard rock sound and Tyler’s impassioned vocals. The song’s theme of overcoming adversity through self-reflection ties in with other songs in this list, such as One Day at a Time by Joe Walsh, which also explores the challenges of sobriety. While One Day at a Time is more grounded in the everyday struggle of recovery, Amazing conveys a more dramatic and grand narrative, complete with the imagery of “an angel of mercy” and “broken wings.” Both songs emphasize the importance of taking things slowly, with Tyler noting, “You have to learn to crawl before you learn to walk,” a sentiment shared by Walsh’s focus on living one day at a time.

In the broader context of rock songs about sobering up, “Amazing” stands out for its mix of personal vulnerability and triumphant sound, offering hope not only to Tyler but to “desperate hearts” facing similar struggles. As the closing line of the song suggests, “The light at the end of the tunnel may be you,” a message that reinforces the idea of self-discovery and finding inner strength through hardship.

Read More: Joe Perry of Aerosmith Interview: 13 Albums That Changed My Life

# 7 – The Needle and the Spoon – Lynyrd Skynyrd

“The Needle and the Spoon” is a haunting track from Lynyrd Skynyrd’s 1974 album Second Helping. This Southern rock song, written by Ronnie Van Zant and Allen Collins, is a raw and unflinching narrative about the destructive power of heroin addiction. The song serves as both a cautionary tale and a personal reflection on the dangers of substance abuse, especially in the context of the rock and roll lifestyle. While Second Helping is best known for the iconic “Sweet Home Alabama,” “The Needle and the Spoon” offers a far darker and more introspective message.

The song features a classic Skynyrd arrangement with hard-driving guitars, bluesy riffs, and Van Zant’s unmistakable gritty vocals. Its recording took place in early 1974 at the legendary Record Plant Studios in Los Angeles, with Al Kooper serving as the album’s producer. Kooper, known for his work with bands like Blood, Sweat & Tears and The Rolling Stones, helped the band craft the distinct sound that would come to define Southern rock. The musicians on this track include Gary Rossington and Allen Collins on guitar, Billy Powell on keyboards, Leon Wilkeson on bass, and Bob Burns on drums. Their contributions add depth and texture to the song, amplifying the intense message carried in the lyrics.

Lyrically, “The Needle and the Spoon” addresses addiction in stark terms. Lines like “It was the needle and the spoon / And a trip to the moon / Took me away” highlight the allure of drugs and the dangerous escapism they offer. The lyrics go on to express the personal cost of addiction: “I’ve been feelin’ so sick inside / Got to get better, Lord before I die.” The song doesn’t shy away from the grim consequences, warning listeners that those who “mess with the needle or a spoon” are on a path to destruction. This is reinforced by the cautionary tone in the line, “Lord, they’re gonna bury you boy,” which makes clear the fatal consequences of continued drug use.

Compared to other songs on this list about sobriety, such as Amazing by Aerosmith, “The Needle and the Spoon” takes a more direct, gritty approach to the theme of addiction. While “Amazing” reflects on recovery and finding hope after the struggle, Lynyrd Skynyrd’s track serves more as a warning to avoid the path of self-destruction in the first place. Both songs share a thematic core of battling demons and overcoming personal hardships, but “The Needle and the Spoon” carries a raw, almost desperate tone that makes its message resonate deeply with listeners facing similar struggles.

Read More: Top 10 Lynyrd Skynyrd Songs

# 6 – Tightrope – Stevie Ray Vaughan

“Tightrope,” from Stevie Ray Vaughan and Double Trouble’s In Step album, stands as a powerful reflection of Vaughan’s personal battle with sobriety. Released in 1989, In Step was Vaughan’s fourth studio album and the first following his recovery from years of substance abuse. The album’s title itself is a nod to his newfound sobriety, and “Tightrope” serves as a metaphor for the fragile balance Vaughan had to strike between his old destructive habits and his commitment to staying clean. As the last studio album Vaughan recorded before his tragic death in a helicopter crash in 1990, In Step captures the artist at a pivotal moment, showcasing both his extraordinary talent and his deeply personal struggles.

Recorded at Kiva Studios in Memphis, Tennessee, and produced by Jim Gaines, the album features Vaughan’s signature blues guitar work alongside Double Trouble members Chris Layton on drums, Tommy Shannon on bass, and Reese Wynans on keyboards. “Tightrope” combines a driving, infectious rhythm with Vaughan’s deeply emotional guitar playing, blending blues, rock, and a hint of funk. Lyrically, the song is a candid exploration of Vaughan’s internal battle with sobriety, capturing the essence of walking the fine line between self-destruction and redemption.

The lyrics of “Tightrope” vividly convey the sense of walking a perilous path. Lines like “Walkin’ the tightrope, steppin’ on my friends / Walkin’ the tightrope, was a shame and a sin” show how Vaughan’s previous behavior during his years of addiction caused harm not only to himself but to those around him. The repeated refrain, “Walkin’ the tightrope, every day and every night,” emphasizes the ongoing effort required to maintain sobriety. Unlike other songs on this list, such as “Amazing” by Aerosmith, which celebrates recovery and newfound clarity, “Tightrope” is more about the daily struggle of trying to stay on the right path. The song’s introspective lyrics and gritty guitar work make it a standout track about overcoming addiction, resonating with anyone who has experienced the difficult journey of recovery.

In comparison to Bonnie Raitt’s “Tangled and Dark,” which addresses the emotional entanglements that come with sobriety, “Tightrope” places more emphasis on the razor-thin edge between relapse and recovery. Both songs convey a deep sense of vulnerability but also hope, as the artists grapple with their pasts while moving toward a healthier future. Stevie Ray Vaughan’s “Tightrope” remains a testament to his resilience and his determination to confront his demons while continuing to create brilliant, heartfelt music.

Read More: Complete List Of Stevie Ray Vaughan Albums And Discography

# 5 – Wharf Rat – Grateful Dead

“Wharf Rat” is one of the Grateful Dead’s most profound and reflective songs, addressing themes of redemption, addiction, and the hope for recovery. Featured on their Skull and Roses live album released in 1971, the song was written by Jerry Garcia and Robert Hunter, the duo responsible for many of the band’s iconic tracks. The live album, often referred to as Skull and Roses due to its cover art, became a critical and commercial success for the band, solidifying their reputation as one of the most innovative live acts of their time. Recorded during their live performances at the Fillmore East in New York and the Fillmore West in San Francisco, Skull and Roses captures the raw energy of the Grateful Dead’s live shows, and “Wharf Rat” stands out as a deeply emotional ballad within the album.

“Wharf Rat” tells the story of a character named August West, a man who has fallen into the depths of addiction and homelessness. The lyrics, sung from August’s perspective, explore his struggle with alcoholism, loss, and eventual hope for redemption. August reflects on how his life has been dominated by drinking (“Half of my life / I spent doin’ time / For some other fucker’s crime / The other half found me stumbling ’round drunk on Burgundy wine”), but he also expresses a desire to turn his life around (“I’ll get up and fly away”). The song’s emotional depth is intensified by Garcia’s heartfelt vocal delivery and the band’s sensitive instrumentation, which supports the narrative of personal redemption. The hopeful refrain of “I’ll get up and fly away” resonates as a symbol of sobriety and self-renewal.

Musically, “Wharf Rat” is slow-paced, almost meditative, with a bluesy structure that complements the introspective lyrics. The song is carried by Garcia’s tender guitar playing, Phil Lesh’s steady bassline, and Bob Weir’s rhythm guitar. It also features prominent keyboard work by Ron “Pigpen” McKernan, adding an atmospheric layer to the live performance. The song’s reflective nature and storytelling approach makes it one of the Grateful Dead’s most poignant ballads. In contrast to other songs on this list, such as “One Day at a Time” by Joe Walsh, which takes a more direct approach to addiction and recovery, “Wharf Rat” is more allegorical and introspective. Both songs, however, share a deep emotional core centered on overcoming personal demons and striving for a better life.

“Wharf Rat” serves as a powerful representation of the Grateful Dead’s ability to blend narrative storytelling with emotional complexity, making it a key song in the discussion of sobriety and redemption. While it doesn’t directly call for recovery in the way that songs like Aerosmith’s “Amazing” do, its introspective lyrics and haunting melody encapsulate the struggles and hopes of those seeking a second chance.

Read More: A Look Back At The Grateful Dead’s Keyboard Players

# 4 – Got To Give It Up – Thin Lizzy

Read More: Scott Gorham of Thin Lizzy: The ClassicRockHistory.com Interview

# 3 – Just For Today – George Harrison

Read More: Top 10 George Harrison Songs

# 2 – The No No Song – Ringo Starr

Released in 1974 on Goodnight Vienna, Ringo Starr’s fourth solo studio album, “The No No Song” became one of his most memorable tracks, especially for its humorous take on sobriety. Written by Hoyt Axton and David Jackson, the song playfully narrates encounters with people offering the narrator various drugs and alcohol, which he cheerfully declines. Despite its lighthearted tone, “The No No Song” is a reflection of Starr’s personal struggles with substance abuse and his decision to turn his life around. At the time, Starr, like many of his contemporaries in the music world, was navigating the temptations of drugs and alcohol, making the song’s message of sobriety resonate on a deeper level for both the artist and his audience.

Recorded between August and October 1974 at Sunset Sound Recorders in Los Angeles, Goodnight Vienna was produced by Richard Perry, who had worked with Starr on his highly successful Ringo album the previous year. The sessions featured an all-star lineup, including contributions from John Lennon, Elton John, and Dr. John. “The No No Song” stood out on the album due to its catchy melody, playful lyrics, and upbeat rhythm. It reached number 3 on the Billboard Hot 100 in the United States, becoming one of Starr’s most successful solo singles. The track’s novelty feel made it a fan favorite, but beneath the surface humor lies a more serious message about the importance of saying no to destructive behaviors.

Lyrically, “The No No Song” is filled with humorous vignettes about various substances, from marijuana and cocaine to moonshine whiskey. Each time, Starr’s character politely refuses the offer, explaining that he no longer indulges in these vices because of their negative effects. The chorus, “No, no, no, no, I don’t smoke it no more / I’m tired of waking up on the floor,” is a clever way of portraying the struggle of addiction while making light of the situation. In comparison to songs like George Harrison’s reflective “Just for Today,” which takes a more introspective approach to the theme of sobriety, “The No No Song” uses humor and wit to address the same topic. This contrast between serious reflection and playful defiance adds variety to this list of songs about getting sober.

While “The No No Song” is not as emotionally heavy as tracks like Joe Walsh’s “One Day at a Time,” its impact lies in its straightforward message: sobriety is a better alternative to the chaos of substance abuse. The song’s cheerful tone and catchy melody make it a memorable anthem for those who have decided to say “no” to drugs and alcohol. Starr’s lighthearted approach to the topic provides a refreshing contrast to the more intense explorations of addiction found in other songs on this list, offering listeners a fun yet meaningful reminder of the benefits of a sober life.

Read More: Complete List Of Ringo Starr Albums And Discography

# 1 – Cold Turkey – John Lennon

“Cold Turkey” is the closing song on this list, and it marks the third solo song by a former member of The Beatles, following contributions from George Harrison and Ringo Starr. Released in 1969 as a single by the Plastic Ono Band, this song captures John Lennon’s raw and unapologetic portrayal of the agonizing experience of heroin withdrawal. Written during a creative outburst after Lennon and Yoko Ono decided to quit heroin “cold turkey,” the song is intensely personal, delivering a gritty and realistic portrayal of addiction recovery. The track reached number 30 on the Billboard Hot 100 in the United States and number 14 in the UK, demonstrating its impact despite its stark, unsettling themes.

“Cold Turkey” was recorded in Abbey Road Studio 2 and features a prominent guitar performance by Eric Clapton, adding an additional layer of intensity to the song’s relentless, pulsating rhythm. The track is notable for its raw sound and minimalistic approach, reflecting Lennon’s early efforts to distance himself from the polished production of The Beatles and dive into more visceral, unfiltered music. The song was first performed live on Live Peace in Toronto 1969, where Lennon famously read the lyrics off a clipboard, indicating the immediacy and urgency of its creation. The song’s repetitive structure and harrowing vocal delivery mirror the excruciating experience of withdrawal, both musically and lyrically.

Lennon’s stark lyrics vividly portray the physical and mental torment of going cold turkey from heroin. Lines like, “My body is aching, goose-pimple bone,” and “Thirty-six hours rolling in pain” reveal the brutal reality of withdrawal. In contrast to the introspective “Just for Today” by George Harrison, which reflects a more reflective, spiritual approach to addiction recovery, “Cold Turkey” takes listeners directly into the throes of suffering without any filter. This stark and relentless portrayal of addiction resonates powerfully with listeners, making it a bold and fitting conclusion to this list of songs about getting sober. Lennon’s willingness to lay bare his personal struggles has cemented “Cold Turkey” as one of the most unflinching songs about addiction in rock history.

Read More: 5 Essential John Lennon Albums

10 Best Rock Songs About Getting Sober article published on Classic RockHistory.com© 2024

October 6, 2024, 15 minutes ago

news megadeth dave mustaine heavy metal

In the AXS TV clip below, Dave Mustaine of Megadeth joins Vinyl Obsession host, Eric Young, to talk about all things music, including some of the albums that have inspired him over the years.

Bloodstock Festival organizers recently announced “Megadeth Week” with the following message:

“Metal fans, get ready for a treat! We’re showcasing THREE killer live tracks from Megadeth’s unforgettable headlining show at Bloodstock Open Air 2023! From October 21st through 27th, don’t miss these legendary performances”

October 21, 2 PM: “Sweating Bullets”
October 24, 2 PM: “Symphony Of Destruction”
October 27, 2 PM: “Conquer Or Die”

Check out a teaser video below:

TALENT WE LOST

Happy 66th
Robert Sarzo (OPERATION: MINDCRIME, HURRICANE) – October 6th, 1958

Happy 58th
Tommy Stinson (GUNS N’ ROSES, THE REPLACEMENTS) – October 6th, 1966

HEAVY RELEASES

Happy 52nd
GENESIS’ Foxtrot – October 6th, 1972

Happy 26th
MY DYING BRIDE’s 34.788%… Complete – October 6th, 1998

Happy 18th
BEHOLD…THE ARCTOPUS’ Skullgrid – October 6th, 2006
PARKWAY DRIVE’s Horizons – October 6th, 2006

Happy 15th
KISS’ Sonic Boom – October 6th, 2009

ANCESTORS’ Of Sound Mind – October 6th, 2009
HIRAX’s El Rostro De La Muerte – October 6th, 2009
HORSE THE BAND’s Desperate Living – October 6th, 2009
POWERMAN 5000’s Somewhere On The Other Side Of Nowhere

Happy 10th
SANCTUARY’s The Year The Sun Died – October 6th, 2014

ACID DRINKERS’ 25 Cents For A Riff – October 6th, 2014

Happy 7th
ANGEL VIVALDI’s Synapse – October 6th, 2017
AUGUST BURNS RED’s Phantom Anthem – October 6th, 2017
AUTOGRAPH’s Get Off Your Ass – October 6th, 2017
THE BLACK DAHLIA MURDER’s Nightbringers – October 6th, 2017

CTULU’s Cultus in Tenebris – October 6th, 2017
THE DARKNESS’ Pinewood Smile – October 6th, 2017
FIREBALL MINISTRY’s Remember the Story – October 6th, 2017
HAEMORRHAGE’s We Are the Gore – October 6th, 2017
LUNATIC SOUL’s Fractured – October 6th, 2017
MARILYN MANSON’s Heaven Upside Down – October 6th, 2017

Rock Interview Series recently caught up with Kingdom Come guitarist Danny Stag and drummer Matt Muckle. Formed in 1987, Kingdom Come released two iconic albums – their self-titled debut in 1988 and In Your Face in 1989.

They dive into the band’s current lineup, which includes original members Danny Stag on guitar, Rick Steier on guitar, and Johnny B. Frank on bass, along with newer members Matt Muckle on drums and Ezekiel Kaplan on vocals. The band is gearing up for a series of shows over the next few weeks, where they’ll be performing two brand-new songs.

Stag also shares stories from the early days of the band, including their unforgettable experience on the 1988 Monsters of Rock tour with Van Halen, The Scorpions, Dokken, and Metallica.

Stag commented on the band’s intended 2014 reunion with Kingdom Come’s original line-up, which never came to pass:

“We actually got to the point where we had an agent and shows were being booked and we were gonna start rehearsing out in L.A.. Lenny (Wolf / vocalist) flew out from Germany, and we got through one rehearsal, and it fell apart because James (Kottak / drums) had to go back to play with Scorpions.”

“Scorpions had told James, ‘Yeah, we’re winding it down. We’re only doing 50 or 60 shows a year now.’ They said, ‘Yeah, James, you can do Kingdome Come now with our blessing. Just don’t double book. If we have a show, don’t book a show on any of the dates where there’s a Scorpions show. And you’re still gonna get paid the same way.’ He wouldn’t have to change his contract or anything. They just said, ‘If you wanna fill in some days with Kingdom Come, that’s great.’ So that’s what we were gonna do.” 

“Then Klaus had surgery on his knee, and he had a change of heart, and he told James he couldn’t do it. They said, ‘We’re gonna do another record.’ Remember how Scorpions retired about six times in the last 10 years? This was this was one of those times. James had no choice. Well, he didn’t want to throw away a lot of money and screw the band over. So he said, ‘I’m sorry, guys. We can’t do it.’ He was in tears. He felt really bad.”

Kingdom Come / ex-Scorpions drummer, James Kottak, passed away in January 2024 at 61 years of age.

Kottak was also part of various touring bands including Warrant, and even Dio for a short run. He was also involved in other various projects, including the band Krunk that he sang lead vocals in and played guitar for in the mid 90’s.

(Photo credit: Joe Kleon)