Author: u0zp4y

Steve Vai says he came within an instant of performing with the rest of David Lee Roth’s original solo band at a club show in 2015. In fact, he had to fight the urge to hit the first notes.

Vai, bassist Billy Sheehan and drummer Gregg Bissonette from the former Van Halen frontman’s debut solo album Eat ‘Em and Smile were gathered at the Lucky Strike bowling club in Los Angeles after initially announcing a plan invite Steel Panther’s Michael Starr to front the group for a handful of jammed songs.

Then Vai decided to ask Roth if he’d be interested in taking part. To his surprise, Roth agreed.

As word spread, the venue filled up beyond its capacity and many more people had gathered outside. Safety measures meant the event had to be canceled.

READ MORE: Ranking Every Van Halen Album

Vai says he’d always enjoyed jamming at the Lucky Strike, so he welcomed Sheehan’s invitation. “I suggested I would call Dave Roth to see if he would be interested,” Vai explained in a social media post, “though I thought it was a long shot. But surprisingly, Dave was very into it.”

Of course, “nobody knew Dave was going to be there. They thought it was myself, Billy, Gregg and our most wonderful keyboard player in the DLR band, Brett Tuggle (God rest his beautiful soul); and Ralph [Saenz, aka Starr] belting out Roth, which he does very well.”

Vai said the “line was four people wide and stretched all the way around the building” when he and Roth arrived, adding that around 2,000 people were already inside the 350-capacity room. “We were all ready to go,” he recalled, “and the only thing I needed to do was play the first chord of ‘Yankee Rose’ and the curtain would open, Dave would come out, and we would be off.

But “right when I was about to hit the chord, the club manager came to me and said the fire marshal… was shutting down the gig, and they were evacuating the building. The urge to just hit the chord was overwhelming in me, but I asked, ‘What happens if I play?’

Steve Vai’s Desire to Break the Law

“He said, ‘You’ll be fined.’ I said, ‘Fine, I’ll pay the fine – how much is it?’ He ran away … came back and said, ‘The fine would be $5k.’ I said, ‘Great, I’ll pay it.’ And then he said, ‘No Steve, they also said if you play, the venue would be shut down, lose their license, and you, the band and the club owners can be arrested.’”

Vai admitted it “only fueled my fire to hit the chord because I thought, ‘Ah, getting arrested over something like this would be pretty cool.’” But,he added, “I had to think of the club owner, and also the fire marshal who was walking towards me, so I mustered up all the strength I had in me and put my pick down. I felt gutted.”

Photos accompanying his post show Vai telling his colleagues that they can’t perform. After he’d explained, Vai went to find Roth, who was waiting nearby. “In true Roth fashion, he said, ‘Perfect! Now we’ll get more press out of it than if we actually played.’ And you know what? He was right. The situation was all over the news.”

In the end, Vai said he wondered “what would have happened if I hit the chord? Do you think I should have?”

Rock Feuds: David Lee Roth vs. Sammy Hagar

Please” might just be one of the most evocative words in rock and roll, carrying with it a weight of vulnerability, urgency, and raw emotion. Whether it’s a plea for love, forgiveness, or simply a moment of connection, this single word has powered some of the most memorable songs in music history. It’s a word that bridges the gap between longing and hope, transforming a simple request into an anthem that resonates with listeners on a deeply personal level. This list dives into the artistry behind the word “please,” celebrating the ways it has shaped rock, soul, and pop classics.

Sabrina Carpenter adds a contemporary touch to the theme with “Please Please Please,” delivering a modern anthem of longing that bridges pop sensibilities with heartfelt earnestness. James Brown’s “Please, Please, Please” set the standard for raw emotional delivery, capturing desperation in its purest form. Sam Cooke’s “Baby Won’t You Please Come Home” showcases his velvet-smooth voice in a tender plea for reconciliation. Dave Loggins’ “Please Come to Boston” paints a vivid picture of love’s sacrifices, weaving heartfelt lyrics into a soft rock classic.

Tom Waits’ “Please Call Me Baby” is a smoky, late-night ballad drenched in raw emotion, a masterful blend of storytelling and grit. Cliff Richard’s “Please Remember Me” brings a touch of poignancy, reminding us of love’s fragility and the yearning to hold onto what matters. Grand Funk Railroad electrifies the word “please” in “Please Don’t Worry,” pairing their powerhouse sound with a message of defiance. The Eagles deliver a holiday classic with “Please Come Home for Christmas,” blending soulful warmth with bittersweet longing.

The Carpenters’ “Please Mr. Postman” combines pop perfection with a universal sentiment of anticipation and hope, making it one of their most enduring hits. Finally, The Beatles close this list with “Please Please Me,” a song that defined an era with its irresistible blend of energy, charm, and groundbreaking harmony.

From soulful ballads to rock anthems, these songs prove that the word “please” carries an undeniable power. It’s a word that captures hearts, ignites emotions, and transcends genres, making it an indelible part of music’s universal language. Whether pleading, persuading, or passionately proclaiming, these tracks remind us why “please” is more than just a word—it’s a feeling.

# 10 – Please Please Please – Sabrina Carpenter

Since Sabrina sings this word three times in a row, we thought this should be the perfect song to open up with. Even though she may not be considered classic rock, it’s close enough, and everything is connected, which we always say. If you want to complain, just let us know—we’ll give you the number for our complaint department. It’s open from 6:00 a.m. to 6:02 a.m. every day. Now, onto the song itself!

“Please Please Please” by Sabrina Carpenter stands out as a vulnerable and heartfelt track, showcasing her distinctive ability to blend modern pop sensibilities with deeply personal storytelling. This song was recorded during sessions for her critically acclaimed album Singular: Act II, released in July 2019, and it features Carpenter’s trademark emotional vocal delivery. The track was produced by Jason Evigan, known for his work with contemporary pop artists, and its instrumentation includes lush synths, subtle guitar flourishes, and a rhythm section that emphasizes the song’s plea-like lyrical content.

The song unfolds with a gentle opening, driven by Carpenter’s voice as she addresses themes of longing, vulnerability, and hope. The repetition of “please” amplifies the emotional weight, transforming a simple word into a poignant, recurring mantra. The production remains understated, allowing her vocal performance to shine while underscoring the song’s central message. While not a “rock” song in the traditional sense, its emotional resonance and raw honesty earn it a rightful place on this list, demonstrating that powerful lyrics and melodies transcend genres.

Lyrically, “Please Please Please” offers a narrative of vulnerability and emotional transparency. Lines like “I’ll do anything, just please don’t go” convey a universal feeling of desperation and connection, which echoes the sentiment found in songs like “Please Please Me” by The Beatles. However, where The Beatles’ track is an upbeat request for affection, Carpenter’s approach is more introspective and soul-baring, exploring the fragility of relationships with modern flair. The layered harmonies and the rising tension in the bridge mirror her internal conflict, adding depth to the track and setting it apart from other songs in the list.

Ultimately, “Please Please Please” not only opens the list with its triple-worded title but also with a reminder that heartfelt emotion is timeless. Sabrina Carpenter’s ability to channel vulnerability into a compelling musical narrative makes this track a standout. While it may veer away from the traditional rock canon, its inclusion highlights the universal appeal of songs that speak directly to the heart.

Read More: Top 10 Sabrina Carpenter Songs

# 9 – Please, Please, Please – James Brown

“Please Please Please,” performed by James Brown and the Famous Flames, is a milestone in rhythm and blues history. Released as their debut single on February 26, 1956, and recorded at King Studios in Cincinnati, Ohio, this heartfelt plea cemented Brown’s reputation as a musical innovator. Co-written by Brown and Johnny Terry, the track’s raw emotion and relentless repetition of the title phrase create an intense listening experience. Produced by Ralph Bass, the recording features a tight rhythm section, with Nafloyd Scott on guitar and Lucas “Fats” Gonder on piano, supporting Brown’s impassioned lead vocal.

The song’s impact extended beyond the R&B charts, where it peaked at No. 6. “Please Please Please” became James Brown’s signature song, a staple in his performances, and a key building block in his career.  Lyrically, the song’s earnest repetition of “please” emphasizes desperation and heartbreak, making it an anthem of longing and loss. This lyrical directness and its live evolution into a dramatic, cape-draped performance solidified Brown’s reputation as a master showman. The song’s minimalist arrangement, combined with its emotional intensity, resonates as powerfully today as it did in the mid-1950s. “Please Please Please” not only launched James Brown’s career but also laid the foundation for a genre that prioritized soul-stirring, heartfelt expression.

Read More: Top 25 James Brown Songs

# 8 – Baby Won’t You Please Come Home – Sam Cooke

Sam Cooke’s rendition of “Baby Won’t You Please Come Home” exemplifies his unparalleled ability to infuse blues standards with a distinct soulful elegance. The song, originally written in 1919 by Charles Warfield and Clarence Williams and immortalized by Bessie Smith’s 1923 version, receives a heartfelt interpretation under Cooke’s emotive tenor. Recorded in the early 1960s during his tenure at RCA Victor, Cooke’s version highlights the nuanced vulnerability he brought to his repertoire. While specific recording details are scarce, the production reflects the polished yet emotionally resonant aesthetic that typified Cooke’s collaborations with producers such as Hugo Peretti and Luigi Creatore.

Cooke’s vocal delivery on “Baby Won’t You Please Come Home” brims with longing, underscored by a restrained instrumental arrangement. The accompaniment—likely featuring veteran session players such as drummer Earl Palmer and pianist Billy Preston—provides a steady backdrop of bluesy elegance without overpowering Cooke’s voice. The subtle brass interjections and the gently swaying rhythm mirror the song’s bittersweet narrative, allowing Cooke to carry the emotional weight of the lyrics. His ability to oscillate between subtle pleading and soaring passion elevates this classic, turning it into a deeply personal appeal that resonates across generations.

Lyrically, the song is a plea drenched in heartache, as the protagonist implores their lost love to return. Lines like “When you left, you broke my heart / Because I never thought we’d part” showcase the timeless themes of longing and regret, which Cooke delivers with an authenticity that feels as fresh as it does timeless. Compared to James Brown’s fervent “Please, Please, Please,” featured earlier in this list, Cooke’s performance is less about desperation and more about a quiet, resigned hope. Both songs explore themes of pleading for a lost love, but Cooke’s restrained interpretation offers a counterpoint to Brown’s dramatic, sweat-soaked delivery.

Sam Cooke’s version of “Baby Won’t You Please Come Home” is a testament to his ability to reinterpret and refresh classics while maintaining their emotional core. It captures a moment of musical history when blues, soul, and pop converged, ensuring that this track stands out as both a tribute to its roots and a showcase of Cooke’s timeless artistry.

Read More: Top 10 Sam Cooke Songs

# 7 – Please Call Me, Baby – Tom Waits

Tom Waits’ “Please Call Me, Baby,” featured on his 1974 album The Heart of Saturday Night, is an evocative and deeply personal ballad that encapsulates the raw emotions of love, regret, and yearning. Recorded at Sunset Sound Studios in Los Angeles, the song was produced by Bones Howe, marking the beginning of a fruitful decade-long collaboration between Howe and Waits. This track is a quintessential example of Waits’ early style, blending his signature gruff vocals with delicate piano arrangements, backed by the nuanced contributions of session musicians such as Jim Hughart on double bass and Jim Gordon on drums.

Lyrically, “Please Call Me, Baby” is a confessional plea for reconciliation amidst the turmoil of a volatile relationship. The song captures the tension between love and discord with lines like, “If this is love, we’re crazy / As we fight like cats and dogs.” Waits’ poetic depth shines as he balances vulnerability with self-awareness, admitting, “I ain’t no angel, I admit that I ain’t no saint.” The narrative is steeped in the urban melancholy that pervades The Heart of Saturday Night, with imagery of rain-slicked streets and cold nights amplifying the song’s mood of desolation and hope. The haunting refrain, “Please call me, baby, wherever you are,” resonates as both a plea and a lament.

Musically, the song leans into a jazz-inflected style, with Waits’ piano driving the arrangement alongside the warm textures of Pete Christlieb’s tenor saxophone. Compared to James Brown’s “Please, Please, Please” from earlier in this list, Waits’ approach is introspective and restrained, contrasting with Brown’s impassioned soul anthem. While Brown channels a collective desperation, Waits dives into personal introspection, revealing the complexities of love in a way that feels both timeless and uniquely his own.

“Please Call Me, Baby” is a poignant highlight of The Heart of Saturday Night, reflecting the intimate storytelling and artistic authenticity that defined Waits’ early career. It stands as a testament to his ability to weave vivid narratives with understated yet profoundly moving musicality, earning its place among the best songs featuring the word “please.”

Read More: Top 10 Tom Waits Songs Of The 1970s

# 6 – Please Remember Me – Cliff Richard

Cliff Richard’s “Please Remember Me,” featured on his 1978 album Green Light, stands as a heartfelt ballad that captures the bittersweet emotions of love and separation. Written by Dave Loggins and Bruce Woodley, the song is both tender and haunting, showcasing Richard’s emotive vocal delivery against an understated arrangement. Recorded at Abbey Road Studios, Green Light represented a shift for Richard, moving toward a more contemporary sound after the success of his 1976 comeback album I’m Nearly Famous. However, despite its poignant lyrics and Richard’s impassioned performance, “Please Remember Me” struggled commercially, failing to chart as a single in the UK, but it has earned a dedicated following among his fans.

The lyrics unfold the story of a couple at a crossroads, caught between their love for each other and the circumstances pulling them apart. Lines such as “I’m the one that loves you, please remember me” evoke a deep sense of longing, as the song reflects on the fragility of relationships and the hope for reconciliation. Musically, the track features a delicate interplay of guitars, keyboards, and strings, with backing vocals by Stuart Calver, Tony Rivers, and John Perry adding depth to the emotional narrative. This introspective tone sets it apart from the more upbeat tracks on Green Light, such as the title track or “Count Me Out.”

In comparison to other songs on this list, such as Tom Waits’ “Please Call Me, Baby,” “Please Remember Me” shares a similar theme of yearning and emotional vulnerability, but Richard’s delivery leans more into polished pop sensibilities rather than the raw, jazz-inflected intimacy of Waits’ work. Both songs, however, emphasize connection through their evocative storytelling, making them poignant additions to this exploration of songs featuring the word “please.”

Though it did not achieve widespread acclaim upon its release, “Please Remember Me” remains a testament to Cliff Richard’s ability to convey profound emotions through his music. It reflects the timeless struggles of love and memory, serving as a poignant reminder of the enduring complexities of human relationships.

Read More: 25 Essential Cliff Richard Songs

# 5 – Please Don’t Worry – Grand Funk Railroad

Grand Funk Railroad’s “Please Don’t Worry,” from their 1969 sophomore album Grand Funk (often called The Red Album), is a fiery and unapologetic anthem of youthful rebellion. Written by Mark Farner and Don Brewer, the track captures the essence of the band’s hard-driving sound, blending raw rock energy with blues-infused grooves. Recorded at Cleveland Recording Company under the guidance of producer Terry Knight, the album was released during the height of the counterculture movement, and this track perfectly mirrors that era’s defiant attitude. The chemistry between the trio—Farner on guitar and vocals, Mel Schacher on bass, and Brewer on drums—propels the song with a sense of urgency and boldness.

Lyrically, “Please Don’t Worry” embodies a carefree defiance of societal norms and expectations. The recurring line, “Please don’t worry ’bout no jury, there’s so many of us anyway,” resonates as a rallying cry for individuality and nonconformity. Farner’s gritty vocal delivery, combined with Schacher’s thunderous basslines and Brewer’s powerhouse drumming, creates a track that feels as liberating as it is rebellious. The lyrics touch on themes of self-expression and resilience, addressing detractors with a mix of humor and unapologetic confidence: “Hey, can’t you see, you look funny to me? But I’m just tryin’ to be polite.”

Musically, the song’s blend of blues rock and proto-metal elements aligns with the band’s signature sound, which would go on to influence countless rock acts of the 1970s. Compared to other tracks on this list, such as Tom Waits’ introspective “Please Call Me, Baby,” “Please Don’t Worry” is a raucous declaration of independence, underscoring Grand Funk’s role as a band that celebrated raw, unfiltered rock energy. The driving rhythm and assertive tone of the song set it apart as a bold entry in this compilation of songs with “please” in the title.

“Please Don’t Worry” encapsulates the essence of Grand Funk Railroad’s early appeal—a no-frills rock ethos paired with a spirited defiance of convention. It’s a track that still resonates with fans of classic rock, reminding listeners of the power of unapologetic self-expression in both music and life.

Read More: An Interview With Don Brewer Of Grand Funk Railroad

# 4 – Please Come To Boston – Dave Loggins

Dave Loggins’ “Please Come to Boston,” released in 1974, is an emotional masterpiece that showcases the intersection of storytelling and melody. Written and recorded by Loggins himself, the song first appeared on his album Apprentice (In a Musical Workshop) and became his most enduring hit. Produced by Jerry Crutchfield and recorded in Nashville, Tennessee, the track captures a poignant blend of folk, country, and soft rock that resonated with audiences across generations. The song climbed to number five on the Billboard Hot 100 and reached number one on the Easy Listening chart, cementing Loggins’ place as a significant voice in 1970s singer-songwriter circles.

“Please Come to Boston” is a conversational ballad that chronicles the narrator’s plea to a lover to join him as he moves from city to city in pursuit of his dreams. Each verse is set in a different locale—Boston, Denver, and Los Angeles—painting a vivid picture of romantic longing against the backdrop of changing scenery. The refrain, “Please come to Boston for the springtime,” followed by the poignant reply, “She said, ‘No, boy, you come home to me,’” encapsulates the conflict between personal ambition and the pull of home. Loggins’ tender, yearning vocal performance enhances the song’s bittersweet essence, with understated acoustic guitar and piano arrangements supporting its narrative flow.

Lyrically, the song’s themes of love, sacrifice, and the search for belonging are universal and timeless. In comparison to Sam Cooke’s “Baby Won’t You Please Come Home,” featured earlier in this list, Loggins’ plea is more introspective, as it reflects the internal struggle of choosing between a nomadic life and the stability of love. Both tracks delve into emotional appeals, but Loggins’ song unfolds with a narrative structure that evokes a broader sense of place and movement.

“Please Come to Boston” remains a hallmark of 1970s Americana, cherished for its heartfelt simplicity and evocative storytelling. Its delicate balance of melody and narrative continues to strike a chord with listeners, ensuring its legacy as one of the most moving songs to feature the word “please” in its title.

Read More: 40 Of Our Favorite One-Hit Wonders Songs Of The 1970s

# 3 – Please Come Home For Christmas – The Eagles

The Eagles’ rendition of “Please Come Home for Christmas” is a soulful and bittersweet holiday classic, released as a single in November 1978. Originally penned by blues singer Charles Brown and Gene Redd in 1960, the song was given a polished rock interpretation by the Eagles, blending their signature harmonies with the melancholy heart of the original. Recorded during their commercial peak, this version highlights the band’s ability to adapt their West Coast sound to a timeless seasonal favorite, cementing it as a staple of Christmas playlists.

The Eagles’ version was recorded with Don Henley on drums and lead vocals, Joe Walsh and Don Felder on guitars, Glenn Frey on piano, and Timothy B. Schmit on bass, encapsulating the tight musicianship that defined the band. Produced by Bill Szymczyk, the track was likely recorded at The Record Plant in Los Angeles, a frequent studio for the Eagles during this era. Their arrangement retains the song’s soulful roots while enhancing it with lush instrumental layers, including ringing piano chords and tasteful guitar fills that evoke the festive yet introspective mood of the holiday season.

Lyrically, “Please Come Home for Christmas” expresses the longing and heartbreak of being apart from loved ones during the holidays. The opening lines, “Bells will be ringing the sad, sad news,” immediately set a poignant tone, while the refrain—“If not for Christmas, by New Year’s night”—captures the hope of reconciliation. Henley’s emotive vocal delivery imbues the song with an aching sincerity, perfectly complemented by the band’s rich harmonies. Compared to other songs on this list, such as Cliff Richard’s wistful “Please Remember Me,” this track leans heavily into the yearning for connection that defines the holidays, making it both deeply personal and universally relatable.

“Please Come Home for Christmas” achieved significant chart success, reaching No. 18 on the Billboard Hot 100, an unusual feat for a holiday song. Its enduring appeal lies in the Eagles’ seamless blend of rock, blues, and holiday sentimentality, creating a version that feels both festive and timeless. This song remains a standout not only in the band’s catalog but also in the realm of holiday music, a testament to the power of emotional honesty and musical craftsmanship.

Read More: The Eagles Best Song From Each Of Their Studio Albums

# 2 – Please Mr. Postman – The Carpenters

The Carpenters’ cover of “Please Mr. Postman” reimagines the Marvelettes’ 1961 Motown classic with their signature polished sound. Released in November 1974 as a single from their album Horizon, the song became a massive hit, reaching No. 1 on the Billboard Hot 100 in January 1975. This rendition exemplifies the duo’s ability to take a well-known track and transform it into a vehicle for their lush vocal harmonies and Karen Carpenter’s warm, distinctive lead vocal.

The Carpenters recorded their version of “Please Mr. Postman” at A&M Studios in Los Angeles, with Richard Carpenter handling the arrangement and production. The instrumental track features Richard on keyboards, Tony Peluso’s vibrant lead guitar, and Hal Blaine’s impeccable drumming, alongside Joe Osborn’s bassline that drives the song’s upbeat energy. This version leans into a breezy pop style, contrasting the rawer, rhythm-and-blues-inflected original by the Marvelettes. The arrangement includes playful sound effects, like a postal truck horn, which enhance the song’s narrative charm.

Lyrically, “Please Mr. Postman” is a plea for a long-awaited letter from a loved one, capturing a mix of hope, anticipation, and desperation. Karen Carpenter’s emotive delivery elevates this sentiment, giving it an innocent yet heartfelt resonance. The refrain, “Please, Mr. Postman, look and see / If there’s a letter in your bag for me,” carries universal appeal, resonating with anyone who has waited for news or connection from afar. Compared to other songs on this list, like Tom Waits’ introspective “Please Call Me Baby,” this track stands out for its lighthearted, nostalgic optimism.

Commercially, the Carpenters’ version of “Please Mr. Postman” became one of their biggest hits, marking their 10th Top 10 entry on the Hot 100. It also topped charts internationally, including in Canada and Australia, demonstrating the global appeal of their pristine production and Karen’s golden voice. While the original Motown version is considered a cornerstone of early 1960s pop, the Carpenters’ rendition reinvigorated the song for a new generation, maintaining its place as a beloved pop classic.

Read More: Top 10 Carpenters Songs

# 1 – Please Please Me – The Beatles

Closing this list with “Please Please Me” by The Beatles feels fitting, as this song not only shaped the trajectory of their legendary career but also encapsulates the youthful exuberance and irresistible charm that defined early rock and roll. Recorded on November 26, 1962, at EMI Studios in London, the track was produced by George Martin, who famously pushed the band to quicken the tempo for a more dynamic delivery. This decision paid off, as “Please Please Me” became their first No. 1 single on most UK charts, marking the arrival of a phenomenon that would soon sweep the globe.

Musically, “Please Please Me” showcases a perfect blend of John Lennon’s earnest lead vocals, Paul McCartney’s buoyant harmonies, and George Harrison’s crisp guitar lines. Ringo Starr’s steady drumming anchors the song with energy and precision. Influenced by Roy Orbison and The Everly Brothers, Lennon originally conceived the track as a slower, bluesy ballad before transforming it into the lively, uptempo piece that listeners now recognize. The harmonica riff, performed by Lennon, adds a distinctive flair, setting the song apart from its contemporaries and emphasizing the band’s knack for crafting unforgettable hooks.

Lyrically, the song’s direct plea for romantic reciprocation carries a playful urgency, with lines like “Why do you make me blue?” adding a relatable touch of longing. This theme of heartfelt yearning echoes sentiments found in tracks like Sam Cooke’s “Baby Won’t You Please Come Home,” which also blends emotional depth with musical sophistication. However, where Cooke leans into soulful vulnerability, The Beatles infuse “Please Please Me” with an infectious optimism that radiates through every note.

“Please Please Me” not only solidified The Beatles’ foothold in the music industry but also laid the foundation for their future innovations. Its success paved the way for the release of their debut album, Please Please Me, recorded in just one day—a testament to their youthful vigor and raw talent. As the finale to this list, the song serves as a reminder of how the word “please” can echo across genres and generations, creating timeless connections through melody and emotion.

Read More: Top 100 Beatles Songs

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

10 Best Songs With The Word ‘Please’ In The Title article published on Classic RockHistory.com© 2024

Our top 25 best classic rock comeback albums list looks at a group of bands and artists who released albums after being away for a long time. However, this comeback list does not just include artists who have not released albums for a long time. Quite frankly, it includes albums from artists who did not release good albums for a long period of time or at least released albums that signified a return to form. Of course, that’s all subjective, but we stand by our own picks. First and foremost, the comeback albums must be GOOD to make the list. It’s not about an artist or band who has been away for thirty years and then released a new album that wasn’t up to the quality of their previous releases. It’s about artists coming back with GREAT albums. Some of these will be obvious, and others may be surprising. But that’s what makes for an exciting read. We hope you enjoy our 25 Best Classic Rock Comeback albums list.

The comeback category in rock music started with the Elvis Presley Comeback Special album in 1968. Since then, record companies have loved to promote album covers when it’s an artist’s first album in x amount of years. How many times have you seen “xxx first new studio album in 13 years” on an album cover? Well, that’s all disappearing since most artists have stopped releasing new albums. Which, in reality, may fuel more comeback albums than we have ever seen if people start repurchasing physical products. Nonetheless, here are our 25 best classic or just best rock comeback albums ever released.

# 25 – A Different Kind of Truth – Van Halen

We wanted to open this list with a really good one. Van Halen’s A Different Kind of Truth was the first Van Halen album released in fourteen years since the release of Van Halen III in 1998, which many people feel was the worst Van Halen album ever issued. Furthermore, A Different Kind of Truth was the first Van Halen album to feature David Lee Roth on lead vocals in twenty-eight years since the release of 1984 in 1984.

Read More: Top 10 Van Halen Songs

# 24 – Long Road Out of Eden  – The Eagles

The Eagles Long Road Out Of Eden album was released in 2007. It was the band’s first full length new studio album in twenty eight years since the release of The Long Run in 1979. That’s a long time.

Read More: The Eagles Best Song From Each Of Their Studio Albums

# 23 – Mystery Girl – Roy Orbison

Roy Orbison’s Mystery Girl was the legendary singer’s first studio album in ten years. Fueled by his renewed popularity as a member of the Traveling Wilburys, it featured an all-star cast of musicians and became one of the most successful albums of his career. Sadly, he passed away before it was released.

Read More: Top 10 Roy Orbison Songs

# 22 – Ordinary Man – Ozzy Osbourne

Ozzy Osbourne’s great Ordinary Man album was released in 2020. His previous album was released 10 years earlier, in 2010, entitled Scream. Ten years man, it’s as simple as that.

# 21 – Celebration Day – Led Zeppelin

Led Zeppelin returning for one night is better than most bands returning forever. If they had continued to carry on, this would be number one on the list, but since their comeback only lasted less than three hours, we had to place this one appropriately. Still, it was nice to have a new Led Zeppelin album in the 2000s that was recorded in the 2000s, even though it contained no new material.

Read More: Top 10 Led Zeppelin Songs

# 20 – Angel of Retribution – Judas Priest

Angel of Retribution was a colossal comeback album for Judas Priest because it was the first Judas Priest album in fifteen years to feature the return of their original legendary lead singer, Rob Halford. Angel of Retribution was released in 2005. Rob Halford’s last appearance on a Judas Priest album was on Painkiller in 1990.

# 19 – Supernatural – Santana

Santana’s Supernatural album hit number one in 1999. It featured six successful singles and became Santana’s most successful album ever. It was Santana’s first album in seven years.

# 18 – Black Gives Way To Blue – Alice In Chains

One listen to this fabulous album and you will understand why we included it on the list. The Black Gives Way To Blue Alice In Chains album was the band’s first album in fourteen years and the first Alice In Chains album released without their former vocalist Layne Staley who had passed away in 2002.

# 17 – Tug Of War – Paul McCartney

Paul McCartney had released so many solo albums with and without Wings leading up to the Great Tug Of War. Tug Of War was considered a comeback album because it contained such brilliant songs that many people felt it was his best album since the breakup of The Beatles. We agree.

# 16 – That’s The Way It Always Should Be – Booker T. & The M.G.s

Booker T. & The MG’s were one of the most important bands of the 1960s. They played on countless recordings as the back up band for so many STAX recording artists. They released a series of very successful solo albums in the 60s headed by their big hit “Green Onions.” That’s The Way It Always Should Be was their first new studio album released in seventeen years since their 1977 album Universal Language.

# 15 – Private Dancer –  Tina Turner

Tina Turners Private Dancer album was a huge hit in 1984. Tuna Turner’s last big hit was in the early 1970s with her husband Ike who was discovered to be abusive. Private Dancer was a successful celebration of independence both artistically and personally for Tina Turner.

# 14 – Permanent Vacation – Aerosmith

After becoming one of the greatest rock bands of the 1970s, the band went through hell in the early 1980s. It had gotten so bad for the band, they were playing some nightclubs. However, the band signed with Geffen Records and brought some songwriters aboard like the great Jim Vallance and bam! Aerosmith was back.

# 13 – Bat Out Of Hell II – Meat Loaf

This one was a real shocker after delivering one of the greatest albums of the 1970s with the original Bat Out Of Hell album, and then releasing a series of mediocre recordings in the 1980’s Meat Loaf teamed up once again with Jim Steinman to release one heck of a blockbuster album in 1993. The Bat Out of Hell II album was released sixteen years after the original.

# 12 – American Recordings– Johnny Cash

Johnny Cash’s 1994 album was a comeback album in terms of importance. We laugh when people comment that Cash is not rock and roll. The ignorance of that comment just defines a complete misunderstanding of what rock and roll really means. Some people just look at the pictures, the titles or the headlines. Others read, listen, feel, live, learn, hurt, and celebrate. And if you don’t get that, well, you just don’t get it.

# 11 -Time Out of Mind – Bob Dylan

Bob Dylan returned to the studio in 1997 and released his most poignant album in years. Not since 1974’s Blood on The Tracks had Bob Dylan released an album so highly praised by fans and critics.

# 10 – 68 Comeback Special – Elvis Presley

Elvis Presley’s 69 Comeback album was based on the televised special which featured Elvis’s ‘first live performances in seven years. Elvis Presley’s ’68 Comeback Special was more than just an album—it was a monumental moment that redefined his career. Released as the soundtrack to his iconic television special aired on December 3, 1968, this album captured the raw energy, charisma, and talent of a performer reclaiming his throne as the King of Rock and Roll. Recorded at NBC Studios in Burbank, California, in June 1968, the album was produced by Steve Binder and Bones Howe. It featured a mix of live performances, informal jam sessions, and powerful studio recordings, offering a dynamic blend of Presley’s greatest hits and fresh interpretations.

Musicians backing Elvis included his trusted guitarist Scotty Moore and drummer D.J. Fontana, alongside a stellar lineup of session players like Hal Blaine on drums, Tommy Tedesco on guitar, and Larry Knechtel on keyboards. The backing vocals by The Blossoms, featuring Darlene Love, added soulful depth to the performances. Tracks like “Heartbreak Hotel” and “Hound Dog” brim with electrifying energy, while the emotional delivery of “If I Can Dream” closed the album and the television special with a message of hope and conviction.

Critics and fans alike praised ’68 Comeback Special as a landmark in Elvis’s career. It reignited his relevance in the music world and demonstrated his unmatched ability to connect with audiences. The album reached No. 8 on the Billboard 200 chart, a testament to its enduring appeal. Its success not only revitalized Presley’s career but also paved the way for his celebrated Las Vegas performances and his subsequent string of hit albums.

CD Track Listings:

1. “Trouble/Guitar Man” – 3:26
2. “Lawdy Miss Clawdy” – 1:52
3. “Baby, What You Want Me to Do” – 2:50
4. “Heartbreak Hotel” – 1:45
5. “Hound Dog” – 1:35
6. “All Shook Up” – 1:00
7. “Can’t Help Falling in Love” – 2:18
8. “Jailhouse Rock” – 1:25
9. “Love Me Tender” – 3:45
10. “Are You Lonesome Tonight?” – 2:45
11. “Blue Christmas” – 2:20
12. “Trying to Get to You” – 2:40
13. “One Night” – 2:35
14. “Memories” – 3:07
15. “If I Can Dream” – 3:10

# 9 –  Seven Turns – The Allman Brothers

Nothing can revitalize a band like new blood. The addition of Warren Haynes and Alan Woody from Dickey Betts’ solo band sparked the return of the Allman Brothers Band in 1990 with their best album since Enlightened Rogues in 1979.

The Allman Brothers Band made a triumphant return to form with Seven Turns, their first studio album in nearly a decade. Released in 1990, this album marked a rejuvenation of the band’s signature blend of Southern rock, blues, and jazz influences. Recorded at Ardent Studios in Memphis, Tennessee, and Universal Recording in Orlando, Florida, the album was produced by the band alongside Tom Dowd, a longtime collaborator whose guidance had been instrumental in shaping their classic sound. With its focus on heartfelt songwriting and tight, soulful performances, Seven Turns was a clear statement that the Allman Brothers were back and better than ever.

The lineup for this album included Gregg Allman on vocals and keyboards, Dickey Betts on guitar and vocals, Jaimoe and Butch Trucks on drums, Warren Haynes on guitar and vocals (in his debut with the band), Allen Woody on bass, and Marc Quiñones adding percussion. The addition of Haynes and Woody injected fresh energy into the group, blending seamlessly with the seasoned veterans. Tracks like “Good Clean Fun” showcase Betts’s melodic guitar work, while “True Gravity” reveals the band’s knack for intricate instrumental interplay. Gregg Allman’s evocative vocals are front and center on “It Ain’t Over Yet,” adding emotional depth to the album.

Critically, Seven Turns was lauded as a return to form, with many reviewers praising the balance between the band’s storied past and their reinvigorated present. Commercially, the album performed well, reaching No. 53 on the Billboard 200 chart and producing a hit single with the title track, “Seven Turns,” which reached No. 12 on the Mainstream Rock Tracks chart. The album’s mix of reflective ballads and high-energy jams reminded fans and critics alike of why the Allman Brothers Band had become legends in the first place.

CD Track Listings:

1. “Good Clean Fun” – 5:10
2. “Let Me Ride” – 4:38
3. “Low Down Dirty Mean” – 5:30
4. “Shine It On” – 4:49
5. “Loaded Dice” – 3:29
6. “Seven Turns” – 5:03
7. “Gambler’s Roll” – 6:45
8. “True Gravity” – 7:58
9. “It Ain’t Over Yet” – 4:55

# 8 – The Rising – Bruce Springsteen and the E Street Band

While Bruce Springsteen had released multiple studio albums with different configurations of musicians in the 1980s and 1990s, his album The Rising was the first full E Street Band album in eighteen years since the release of Born in the U.S.A. in 1984. Released in 2002, The Rising was meant to help heal the wounds of 9/11. It was done with class, dignity and respect and stands as one of the most important artistic responses to the tragedy of 9/11.

This deeply moving album was recorded between January and March 2002 at Southern Tracks Recording Studio in Atlanta, Georgia, and produced by Brendan O’Brien, whose touch brought a contemporary energy to the classic Springsteen sound. Born out of the collective grief and resilience following the September 11, 2001, terrorist attacks, The Rising is both a reflection on tragedy and a testament to the enduring power of hope and community.

The album features the full E Street Band, including Clarence Clemons on saxophone, Roy Bittan on keyboards, Max Weinberg on drums, Steven Van Zandt and Nils Lofgren on guitars, and Garry Tallent on bass. Patti Scialfa contributes harmony vocals, adding an intimate texture to tracks like “Lonesome Day” and “Into the Fire.” The album’s lush arrangements, bolstered by strings and occasional gospel influences, amplify its emotional resonance.

Upon its release, The Rising received critical acclaim and commercial success, debuting at No. 1 on the Billboard 200 and earning three Grammy Awards, including Best Rock Album. Tracks such as “My City of Ruins,” originally written as a prayer for Asbury Park, took on new significance in the wake of 9/11, while songs like “You’re Missing” captured the quiet devastation of loss. The title track, “The Rising,” became an anthem of perseverance, its soaring chorus embodying collective resolve.

CD Track Listings:

1. “Lonesome Day” – 4:08
2. “Into the Fire” – 5:04
3. “Waitin’ on a Sunny Day” – 4:19
4. “Nothing Man” – 4:23
5. “Countin’ on a Miracle” – 4:44
6. “Empty Sky” – 3:35
7. “Worlds Apart” – 6:07
8. “Let’s Be Friends (Skin to Skin)” – 4:21
9. “Further On (Up the Road)” – 3:50
10. “The Fuse” – 5:37
11. “Mary’s Place” – 6:03
12. “You’re Missing” – 5:11
13. “The Rising” – 4:50
14. “Paradise” – 5:39
15. “My City of Ruins” – 5:00

# 7 – Songs From The West Coast – Elton John

Elton John fans had been praying for an Elton John album like this since 1976’s Blue Moves.  With Songs From The West Coast, Elton John returned to his roots, delivering an album that echoed the piano-driven, heartfelt songwriting of his early 1970s classics. Released in 2001, this album marked a distinct shift away from the more polished pop sound of his 1980s and 1990s work, opting instead for a more organic and introspective approach. The record was produced by Patrick Leonard and recorded at Cello Studios in Los Angeles and the Townhouse Studios in London, blending a sense of nostalgia with contemporary flair.

Reuniting with longtime lyricist Bernie Taupin, Elton crafted songs that reflect on themes of love, loss, and reflection. Tracks like “I Want Love,” a poignant exploration of longing and vulnerability, and “This Train Don’t Stop There Anymore,” a somber look at aging and legacy, showcase some of the most emotionally raw performances of his career. “Original Sin” adds to the album’s depth with its lush orchestration and haunting melody. Critics praised the record for its sincerity and hailed it as a return to form, with Elton himself noting that this was the kind of music he truly wanted to make.

Songs From The West Coast achieved commercial success, charting in the top 10 in several countries, including the UK and the US. It reminded fans and critics alike of the unmatched chemistry between Elton and Bernie. The production, stripped of unnecessary embellishments, allowed Elton’s emotive piano playing and timeless melodies to shine.

CD Track Listings:

1. “The Emperor’s New Clothes” – 4:28
2. “Dark Diamond” – 4:26
3. “Look Ma, No Hands” – 4:22
4. “American Triangle” – 4:49
5. “Original Sin” – 4:49
6. “Birds” – 3:51
7. “I Want Love” – 4:35
8. “The Wasteland” – 4:20
9. “Ballad of the Boy in the Red Shoes” – 4:52
10. “Love Her Like Me” – 3:58
11. “Mansfield” – 4:56
12. “This Train Don’t Stop There Anymore” – 4:39

# 6 – Centerfield – John Fogerty

One of our all-time favorite comeback albums on this list is John Fogerty’s Centerfield album. Filled with great rock and roll songs, it was so good to hear that legendary voice on the radio again like we had heard all the time in the 1960s and early 70s.

After nearly a decade-long hiatus from recording solo music, John Fogerty made a triumphant return with Centerfield in 1985, cementing his status as a quintessential American songwriter. This album was not just a comeback; it was a declaration that Fogerty’s creative fire was still burning brightly. Recorded at The Plant Studios in Sausalito, California, Centerfield was entirely written, produced, and performed by Fogerty himself, a testament to his remarkable talent and determination.

The album’s centerpiece, “Centerfield,” is an enduring anthem celebrating America’s pastime, baseball, with its iconic handclap rhythm and hopeful lyrics. Meanwhile, tracks like “The Old Man Down the Road” brought Fogerty back to the top of the charts, peaking at number 10 on the Billboard Hot 100. This single’s success showcased Fogerty’s ability to blend swamp rock with a contemporary sound. Centerfield was also home to “Rock and Roll Girls,” another hit single that further demonstrated his knack for crafting radio-friendly rock tunes. The album’s themes of nostalgia, resilience, and Americana struck a chord with fans and critics alike.

Centerfield marked a significant commercial achievement for Fogerty, reaching number one on the Billboard 200 chart, making it his first solo album to achieve such success. The album was later certified double platinum by the RIAA, a fitting recognition for its widespread appeal. Critics lauded the record for its polished production and timeless songwriting, praising Fogerty’s ability to bridge the gap between his Creedence Clearwater Revival roots and his solo artistry.

CD Track Listings:

1. “The Old Man Down the Road” – 3:34
2. “Rock and Roll Girls” – 3:25
3. “Big Train (From Memphis)” – 2:58
4. “I Saw It on TV” – 4:19
5. “Mr. Greed” – 4:09
6. “Searchlight” – 4:29
7. “Centerfield” – 3:50
8. “I Can’t Help Myself” – 3:14
9. “Vanz Kant Danz” – 5:29

# 5 – 13 – Black Sabbath

It was very surprising that Black Sabbath’s 13 album was not bigger than it was. This was a great Black Sabbath album and the first Black Sabbath studio album to feature Ozzy Osbourne on the lead mic since 1978’s Never Say Die. When 13 arrived in 2013, it marked the long-awaited reunion of Black Sabbath’s classic lineup—Ozzy Osbourne, Tony Iommi, and Geezer Butler—after decades apart. It was their first studio album together since 1978’s Never Say Die! and carried the weight of sky-high expectations. Recorded between August 2012 and January 2013 at Shangri-La Studios in Malibu, California, and Tone Hall in England, the album was produced by Rick Rubin. Rubin, known for his minimalist and raw production style, pushed the band to reconnect with the spirit of their early sound, resulting in an album that simultaneously felt nostalgic and vital.

Drummer Brad Wilk, of Rage Against the Machine, stepped in for original drummer Bill Ward, who did not participate due to contractual disagreements. Despite the lineup change, the chemistry between Osbourne, Iommi, and Butler was palpable, and the album brims with the dark, sludgy riffs and apocalyptic themes that defined Black Sabbath’s pioneering heavy metal sound. Tracks like “God Is Dead?” and “End of the Beginning” showcase Iommi’s riff mastery and Butler’s intricate bass work, while Osbourne’s haunting vocals add an eerie dimension to the compositions.

13 debuted at number one on the Billboard 200 in the United States and topped charts in several other countries, including the UK, marking a triumphant return for the band. Critics praised its authentic connection to the band’s early material, with some hailing it as a worthy sequel to their first four legendary albums. The album’s success was further solidified when it earned the band their first-ever Grammy Award for Best Metal Performance with the song “God Is Dead?”

CD Track Listings:

1. “End of the Beginning” – 8:05
2. “God Is Dead?” – 8:52
3. “Loner” – 5:06
4. “Zeitgeist” – 4:37
5. “Age of Reason” – 7:01
6. “Live Forever” – 4:49
7. “Damaged Soul” – 7:43
8. “Dear Father” – 7:20

# 4 – Perfect Stranger – Deep Purple

Deep Purple changed lineups more times than the Kardashians changed boyfriends. In 1984, Deep Purple thrilled fans worldwide by reuniting its “Mark II” lineup for the first time in over a decade. The result of this long-awaited reunion was the powerful Perfect Strangers, an album that showcased the band’s unmistakable sound while embracing the polished production style of the 1980s. Recorded at Horizons Studios in Stowe, Vermont, between April and August 1984, the album marked a significant moment in rock history as Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord, and Ian Paice came together to reclaim their place at the forefront of hard rock. Produced by Roger Glover and the band, Perfect Strangers proved to be both a commercial and critical success.

The album features Deep Purple at their dynamic best, blending Blackmore’s iconic guitar riffs with Lord’s majestic keyboards and Gillan’s commanding vocals. The title track, “Perfect Strangers,” became an instant classic with its dark, brooding atmosphere and anthemic melody, while “Knocking at Your Back Door” showcased the band’s ability to balance technical precision with hard-driving rock. From the soaring power of “Under the Gun” to the bluesy swagger of “Nobody’s Home,” the album delivered everything fans could want from a Deep Purple comeback.

Perfect Strangers charted impressively worldwide, reaching number five in the UK and number 17 on the US Billboard 200, earning Platinum certification in the United States. It was hailed by critics as a return to form, with many noting how seamlessly the band had recaptured their chemistry and energy. The album remains a testament to Deep Purple’s enduring legacy, blending their hallmark sound with a contemporary edge that resonated with audiences both old and new.

CD Track Listings:

1. “Knocking at Your Back Door” – 7:09
2. “Under the Gun” – 4:40
3. “Nobody’s Home” – 4:01
4. “Mean Streak” – 4:22
5. “Perfect Strangers” – 5:23
6. “A Gypsy’s Kiss” – 5:14
7. “Wasted Sunsets” – 3:58
8. “Hungry Daze” – 4:44

# 3 – Two Against Nature – Steely Dan

Most Steely Dan fans never expected to see a new Steely Dan album. The band’s reputation for perfection in the studio seemed that it might be a huge block for the two brilliant artists to return to the studio to release a new album. Well, as Sean Connery once said, Never Say Never!  After a twenty-year hiatus from studio albums, Steely Dan returned in 2000 with Two Against Nature, a polished, intricately crafted work that reaffirmed their legendary status in the world of sophisticated rock and jazz fusion. Walter Becker and Donald Fagen took their time crafting the album, recording it between 1997 and 1999 at several studios in New York City, including River Sound and Steely Dan’s own Hyperbolic Sound. Known for their meticulous attention to detail, Becker and Fagen produced the album themselves, ensuring every nuance reflected their artistic vision.

The album features an impressive roster of seasoned session musicians, adding layers of complexity and texture to its lush arrangements. Musicians like Jon Herington on guitar, Keith Carlock on drums, and Michael Leonhart on trumpet contributed to Two Against Nature‘s sophisticated sound. Becker’s bass work and Fagen’s distinctive keyboards and vocals anchor the songs, showcasing their unmistakable style. Tracks such as “Cousin Dupree,” with its sly narrative and jazzy groove, and “What a Shame About Me,” a bittersweet tale of regret, display Steely Dan’s knack for combining wit, narrative depth, and impeccable musicianship.

Critically acclaimed upon release, Two Against Nature won four Grammy Awards, including Album of the Year. It charted well, reaching number six on the Billboard 200 and appealing to both long-time fans and new listeners. The album’s fusion of jazz harmonics, rock sensibilities, and introspective lyrics captured the same innovative spirit that marked Steely Dan’s earlier work. The success of the album also reignited interest in their back catalog, solidifying their place as one of the most unique and enduring acts in popular music.

CD Track Listings:

1. “Gaslighting Abbie” – 5:53
2. “What a Shame About Me” – 5:17
3. “Two Against Nature” – 6:17
4. “Janie Runaway” – 4:09
5. “Almost Gothic” – 4:09
6. “Jack of Speed” – 6:17
7. “Cousin Dupree” – 5:28
8. “Negative Girl” – 5:35
9. “West of Hollywood” – 8:21

# 2 – Back In Black – AC/DC

AC/DC’s Back In Black is an outlier on this best classic rock comeback albums list. The band had not been away at all; they just happened to lose their lead singer, Bon Scott, the previous year, whose death had been labeled as “death by misadventure” by the coroner’s office. The fact that after losing their lead singer, who had an incredible presence, yet still wanted to continue while discovering a new singer in Brian Johnston was a bit heroic. The fact that they would then release the biggest album of their career in Back In Black is what convinced us to lay them in the number two spot on this list.

Recorded from April to May 1980 at Compass Point Studios in Nassau, Bahamas, Back in Black was produced by Robert John “Mutt” Lange, who had previously worked with the band on Highway to Hell.

Musically, the album captured the raw power and hard-hitting energy that AC/DC was known for, while showcasing anthemic tracks that would become classics. Guitarist Angus Young’s electrifying riffs, complemented by Malcolm Young’s impeccable rhythm guitar, drive the album’s signature sound. Bassist Cliff Williams and drummer Phil Rudd anchor the rhythm section, delivering the band’s trademark groove. The album’s themes range from the celebratory tone of “You Shook Me All Night Long” to the ominous and unforgettable title track, “Back in Black.”

Back in Black received critical acclaim upon release and became a worldwide success, reaching the top of the charts in multiple countries. It has sold over 50 million copies globally, making it one of the best-selling albums of all time. Singles like “Hells Bells,” “You Shook Me All Night Long,” and “Back in Black” remain staples of rock radio and have cemented the album’s legacy. Its minimalist black cover, a tribute to Bon Scott, reflects the album’s dual purpose: a celebration of life and a statement of resilience.

CD Track Listings:

1. “Hells Bells” – 5:12
2. “Shoot to Thrill” – 5:17
3. “What Do You Do for Money Honey” – 3:33
4. “Given the Dog a Bone” – 3:30
5. “Let Me Put My Love into You” – 4:16
6. “Back in Black” – 4:15
7. “You Shook Me All Night Long” – 3:30
8. “Have a Drink on Me” – 3:58
9. “Shake a Leg” – 4:06
10. “Rock and Roll Ain’t Noise Pollution” – 4:15

# 1 – Double Fantasy – John Lennon /

John Lennon had not released an album in five years. That’s a very long time for an ex-Beatle who had spent most of his career releasing two albums a year with multiple singles in between. When the album was released in 1980 it was met with both praise and criticism. Sadly John Lennon was murdered just after it was released. Maybe the saddest day in rock and roll history. It still hurts.

The album was recorded at The Hit Factory in New York City from August 7 to September 22, 1980. Produced by Lennon, Ono, and Jack Douglas, the sessions involved a team of seasoned musicians, including Earl Slick and Hugh McCracken on guitars, Tony Levin on bass, Andy Newmark on drums, and George Small on keyboards. Lennon’s voice on tracks like “(Just Like) Starting Over” and “Woman” showcases his ability to weave personal emotion into universal themes, while Yoko Ono’s avant-garde contributions add an experimental edge, creating a unique interplay between the two artists.

Critics initially gave Double Fantasy mixed reviews, but the album quickly gained critical acclaim and commercial success following Lennon’s death. It topped the charts in multiple countries, including the US and UK, and won the Grammy Award for Album of the Year in 1981. “(Just Like) Starting Over,” the album’s lead single, became one of Lennon’s most iconic tracks, hitting number one on the Billboard Hot 100 and capturing the optimism and nostalgia of his artistic return.

Tracklisting:

1. “(Just Like) Starting Over” – 3:56
2. “Kiss Kiss Kiss” (Yoko Ono) – 2:41
3. “Cleanup Time” – 2:58
4. “Give Me Something” (Yoko Ono) – 1:35
5. “I’m Losing You” – 3:57
6. “I’m Moving On” (Yoko Ono) – 2:20
7. “Beautiful Boy (Darling Boy)” – 4:02
8. “Watching the Wheels” – 3:31
9. “Yes, I’m Your Angel” (Yoko Ono) – 3:08
10. “Woman” – 3:32
11. “Beautiful Boys” (Yoko Ono) – 2:55
12. “Dear Yoko” – 2:34
13. “Every Man Has a Woman Who Loves Him” (Yoko Ono) – 4:02
14. “Hard Times Are Over” (Yoko Ono) – 3:20

25 Best Classic Rock Comeback Albums article published on Classic RockHistory.com© 2024

In the Framus & Warwick clip below, Accept’s legendary guitarist Wolf Hoffmann takes you behind-the-scenes on tour in Germany to showcase his stunning collection of custom guitars. 

Wolf introduces the Custom Humanoid WH-1, a unique collaboration with Framus that combines a futuristic design with classic features inspired by Accept’s latest album, Humanoid. With intricate robotic and steampunk details, LED lights and exceptional craftsmanship, this guitar is as visually stunning as it is powerful on stage. 

Wolf also highlights the innovative components, including Fishman pickups and a tremolo system from the German brand, Kiss My Strings. He shares two more iconic models, the Too Mean To Die and Rise Of Chaos guitars, each with dazzling LED accents and tailored to perform flawlessly. Discover how these instruments are not just tools, but extensions of Wolf’s creativity and stage presence. 

Accept performed at the 2024 edition of Germany’s famed Wacken Open Air festival. The fest has shared professionally filmed footage of the band performing “Princess Of The Dawn”, “Teutonic Terror” and “Fast As A Shark”. Check it out below.

TALENT WE LOST

HEAVY BIRTHDAYS

HEAVY RELEASES

Happy 57th
JIMI HENDRIX EXPERIENCE’s Axis: Bold As Love – December 1, 1967

Happy 51st
BLACK SABBATH’s Sabbath Bloody Sabbath – December 1st, 1973

Happy 38th
QUEEN’s Live Magic – December 1st, 1986

Happy 35th
SAVATAGE’s Gutter Ballet – December 1st, 1989

Happy 32nd
JOURNEY’s Time3 – December 1, 1992

Happy 30th
DIMMU BORGIR’s For All Tid – December 1, 1994

Happy 7th
CARCASS’ Pungent Excruciation: Live – December 1st, 2017
THE FACELESS’ In Becoming a Ghost – December 1st, 2017
FIVE FINGER DEATH PUNCH’s A Decade of Destruction – December 1st, 2017
GLASSJAW’s Material Control – December 1st, 2017
INTERALS’ The Way Forward – December 1st, 2017
LEVIATHAN’s The First Sublevel of Suicide – December 1st, 2017
MORBID ANGEL’s Kingdoms Disdained – December 1st, 2017

OPERATION: MINDCRIME’s The New Reality – December 1st, 2017
PRETTY BOY FLOYD’s Public Enemies – December 1st, 2017
WARRIOR SOU’s- Back On The Lash – December 1st, 2017

Paramount Plus is joining the fray of streaming platforms offering hefty discounts on their services in honour of Black Friday and Cyber Monday sales.

Right now, they are offering a not insignificant 77% off two months of their ad-free streaming service, with the price set at $2.99 for the first two months (it resumes to the normal price of $12.99 after this period).

There’s a surprising amount of decent music stuff tucked away on Paramount Plus. There’s As We Speak, a film which explores America’s weaponisation of rap and hip-hop music against artists in the US’ criminal justice system and abroad. There’s the Behind The Music documentary series with Huey Lewis, Bret Michaels, Alanis Morissette, Motley Crue and many more. There’s Geddy Lee Asks: Are Bass Players Human Too?, a series in which the Rush legend interviews his favourite bassists including Metallica’s Robert Trujillo and Nirvana’s Krist Novoselic.

It also includes How Music Got Free, an exploration of how Napster, Limewire and “internet pirates who nearly destroyed the music industry”. We imagine Lars Ulrich will be watching this one, shaking his head in disgust, quietly muttering “I told you so!” to himself. There’s also Family Legacy, which offers a different view of some of our favourite musicians by interviewing their children.

Elsewhere there are docs on 80s hair metal, Lollapalooza, Madonna, Elvis, Don McLean’s American Pie, Willie Nelson and Milli Vanilli, if that’s your sort of thing.

More cool Cyber Monday stuff

• Cyber Monday music deals: Headphones, speakers, turntables & more
• Cyber Monday vinyl deals: Prepare to spin a box set bargain
• Cyber Monday CD deals: Classics, remasters & more
• Cyber Monday record player deals: Spin a top bargain
• Cyber Monday Marshall deals: Headphones & speakers on sale
• Cyber Monday streaming deals: Discounts on TV, film & music services
• Cyber Monday CD player deals: Top bargains on CD players

Late Cream legend, Ginger Baker, was a member of Hawkwind for a short time in 1980, but left the band after the album Levitation.

However, Baker’s manager Roy Ward had already planned a tour of Italy for March 1981, albeit for Hawkwind. But that didn’t stop Ginger from putting together a band to play the concerts himself. He wanted to present a fait accompli to the promoters.

The new band was called Ginger Baker’s Nutters and included Keith Hale (keyboards, vocals) from Hawkwind, his old friend Riki Legair (bass), as well as Ian Trimmer (sax/vocals) and Billy Jenkins (guitar/vocals), who had previously recorded two great albums with Burlesque on Arista and were touring as an idiosyncratic comedy jazz fusion duo.

The band immediately began working on new songs that were difficult to categorize, a mixture of jazz, blues and rock with lyrics that were typically British humor à la Monty Python.

Baker decided to continue working with the band. He liked the young musicians. They were fresh, full of ideas and enjoyed jamming. He believed in the success of his new band, especially since the audience was totally enthusiastic at every performance.

After a successful tour of Italy, the Nutters worked on new songs and played two shows at the legendary Marquee Club in London on May 18 and 19, 1981, which were recorded by Ian Trimmer’s friend Andy Shuttleworth and his camera crew.

The original U-Matic tapes, long lost, resurfaced in the fall of 2023 and have since undergone extensive restoration. Now, for the first time, this concert by this great band, which Ginger described in an interview as his most innovative band since Airforce, is available on CD, DVD and digitally.

Order here, and watch a video trailer below.

Tracklisting:

Disc 1 (CD)
“Chemical Babies”
“Perfect Nation”
“Everything I Say”
“Wheel Chair Dance Festival”
“Lost In Space”
“Where Are You?”

Disc 2 (DVD)
“The Hawkship Mutiny”
“Perfect Nation”
“Chemical Babies”
“Everything I Say”
“Land Of Mordor”
“Blackmail Man”
“Where Are You?”
“I’m So Glad”
“Wheelchair Dance Festival”
“Toad”
“Sunshine Of Your Love”
Interview