Author: u0zp4y

The sun has been one of the most enduring symbols in rock music, representing everything from hope and renewal to sorrow and loss. Its presence in rock songs spans decades and genres, allowing artists to tap into its literal and metaphorical meanings. Whether it’s a sign of optimism breaking through dark times or a reflection on the inevitable passage of time, the sun has provided a powerful backdrop for musicians to explore a variety of emotional landscapes.

This list of 10 Best Rock Songs About the Sun highlights tracks that use the sun in unique and creative ways. From the hopeful melodies of The Beatles’ “Here Comes the Sun” to the ominous tones of Soundgarden’s “Black Hole Sun,” these songs show just how versatile this imagery can be. Pink Floyd’s “Fat Old Sun” evokes nostalgia, while The Animals’ “House of the Rising Sun” tells a dark story of ruin. The Police’s “Invisible Sun” tackles political tension, while Peter Frampton’s live anthem “I Wanna Go to the Sun” offers an escape to freedom. These diverse uses of the sun as a theme demonstrate its lasting relevance in rock music and its ability to speak to both personal and universal experiences.

# 10 – Black Hole Sun – Soundgarden

“Black Hole Sun,” written by Soundgarden’s lead vocalist Chris Cornell, was released in 1994 as the third single from the band’s fourth studio album Superunknown. Produced by Michael Beinhorn and recorded at Bad Animals Studio in Seattle, the song became an iconic track in the grunge movement of the ’90s. Cornell’s dark, surreal lyrics and the haunting melodies combine to make this one of the band’s most memorable songs. While the band was known for its heavy, intense sound, Black Hole Sun stands out for its melancholic tone and more atmospheric instrumentation, showcasing Soundgarden’s versatility.

Musically, “Black Hole Sun” is driven by a hypnotic guitar line and Cornell’s haunting vocals. The song features Matt Cameron on drums, Kim Thayil on guitar, and Ben Shepherd on bass. Thayil’s use of psychedelic elements in his guitar work added to the eerie quality of the song, while the arrangement mixed elements of grunge with more classic rock influences. It topped the US Billboard Album Rock Tracks chart for seven weeks and finished as the number-one track on the Billboard Modern Rock Tracks chart for 1994. Internationally, it was a major hit, reaching the top ten in multiple countries, including Australia, Canada, and France, and even peaked at number one in Iceland.

Lyrically, “Black Hole Sun” explores themes of despair, isolation, and a longing for release. The lines, “Black hole sun, won’t you come / And wash away the rain,” evoke a feeling of yearning for something to cleanse or escape from the emotional turmoil Cornell expressed. The imagery of the sun, juxtaposed with the ominous “black hole,” suggests a corrupted, bleak version of a once-bright force. The song’s haunting tone is furthered by its cryptic lyrics, which create a sense of unease and existential questioning, fitting perfectly with the grunge movement’s introspective ethos. As the first track on this list of songs with “sun” in the title, “Black Hole Sun” sets a tone of both reflection and darker emotions.

Read More: Top 10 Soundgarden Songs

# 9 – I’ll Follow the Sun – The Beatles

“I’ll Follow the Sun” is a tender ballad by The Beatles, written and sung by Paul McCartney. Released in 1964 on Beatles for Sale in the United Kingdom and Beatles ’65 in the United States, the song marked a shift from the upbeat rock ‘n’ roll sound the band had become known for, showcasing a softer, more introspective side. Written by McCartney when he was just 16 years old, the song reflects a youthful longing for change and an acceptance of life’s impermanence. The track’s minimalist arrangement, with McCartney’s gentle vocals at the forefront, offers a quiet but poignant contrast to the energetic hits the band produced during this period.

The recording of I’ll Follow the Sun took place at Abbey Road Studios in October 1964, with George Martin serving as producer. Ringo Starr’s drumming is notably restrained, as he taps lightly on a percussion box, allowing McCartney’s acoustic guitar and vocals to take center stage. The rest of the band provides subtle backing harmonies, creating a warm and reflective atmosphere. This minimalist approach was a deliberate choice, as the band sought to differentiate their singles and avoid sounding formulaic.

Lyrically, “I’ll Follow the Sun” expresses the inevitability of change and the need to move forward despite emotional loss. McCartney sings, “One day you’ll look to see I’ve gone / For tomorrow may rain, so I’ll follow the sun,” conveying the bittersweet acceptance of leaving a relationship behind. The song’s understated simplicity, both musically and lyrically, highlights its emotional weight. As the first track on this new list of songs with “sun” in the title, I’ll Follow the Sun exemplifies a reflective, almost melancholic tone, offering a contrast to other songs on the list, which may explore different facets of sunlight as a metaphor for hope or renewal.

Read More: Top 10 Beatles Love Songs

# 8 – House of the Rising Sun – The Animals

“House of the Rising Sun” is one of The Animals’ most iconic songs, featured on their American debut album The Animals, released in 1964. The song, often associated with traditional folk roots, was transformed into a rock anthem by the British band. The track was recorded at Kingsway Studios in London in May 1964, produced by Mickie Most. With Alan Price on the haunting organ, Hilton Valentine’s powerful guitar riff, and Eric Burdon’s raw and soulful vocals, the band created a blues-rock version that resonated worldwide. This recording helped catapult The Animals to international fame, and the single topped the charts in both the UK and the US, making it one of the standout tracks of the British Invasion era.

The song itself is a traditional folk ballad with origins tracing back to the 18th century, although its exact beginnings are debated. When The Animals brought it into the rock world, they gave the tune a darker, more intense tone. The song tells the story of a man who fell into a life of ruin due to the vices of gambling and drinking, symbolized by the titular “House of the Rising Sun,” often interpreted as a reference to a brothel or gambling den in New Orleans. Burdon’s emotionally charged delivery gives the tale of despair and regret even greater weight, while the arrangement, featuring Price’s chilling organ performance, evokes a feeling of dread and inevitability.

Lyrically, “House of the Rising Sun” stands as one of the most poignant expressions of downfall in rock music. Its narrative voice pleads with others to avoid the same fate, with lines like “Oh mother, tell your children / Not to do what I have done.” The song fits the theme of this list perfectly, as it embodies the idea of being trapped or “used” by circumstances, much like other songs included here, such as Soundgarden’s “Black Hole Sun.” However, whereas “Black Hole Sun” veers into surreal imagery, The Animals’ song remains rooted in the gritty realism of regret and loss.

Read More: Top 10 Songs From The Animals

# 7 – Invisible Sun – The Police

“Invisible Sun” by The Police, from their 1981 album Ghost in the Machine, is a song that explores the darker side of human existence, yet ultimately focuses on resilience and the hope for a brighter future. Written by Sting, the track reflects the band’s shift toward a more politically conscious and experimental sound. The song was recorded at AIR Studios in Montserrat and Le Studio in Quebec, produced by Hugh Padgham alongside The Police. “Invisible Sun” reached number two on the UK Singles Chart, and though not released as a single in the US, it remains a significant part of the band’s discography.

Musically, the song is driven by a repetitive, almost hypnotic synthesizer melody, underscored by a sparse and brooding atmosphere. The song contrasts its relatively dark subject matter with a haunting yet uplifting tone. Sting’s lyrics express the challenges of living through conflict and despair, possibly inspired by the political unrest in Northern Ireland at the time. The line “I don’t want to spend the rest of my life / Looking at the barrel of an Armalite” directly references the violence of the Troubles, illustrating the psychological toll of living in a war-torn environment. Despite the grim backdrop, the “invisible sun” represents a glimmer of hope that keeps people going, even through the darkest times.

Lyrically, “Invisible Sun” connects well with the theme of perseverance, much like The Animals’ “House of the Rising Sun.” While the latter tells the story of personal downfall and a life wasted, “Invisible Sun” emphasizes finding inner strength amid external chaos. Both songs mention “the sun” as a symbol but in vastly different contexts: “House of the Rising Sun” represents ruin and regret, while “Invisible Sun” signifies hope and endurance. These contrasts create a multifaceted look at how rock music can use similar imagery to convey complex emotional experiences.

Read More: Complete List Of The Police Albums And Discography

# 6 – I Wanna Go To The Sun – Peter Frampton

“I Wanna Go to the Sun” is a standout track from Frampton Comes Alive!, Peter Frampton’s 1976 breakthrough live album, which became one of the most successful live albums in rock history. The song originally appeared on Frampton’s 1974 studio album Somethin’s Happening, but it truly found its energy in the live performances that fueled Frampton Comes Alive!. Recorded at a series of concerts in 1975, including shows at Winterland in San Francisco, the live version of “I Wanna Go to the Sun” showcases Frampton’s signature blend of soulful guitar work, uplifting melodies, and heartfelt lyrics, capturing the vibrant essence of his live performances.

Musically, “I Wanna Go to the Sun” features an intricate and emotional guitar solo that is emblematic of Frampton’s style. His Les Paul work shines throughout, and the audience’s connection to the music is palpable, adding to the track’s intensity. The song’s expansive live version taps into a classic ‘70s rock sound, with Frampton’s fluid transitions between acoustic and electric textures, bringing new life to the already powerful studio recording. The lineup on Frampton Comes Alive! includes Frampton on guitar and vocals, Stanley Sheldon on bass, Bob Mayo on keyboards and guitar, and John Siomos on drums. The album’s production, handled by Frampton and Chris Kimsey, captured the spontaneous energy of his live shows.

Lyrically, “I Wanna Go to the Sun” offers a meditation on escapism and the yearning for freedom, with Frampton expressing a desire to break free from the restrictions of everyday life. The imagery of going to the sun reflects a deep longing for transcendence and peace. In comparison to other songs on this list, such as Soundgarden’s “Black Hole Sun,” where the sun symbolizes darkness and chaos, Frampton’s sun is a place of liberation and light. This contrast highlights the diverse ways rock artists use the symbol of the sun to express complex emotions.

As the opening track on this list, “I Wanna Go to the Sun” sets a tone of freedom and adventure, and its soaring live version demonstrates why Peter Frampton became a major figure in the ‘70s rock scene. The song’s optimistic outlook contrasts well with the darker, more introspective songs on this list, offering a balance of perspectives on the sun’s symbolic power in rock music.

Read More: Top 10 Peter Frampton Songs

# 5 – Waiting For The Sun – The Doors

“Waiting for the Sun” is a song by the Doors from their 1970 album Morrison Hotel. Although the song shares its title with the band’s 1968 album, it was not included on that earlier release and instead found its home on Morrison Hotel. Written by frontman Jim Morrison, the song reflects the band’s fascination with themes of hope, enlightenment, and the search for a better reality, characteristic of much of their music.

Musically, “Waiting for the Sun” features the Doors’ signature blend of bluesy rock and psychedelia, anchored by Ray Manzarek’s hypnotic keyboard work and Robby Krieger’s steady guitar riffs. The song’s arrangement builds tension as Morrison’s evocative vocal delivery crescendos into the chorus, creating a sense of anticipation and yearning. Recorded in 1969 at Elektra Sound Recorders in Los Angeles and produced by longtime collaborator Paul A. Rothchild, the song showcases the band at a transitional point in their career as they explored more complex arrangements while staying true to their bluesy roots.

Lyrically, the song speaks to themes of waiting and longing, with Morrison poetically expressing a desire for a brighter future. Lines like “This is the strangest life I’ve ever known” suggest a sense of disillusionment with the present, while the titular “sun” represents a distant hope for change and resolution. In comparison to songs like Peter Frampton’s “I Wanna Go to the Sun,” where the sun is a symbol of escape and freedom, Morrison’s take on the sun represents an abstract, almost unreachable ideal. This deeper philosophical approach mirrors the darker undercurrents often present in the Doors’ work, contrasting with more straightforward songs on this list that explore personal liberation.

“Waiting for the Sun” adds a unique, introspective layer to this list of songs about the sun, focusing on the tension between yearning for something greater and the frustration of its delay. As the Doors often did, they craft a sonic landscape that bridges the gap between the psychedelic and the tangible, leaving listeners with a sense of unresolved longing, making it one of the most thought-provoking tracks here.

Read More: The Doors Most Underrated Songs

# 4 – Fat Old Sun – Pink Floyd

“Fat Old Sun” is a song by Pink Floyd from their 1970 album Atom Heart Mother. Written and sung by guitarist David Gilmour, the song stands out as one of the more pastoral and serene pieces in Pink Floyd’s catalog. It was recorded during the sessions at Abbey Road Studios in London and produced by the band themselves alongside longtime collaborator Norman Smith. This song exemplifies the band’s shift from the psychedelic experimentation of their earlier albums to a more structured, folk-influenced sound that would continue to evolve in their later work.

Musically, “Fat Old Sun” is built around Gilmour’s gentle acoustic guitar work and soothing vocals, with the song gradually expanding into a lush, atmospheric soundscape that includes organ, drums, and an expressive guitar solo. The song’s layered textures highlight Gilmour’s skill as a composer, creating a dreamlike ambiance that contrasts with the more experimental and avant-garde tracks on Atom Heart Mother. The peaceful, almost nostalgic vibe of the song makes it a standout on the album, a moment of quiet reflection amidst the more expansive and experimental pieces.

Lyrically, “Fat Old Sun” is a celebration of the simple beauty of life, particularly the peacefulness of a summer day. The imagery evokes pastoral scenes of the sun setting over the countryside, with Gilmour’s vocals imbuing the lyrics with a sense of warmth and comfort. In comparison to other songs on this list, like Soundgarden’s “Black Hole Sun,” which offers a more dark and surreal interpretation of the sun, “Fat Old Sun” is grounded in simplicity and contentment. The sun in Gilmour’s composition symbolizes a source of calm and joy, standing in stark contrast to the existential themes that often permeate Pink Floyd’s work.

“Fat Old Sun” brings a soothing, reflective tone to this list, contributing a song that celebrates the peaceful and rejuvenating power of the sun. Its laid-back, almost meditative quality offers a different take on the sun compared to the heavier, more intense interpretations found in other songs on the list, making it an essential piece in the exploration of sun-themed rock tracks.

Read More: Top 10 Pink Floyd Deep Tracks

# 3 – Into The Sun – Grand Funk Railroad

“Into the Sun” by Grand Funk Railroad is one of the standout tracks from their debut album On Time, released in 1969. The song epitomizes the band’s gritty and raw sound, characterized by powerful guitar riffs, thunderous bass, and hard-hitting drums. Produced by Terry Knight and recorded at Cleveland Recording Company, the album introduced the band’s energetic style, which would go on to define their early success. “Into the Sun” captures the essence of Grand Funk Railroad’s early sound—heavy, blues-infused rock with a relentless drive that reflects the band’s roots in Michigan’s industrial landscape.

Musically, “Into the Sun” exemplifies the heavy, groove-laden rock that Grand Funk Railroad was known for. The track begins with a slow, deliberate build-up, led by Mark Farner’s guitar, before bursting into full throttle, powered by the rhythm section of Mel Schacher’s bass and Don Brewer’s drums. Farner’s gritty vocals add to the song’s energy, with lyrics that speak of a journey towards enlightenment and change. The repetitive, almost hypnotic nature of the song mirrors the band’s live performances, where extended jams and instrumental breakdowns were key to their appeal. It fits seamlessly into On Time, an album that blends rock, blues, and psychedelic elements, all staples of the late 1960s rock scene.

Lyrically, “Into the Sun” portrays a metaphorical quest for clarity and growth, with the sun symbolizing light and understanding. As Farner sings, “Things are changing for the better, now I’m not afraid,” the lyrics express a sense of personal development and optimism. This contrasts with other sun-themed songs on this list, such as Pink Floyd’s “Fat Old Sun,” which leans towards a peaceful, pastoral imagery of the sun. In “Into the Sun,” the journey towards the sun represents ambition and a powerful forward momentum, fitting the hard rock context of Grand Funk Railroad’s music. The sun is not just a passive element in the background but a destination to be reached, representing success and self-assurance.

In comparison to other songs on the list, “Into the Sun” stands out for its raw, unpolished sound, which reflects the hard-working, blue-collar ethos of the band. Where “Black Hole Sun” by Soundgarden presents a surreal and dark image of the sun, “Into the Sun” exudes a sense of triumph and achievement, making it a fitting opening for On Time and a perfect addition to this list.

Read More: Complete List Of Grand Funk Railroad Albums And Discography

# 2 – The Sun Ain’t Gonna Shine (Anymore) – Frankie Valli & The Four Seasons

“The Sun Ain’t Gonna Shine (Anymore)” was originally recorded by Frankie Valli as a single in 1965, before it gained more widespread recognition with The Walker Brothers’ rendition the following year. Written by Bob Crewe and Bob Gaudio, key collaborators with Frankie Valli & The Four Seasons, the song was produced with the same emotional depth that Valli’s vocals typically brought to the group’s hits. Though Valli’s version did not achieve significant commercial success, it remains an evocative and haunting track in his catalog.

Musically, “The Sun Ain’t Gonna Shine (Anymore)” leans on its rich orchestration and melancholic atmosphere, elements that reflect the sorrowful themes embedded in the lyrics. The song’s lush arrangement, with sweeping strings and a powerful, slow-building vocal delivery from Valli, presents a deep sense of loss and isolation. Valli’s voice, known for its incredible range and emotional intensity, is the centerpiece here, blending perfectly with the song’s heavy-hearted mood. Despite its initial underperformance, the song stands out for its production quality, which echoes the grandiose style that Frankie Valli & The Four Seasons became famous for.

Lyrically, the song speaks to feelings of abandonment and despair, with lines like “Loneliness is the coat you wear” and “The sun ain’t gonna shine anymore” serving as vivid metaphors for the emotional emptiness the protagonist feels. The sun, in this context, is a symbol of hope and happiness that has been lost, adding to the somber nature of the song. In comparison to other tracks on this list, such as “Black Hole Sun” by Soundgarden or “Into the Sun” by Grand Funk Railroad, Valli’s “The Sun Ain’t Gonna Shine (Anymore)” is more about loss and the inability to find light or hope, rather than a pursuit of change or self-discovery. While Grand Funk Railroad’s track is energetic and triumphant, this song resides in the shadows, making it a poignant and fitting addition to the list of rock songs about the sun.

In terms of production, the song was recorded in 1965 and features The Four Seasons’ signature lush, full-bodied sound under the careful direction of producer Bob Crewe. While it wasn’t a chart-topping hit for Valli, it’s a notable part of his expansive career and later found more success with other artists, proving the enduring power of its emotional resonance.

Read More: Top 10 Frankie Valli & The 4 Seasons Songs

# 1 – Here Comes The Sun – The Beatles

“Here Comes the Sun” is one of The Beatles’ most beloved tracks, written by George Harrison for the band’s 1969 album Abbey Road. Harrison penned the song at the home of his friend Eric Clapton, finding inspiration in the simple joy of seeing the sun after a long English winter. It has since become one of Harrison’s signature contributions to The Beatles’ catalog, celebrated for its uplifting lyrics and soothing acoustic melody.

Recorded at EMI Studios (Abbey Road Studios) in London, Abbey Road marked the band’s final studio recordings as a group. The song was produced by George Martin, with Harrison leading the instrumentation on guitar and vocals. Paul McCartney played bass, while Ringo Starr contributed drums. Notably, John Lennon did not play on the track as he was recovering from a car accident. The track’s warm, acoustic-led arrangement, driven by Harrison’s use of a capo on the 7th fret, paired with subtle synthesizer touches, encapsulates a feeling of hope and renewal.

Lyrically, “Here Comes the Sun” offers a simple yet powerful message of optimism. In lines like “Little darling, it’s been a long, cold, lonely winter” and “Here comes the sun, and I say it’s all right,” Harrison celebrates the end of hardship and the arrival of brighter days. This theme of rejuvenation stands in contrast to other songs on this list, such as Soundgarden’s darker “Black Hole Sun,” which deals with internal and external turmoil. While “Black Hole Sun” is more about facing the grim aspects of life, “Here Comes the Sun” serves as a gentle reminder of hope and positivity even in difficult times. It also shares a sense of optimism with Grand Funk Railroad’s “Into the Sun,” but with a more understated and reflective tone.

Critically, “Here Comes the Sun” is hailed for its delicate composition and lyrical simplicity. It remains a timeless anthem for hope and a key example of George Harrison’s growth as a songwriter during his time with The Beatles. The song was never released as a single but remains one of the band’s most streamed and covered tracks, often considered one of the defining moments of Abbey Road.

Read More: Why 1974 Was Such A Busy Year For The Beatles

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

Legendary guitarist Bruce Kulick, known for his iconic work with KISS, Grand Funk Railroad and Union, sat down with VRP Rocks to reveal his Top 5 favorite albums that he has ever played on. With over four decades in the music industry, Bruce’s incredible career spans countless records, tours and collaborations and in this exclusive interview, he shares the stories and memories behind these landmark albums that mean so much to him. 

VRP Rocks: “Whether you’re a KISS fan or just passionate about rock music, this video dives deep into the creative process, career highlights, and unique insights from one of rock’s most versatile guitarists. Discover why these albums are so special to Bruce and how they’ve shaped his remarkable journey in the world of music. Stay tuned for some surprising choices that showcase the diversity of his talent!”

Kulick: “The Asylum record was monumental. I’m one of the faces on the cover of a KISS album, even though I look like a pop-art ghost (laughs). This is such an iconic cover; it’s really interesting. What a great record. I hasd four co-writes (credits), my guitar playing was something to be proud of, although some of it is really hard that I can’t really do now. Some great songs like ‘Tears Are Falling’, ‘Uh All Night’, ‘King Of The Mountain’. It’s still important to many, many KISS fans.”

Kulick recently offered the following:

“On September 30, 1984 I began my career with KISS performing in Brighton, England. I share my feelings about the six-week European Tour that began my 12 years in KISS.”

The setlist for Bruce Kulick’s first ever show with KISS on September 30, 1984 at Brighton Centre in Brighton, England was as follows:

“I’ve Had Enough (Into The Fire)” – Live Premiere
“Detroit Rock City”
“Burn Bitch Burn” – Live Premiere
“Cold Gin”
“Strutter”
Guitar Solo by Paul Stanley
“Under The Gun” – Live Premiere
“Fits Like A Glove”
“Get All You Can Take” – Live Premiere
Drum Solo by Eric Carr
“Young And Wasted”
“Heaven’s On Fire” – Live Premiere
“War Machine”
“I Still Love You”
Bass Solo by Gene Simmons
“I Love It Loud”
“Love Gun”
“Creatures Of The Night”
“Rock And Roll All Nite”
“Lick It Up”

Iron Maiden kicked off the North American leg of The Future Past Tour last night (October 4th) at North Island Credit Union Amphitheatre in San Diego, CA, treating the packed amphitheatre to an explosive 2-hour, high-energy set. From the incendiary show opener, “Caught Somewhere In Time,” the band captivated the audience with a set that seamlessly moved through the The Future Past with songs such as “The Time Machine” and “Hell On Earth”  from Iron Maiden’s most recent acclaimed studio album Senjutsu. Check out more photos by John McMurtrie here.

Iron Maiden’s San Diego setlist included:

“Caught Somewhere In Time”
“Stranger In A Strange Land”
“The Writing On The Wall”
“Days Of Future Past”
“The Time Machine”
“The Prisoner”
“Death Of The Celts”
“Can I Play With Madness”
“Heaven Can Wait”
“Alexander The Great”
“Fear Of The Dark”
“Iron Maiden”

Encore:
“Hell On Earth”
“The Trooper”
“Wasted Years“

Iron Maiden will have played to almost three-quarters of a million fans at more than 50 jam-packed shows across Europe, Australia and Japan and continues to sell out arenas across North America this fall taking that number to well over 1 million rock fans! Featuring one of the most spectacular stage productions of the band’s career, it has received rave reviews in every city and country that Iron Maiden visited. 

North American tour dates:

October

5 – Michelob ULTRA Arena – Las Vegas, NV
8 – Kia Forum – Los Angeles, CA
9 – Footprint Center – Phoenix, AZ (NEW SHOW)
12 – Aftershock Festival – Sacramento, CA
14 – MODA Center – Portland, OR
16 – Tacoma Dome – Tacoma, WA
18 – Delta Center – Salt Lake City, UT
19 – Ball Arena – Denver, CO
22 – Xcel Energy Center – St Paul, MN
24 – Allstate Arena – Rosemont, IL
26 – Scotiabank Arena – Toronto, ON
27 – Videotron Centre – Quebec City, QC
30 – Centre Bell – Montreal, QC

November
1 – Wells Fargo Center – Philadelphia, PA
2 – Barclays Center – Brooklyn, NY
6 – DCU Center – Worcester, MA
8 – PPG Paints Arena – Pittsburgh, PA
9 – Prudential Center – Newwark, NJ
12 – CFG Bank Arena – Baltimore, MD
13 – Spectrum Center – Charlotte, NC
16 – Dickies Arena – Fort Worth, TX
17 – Frost Bank Center (formerly AT&T Center) – San Antonio, TX

Go to ironmaiden.com for the latest tour information.

A metal festival in Florida, USA, has lost its headliner and multiple other acts after announcing Kyle Rittenhouse as a special guest.

Shell Shock II is scheduled to take place in Orlando on October 19. But headliner Evergreen Terrace have pulled out after organisers announced 21-year-old Rittenhouse’s involvement as a VIP guest.

Rittenhouse drove from his home state of Illinois to Kenosha, Wisconsin, in 2020 amid unrest and joined with a group of people who claimed to be protecting businesses from the troubles.

The unrest was the result of protests following the shooting of Jacob Blake by a police officer.

Rittenhouse shot three people, two of whom died. He was eventually acquitted of all charges, including homicide, after pleading self defence.

A Slipknot tribute act will now take the Shell Shock II headline slot.

Evergreen Terrace say in a statement: “Evergreen Terrace has always supported and continues to support philanthropic events for veterans, PTSD awareness, child poverty, and many more, but we will not align with an event promoting a perceived murderer such as Kyle Rittenhouse capitalizing off of their pseudo celebrity. 

“Unfortunately we did not do our due diligence with this particular event. Even after they offered to pull Kyle from the event, we discovered several associated entities that we simply do not agree with. As advocates for free speech we are respectfully canceling the Shell Shock festival.

“We will be personally contributing to a veterans charity and urge you to do the same.”

Another of the bands to pull out, Southpaw, say in a statement of their own: “We knew going into this, that the festival was veteran based, which we support. But knew nothing of a particular individual being a main focus of support for the show until after accepting it.

“Due to events that have taken place and drama surrounding this particular individual, we made the decision to respectfully step down. This simply is not what we signed up for. Period. Southpaw does not and not get involved in politics. Therefore we not align ourselves with it.”

In response, Shell Shock organisers say: “We have been silent. But we are prepping. The liberal mob attempted to destroy Shell Shock. But we will not allow it. This is now about more than a concert. This is a war of ideology.”

Tyler Hoover, host of The Antihero Podcast and Shell Shock founder, made a more detailed statement in an Instagram, post, saying: “I’m here to tell you, you’re not punk, you’re not hardcore. You people, the people that are trolling and the people that are talking shit, you guys are the mentally ill portion of society.

“You guys are the ones that are manipulated. The lynch mob here to take down Shell Shock will not win. It doesn’t matter, ’cause guess what, you can’t kill spirit. You can’t kill punk. And you can’t fucking kill Shell Shock’.”

Let Me Bleed & American Hollow have also stepped down from the lineup after learning of Rittenhouse’s involvement.

Sammy Hagar got a head start on his birthday festivities over the weekend with a pair of Las Vegas shows, delivering two career-spanning sets of hits, deep cuts, covers and special guest cameos.

The Red Rocker, who turns 77 on Oct. 13, set up shop at the Pearl Concert Theater at Palms Casino Resort on Friday and Saturday as a prelude to his annual birthday bash at the Cabo Wabo Cantina in Cabo San Lucas, Mexico, which is scheduled for next weekend.

You can see both Vegas set lists and videos from the shows below.

Sammy Hagar Rocks Vegas With Deep Cuts, Covers and Cameos

Hagar’s Vegas shows featured plenty of solo, Van Halen, Montrose and Chickenfoot hits, including “There’s Only One Way to Rock,” “I Can’t Drive 55” and “Poundcake,” among others. But the Red Rocker also unearthed some deeper cuts, such as Marching to Mars‘ “Little White Lie” and the fitting “Rock ‘n’ Roll Weekend” off his self-titled 1977 album.

The rocker also had a little help from his friends. Rick Springfield joined Hagar on Friday to perform “I’ve Done Everything for You,” first written and released by Hagar in 1978 and later covered by Springfield, who earned a Top 10 hit with the song in 1981. Radio host Eddie Trunk also joined Hagar on Friday for a cover of Beastie Boys‘ “Fight for Your Right.” Hagar added more covers to his night-two set, tackling AC/DC‘s “Whole Lotta Rosie” and Depeche Mode‘s “Personal Jesus.”

READ MORE: All 48 Sammy Hagar-Era Van Halen Songs Ranked Worst to Best

Where Is Sammy Hagar Playing Next?

Hagar recently wrapped his Van Halen-focused Best of All Worlds tour, which featured Joe Satriani on guitar, Michael Anthony on bass, Jason Bonham on drums and Rai Thistlethwayte on keyboards. Anthony played both birthday shows in Vegas, alongside Hagar’s stalwart Circle guitarist Vic Johnson and drummer Kenny Aronoff, who recently “saved the day” when he sat in for Bonham on a few Best of All Worlds shows.

Hagar’s next shows will take place at the Cabo Wabo Cantina on Oct. 11 and 13. The following week, he’ll honor Foreigner at the Rock & Roll Hall of Fame ceremony as part of an all-star band featuring Slash, Demi Lovato and Chad Smith.

Watch Sammy Hagar and Rick Springfield Play ‘I’ve Done Everything for You’ in Las Vegas

Watch Sammy Hagar and Eddie Trunk Play ‘Fight for Your Right’ in Las Vegas

Watch Sammy Hagar Play ‘I Can’t Drive 55’ in Las Vegas

Watch Sammy Hagar Play ‘Bad Motor Scooter’ in Las Vegas

Watch Sammy Hagar Play ‘Why Can’t This Be Love’ in Las Vegas

Sammy Hagar, 10/4/24, Pearl Concert Theater, Las Vegas Set List
1. “There’s Only One Way to Rock”
2. “I’ll Fall in Love Again”
3. “Big Foot” (Chickenfoot)
4. “Top of the World” (Van Halen)
5. “Three Lock Box”
6. “I’ve Done Everything for You” (with Rick Springfield)
7. “Poundcake” (Van Halen)
8. “Finish What Ya Started” (Van Halen)
9. “Little White Lie”
10. “Rock Candy” (Montrose)”
11. “Dreams” (Van Halen; acoustic)
12. “Red”
13. “Rock ‘n’ Roll Weekend”
14. “Somebody Get Me a Doctor” (Van Halen; Michael Anthony on vocals)
15. “Heavy Metal”
16. “I Can’t Drive 55”
17. “Fight for Your Right” (Beastie Boys; with Eddie Trunk)

Sammy Hagar, 10/5/24, Pearl Concert Theater, Las Vegas Set List
1. “Bad Motor Scooter” (Montrose)
2. “Make It Last” (Montrose)
3. “Runaround” (Van Halen)
4. “Sexy Little Thing” (Chickenfoot)
5. “Red”
6. “Right Now” (Van Halen)
7. “Best of Both Worlds” (Van Halen)
8. “Ain’t Talkin’ ‘Bout Love” (Van Halen)
9. “Eagles Fly”
10. “Personal Jesus” (Depeche Mode)
11. “Your Love Is Driving Me Crazy”
12. “Whole Lotta Rosie” (AC/DC)
13. “I Can’t Drive 55”
14. “Mas Tequila”
15. “Cabo Wabo” (Van Halen)
16. “Why Can’t This Be Love” (Van Halen)

# 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.