Author: uylrjp

Across decades and genres, artists have used the term to evoke visceral imagery, create narrative tension, or convey a sense of intimacy. This list delves into ten remarkable songs featuring the word “face” in their titles, showcasing the creativity and depth that this simple yet powerful word inspires. Each entry highlights how these songs connect lyrically and musically to the theme, demonstrating the timeless appeal of this evocative concept.

Pete Townshend’s “Face the Face” challenges listeners to confront societal norms with its driving beat and incisive lyrics, creating a high-energy anthem for self-reflection. Billy Idol’s “Eyes Without a Face” takes a darker turn, blending a haunting melody with lyrics that explore detachment and longing, a stark contrast to the exuberance of other tracks on this list. The Byrds’ “Have You Seen Her Face” introduces a wistful narrative of unrequited love, its jangling guitars lending a reflective tone to the lyrics. Diana Krall’s interpretation of “Let’s Face the Music and Dance” transforms Irving Berlin’s classic into a jazzy ode to resilience in the face of life’s uncertainties.

The Who’s “In a Hand or a Face” delivers an introspective exploration of human complexity, blending poignant lyrics with the band’s raw energy. Paul McCartney’s “My Brave Face” juxtaposes upbeat melodies with lyrics of vulnerability, capturing the duality of putting on a strong front after heartbreak. Roberta Flack’s “The First Time Ever I Saw Your Face” radiates an intimate sense of awe and devotion, its delicate arrangement perfectly complementing the song’s lyrical beauty. James Taylor’s “Your Smiling Face” brings warmth and optimism, celebrating the simple joy of love’s presence. The Rolling Stones’ “I Just Want to See His Face” offers a minimalist, gospel-inspired meditation on spirituality and longing, a mood unlike any other song on this list. Finally, The Beatles’ “I’ve Just Seen a Face” encapsulates the rush of new love with its buoyant tempo and effervescent lyrics, providing a perfect conclusion to this exploration of songs that elevate the word “face” into art.

# 10  – Face The Face – Pete Townshend

Pete Townshend’s “Face the Face,” a vibrant and dynamic track from his 1985 album White City: A Novel, showcases the artist’s deft ability to blend musical experimentation with pointed social commentary. Recorded at Eel Pie Studio in Twickenham, London, the song was produced by Townshend himself alongside Chris Thomas, renowned for his work with bands like Pink Floyd and The Pretenders. This song stands as a cornerstone of Townshend’s solo career, embodying his knack for weaving intricate storytelling into upbeat, infectious arrangements.

Musically, “Face the Face” merges elements of rock, jazz, and swing, with its energetic rhythm section propelled by drummer Simon Phillips and bassist Mark Brzezicki. The track also features layered brass arrangements, adding a rich, celebratory tone to its introspective lyrics. Townshend’s voice, both commanding and introspective, leads the charge, underscoring themes of societal confrontation and self-awareness. The track’s brisk tempo and its enthusiastic incorporation of eclectic influences set it apart from other works of the mid-1980s, highlighting Townshend’s refusal to conform to straightforward rock conventions.

Lyrically, the song emphasizes the need for honesty and self-examination, urging listeners to “face the face” in the mirror. The refrain repeats this mantra, creating an urgency that pairs well with the song’s dynamic instrumentation. Lines such as “We must be true to ourselves” resonate universally, challenging superficiality and encouraging depth of character. These themes align well with other songs on this list that explore notions of self-reflection and identity, though Townshend’s execution stands out for its jubilant instrumentation juxtaposed with its introspective message.

“Face the Face” also achieved commercial success, reaching No. 26 on the Billboard Hot 100 in the United States and finding favor on European charts. Its accompanying music video, full of frenetic energy and charismatic performances, further emphasized the song’s joyous yet contemplative spirit. Compared to other tracks in this article, “Face the Face” leans heavily into its celebratory sound, using music as a vehicle for its deeper existential themes. It’s a song that both challenges and entertains, reminding us to look inward while dancing through life’s complexities.

Read More: Top 10 Pete Townshend Solo Songs

# 9 – Eyes Without A Face – Billy Idol

Billy Idol’s hauntingly evocative “Eyes Without a Face,” released in 1984 as the second single from his album Rebel Yell, offers a striking blend of emotional depth and innovative production. Recorded in New York City’s Electric Lady Studios, the track was produced by Keith Forsey, whose work lent the song its polished yet atmospheric edge. Idol collaborated with guitarist Steve Stevens on the composition, and Stevens’ ethereal guitar work became a defining element of the track’s distinctive sound. The song climbed to No. 4 on the Billboard Hot 100, marking one of Idol’s most successful U.S. chart performances.

Lyrically, “Eyes Without a Face” is a poignant reflection on emotional detachment and the disintegration of intimacy. The phrase itself is borrowed from the French horror film Les Yeux sans Visage, lending the song a cinematic quality that complements its moody instrumentation. Idol juxtaposes tender verses with a chorus sung by Perri Lister, his then-girlfriend, whose ethereal delivery of the titular phrase in French enhances the track’s haunting atmosphere. Lines like “I’m all out of hope, one more bad dream could bring a fall” underscore a sense of despair, while the instrumental break, driven by Stevens’ electric guitar, injects a jarring intensity, reflecting the inner turmoil conveyed in the lyrics.

Musically, the song’s layered arrangement creates a rich soundscape. It opens with a minimal synth melody, gradually building to a more complex interplay of acoustic and electric elements. The juxtaposition of soft verses with an aggressive bridge mirrors the lyrical tension between vulnerability and anger. This dynamic structure sets “Eyes Without a Face” apart from other tracks on this list, such as Pete Townshend’s “Face the Face,” which leans more toward celebratory rhythms. Idol’s ability to balance the ethereal with the visceral demonstrates his versatility and the unique sonic identity of Rebel Yell.

The music video, directed by David Mallet, adds to the song’s mystique. Idol’s brooding performance against surreal backdrops, including shadowy figures and glowing imagery, amplifies the song’s themes of alienation and longing. Compared to other entries in this article, “Eyes Without a Face” delves deeply into introspection, using its title metaphorically to explore themes of emotional disconnect and loss, offering a compelling contrast to tracks that focus on external confrontation or self-empowerment. It remains a defining moment in Billy Idol’s career, celebrated for its haunting beauty and emotional resonance.

Read More: Top 10 Billy Idol Songs

# 8 – Have You Seen Her Face – The Byrds

The Byrds’ “Have You Seen Her Face,” written by bassist Chris Hillman, is a luminous reflection of the band’s shift from their folk-rock roots into a more polished and experimental sound. Released in 1967 on the album Younger Than Yesterday, the song was recorded at Columbia Studios in Hollywood with Gary Usher as producer. Hillman not only penned the track but also contributed the lead vocals, supported by Roger McGuinn’s jangling 12-string guitar and Michael Clarke’s steady percussion. This recording marked a creative milestone for Hillman, whose songwriting contributions were gaining prominence within the band.

Lyrically, “Have You Seen Her Face” explores themes of romantic yearning and unrequited love, underscored by a sense of immediacy in lines like “If you could see her, you would know she’s there.” Hillman’s plaintive delivery, coupled with McGuinn’s intricate guitar interplay, evokes a sense of longing, while the upbeat tempo injects a feeling of urgency. The song’s layered harmonies and concise, pop-oriented structure reflect the band’s maturation, aligning it with the experimental ethos of the mid-1960s. Compared to other tracks on this list, such as Pete Townshend’s “Face the Face,” which explores societal reflection, this song remains deeply personal, focusing on the emotional complexities of human connection.

“Have You Seen Her Face” charted modestly on the Billboard Hot 100, peaking at No. 74, but its influence extended beyond commercial performance. The track’s crisp production and innovative arrangement highlighted Hillman’s evolution as a songwriter and the band’s ability to bridge folk, rock, and emerging psychedelic sounds. While Billy Idol’s “Eyes Without a Face” relies on a haunting atmosphere to convey emotional detachment, The Byrds’ offering resonates with an immediacy and melodic brightness that capture a different facet of longing. The dynamic interplay between the lyrics and instrumentation in “Have You Seen Her Face” ensures its place as a memorable piece of The Byrds’ catalog and a worthy inclusion in this exploration of songs with “face” in the title.

Read More: 10 Best Byrds Songs

# 7 – Let’s Face The Music And Dance – Diana Krall

Diana Krall’s rendition of “Let’s Face the Music and Dance,” featured on her Grammy-nominated When I Look in Your Eyes album released in 1999, offers a captivating interpretation of Irving Berlin’s timeless classic. Recorded at Capitol Studios in Hollywood and produced by Tommy LiPuma, the album captures Krall’s signature blend of jazz sophistication and emotional intimacy. Accompanied by Anthony Wilson on guitar, John Clayton on bass, and Jeff Hamilton on drums, Krall imbues the track with a restrained elegance, transforming the song’s vintage allure into a contemporary jazz masterpiece.

Lyrically, “Let’s Face the Music and Dance” conveys an embrace of life’s uncertainties with the lines, “There may be trouble ahead, but while there’s moonlight and music and love and romance, let’s face the music and dance.” Krall’s smoky, nuanced vocals underscore the song’s bittersweet message of finding joy amidst inevitable challenges. The arrangement leans into a slower, more introspective tempo compared to the original, allowing the emotional depth of the lyrics to resonate more profoundly. This reflective approach mirrors themes found in other entries on this list, such as Billy Idol’s “Eyes Without a Face,” where the interplay of melancholy and resolve takes center stage.

Critically, Krall’s interpretation was praised for its refined artistry and ability to reimagine a standard without losing its essence. When I Look in Your Eyes reached No. 1 on the Billboard Top Jazz Albums chart and earned Krall widespread acclaim for bridging traditional and contemporary jazz. While The Byrds’ “Have You Seen Her Face” leans on vibrant instrumentation to tell its story, Krall’s minimalist approach focuses on subtlety and emotional resonance, making “Let’s Face the Music and Dance” an evocative entry in this exploration of songs with “face” in the title. Her version invites listeners to savor both the beauty and fragility of fleeting moments, perfectly aligning with the song’s timeless message.

Read More: Top 10 Diana Krall Songs

# 6 -In A Hand Or A Face – The Who

Closing out The Who by Numbers, “In a Hand or a Face” delivers a biting and introspective reflection that captures the tumultuous energy of The Who during the mid-1970s. Released on October 3, 1975, and recorded at Shepperton Sound Stage and Olympic Studios in London, the track is shaped by Pete Townshend’s sharp songwriting, which explores themes of disillusionment and identity. Glyn Johns, known for his work with artists like The Rolling Stones and Eagles, produced the album, ensuring its raw and confessional tone resonated authentically. The band’s lineup at the time—Roger Daltrey on vocals, Pete Townshend on guitar and keyboards, John Entwistle on bass, and Keith Moon on drums—infused this song with their characteristic intensity and skill.

Lyrically, “In a Hand or a Face” juxtaposes profound existential musings with vivid social commentary. The opening lines, “Ain’t it funny how they’re all Cleopatra / When you gaze into their past,” allude to the human tendency to mythologize others, underscoring how appearances or a single detail can distort perceptions. The song’s refrain, “I am going round and round,” echoes a cyclical sense of frustration and confusion, encapsulating the existential unease that pervades the album. The lyrics also take a sharp turn toward social critique, with imagery of a desperate man scavenging for food in a dustbin. This empathetic but helpless observation parallels the broader theme of emotional detachment explored in songs like “Eyes Without a Face” by Billy Idol, where surface beauty masks inner struggles.

Critics have often highlighted The Who by Numbers as a raw, deeply personal work, and “In a Hand or a Face” serves as its fitting conclusion. While it doesn’t boast the anthemic qualities of The Who’s earlier hits, the song’s introspection and lyrical depth make it a crucial piece of their discography. Musically, the track is driven by Townshend’s fluid guitar work, Daltrey’s commanding vocals, and Moon’s dynamic drumming, which adds urgency to the song’s swirling themes. Compared to Pete Townshend’s “Face the Face,” another song on this list, “In a Hand or a Face” carries a darker, more introspective tone, reflecting the band’s transition from youthful rebellion to middle-aged reflection.

By anchoring its narrative in both personal and social commentary, “In a Hand or a Face” cements itself as a contemplative entry on this list. It challenges listeners to confront the complexities of identity, perception, and their own role in a world rife with contradictions. This closing track on The Who by Numbers leaves an impression that lingers, much like the haunting imagery found in other entries on this article, tying the concept of “face” to themes of humanity and its many imperfections.

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

# 5 – My Brave Face – Paul McCartney

Paul McCartney’s “My Brave Face” emerged as the dynamic opening track of his 1989 album Flowers in the Dirt, showcasing his ability to craft deeply personal yet universally resonant songs. Co-written with Elvis Costello, the song represents one of McCartney’s most notable collaborations, blending their distinct lyrical and melodic styles. Recorded at McCartney’s Hog Hill Mill Studios and Olympic Studios in London, the track features McCartney on vocals, bass, and acoustic guitar, while Costello contributes backing vocals and shared songwriting duties. Produced by Mitchell Froom, Neil Dorfsman, and McCartney himself, the song’s bright yet introspective tone is balanced by a meticulous arrangement that complements its thematic exploration.

Lyrically, “My Brave Face” explores vulnerability masked by outward composure, resonating with the human tendency to conceal inner turmoil. The opening lines, “My brave, my brave, my brave face,” repeat like a mantra, setting the tone for a narrative steeped in self-reflection. As McCartney delves into the story of someone grappling with loss and emotional independence, he juxtaposes the resilience symbolized by the title with the lingering pain of separation. The song’s reflective quality shares thematic connections with other entries on this list, such as “Eyes Without a Face” by Billy Idol, which also addresses the duality of outward appearance and inner struggle, albeit in a more somber tone.

Critically, “My Brave Face” was lauded for its infectious melody and introspective lyrics, with many considering it a return to form for McCartney as a solo artist. The song achieved commercial success, peaking at No. 25 on the Billboard Hot 100 and reaching the Top 20 in the UK. The accompanying music video, with its playful and whimsical tone, contrasts the song’s deeper emotional themes, adding another layer of interpretation. While not as grandiose as The Who by Numbers’ “In a Hand or a Face” in its arrangement, McCartney’s track showcases an introspection framed by an upbeat pop sensibility, making it an accessible yet deeply layered addition to his catalog.

“My Brave Face” stands out for its interplay of vulnerability and composure, a theme mirrored across this article’s exploration of “face” in music. Its lyrical depth and melodic craftsmanship affirm McCartney’s enduring ability to connect with audiences, blending introspection with optimism in a way that feels both timeless and refreshingly modern. The song’s balance of personal storytelling and universal themes ensures its place as a pivotal entry on this list.

Read More: 10 Most Rocking Paul McCartney Songs

# 4 – The First Time Ever I Saw Your Face – Roberta Flack

Few songs capture the quiet intensity of love and reverence quite like Roberta Flack’s “The First Time Ever I Saw Your Face.” Originally penned by British folk singer Ewan MacColl in 1957, the song reached new heights of acclaim with Flack’s soulful interpretation. Recorded in 1969 and included on her debut album First Take, the track was produced by Joel Dorn at Atlantic Studios in New York City. The restrained arrangement, featuring Flack on piano, Ron Carter on bass, and guitar by John Pizzarelli, creates a meditative, almost ethereal atmosphere, emphasizing the song’s deeply emotive core.

The lyrics chronicle a profound emotional awakening, with lines like “the first time ever I kissed your mouth” conveying a visceral sense of connection and awe. Flack’s deliberate pacing magnifies the weight of each word, allowing the listener to fully absorb the song’s emotional depth. This measured approach is echoed in songs like Paul McCartney’s “My Brave Face,” which also explores the juxtaposition of vulnerability and strength, though Flack’s rendition is more introspective and solemn in tone. The refrain in Flack’s performance feels timeless, evoking an emotional landscape that transcends its era.

Critically, “The First Time Ever I Saw Your Face” was a triumph. Its inclusion in the 1971 film Play Misty for Me brought it mainstream attention, and it subsequently climbed to No. 1 on the Billboard Hot 100 in 1972, where it remained for six weeks. The song earned Flack Grammy Awards for Record of the Year and Song of the Year in 1973, solidifying her reputation as one of the great vocal interpreters of her time. While other songs on this list, such as The Byrds’ “Have You Seen Her Face,” lean more heavily on rhythmic energy, Flack’s track is a study in quiet intensity, relying on minimal instrumentation to underscore its poignant lyricism.

“The First Time Ever I Saw Your Face” resonates not only for its breathtaking vocal delivery but also for its ability to convey a universal truth about love’s transformative power. Its introspective nature offers a stark contrast to more upbeat entries on this list, showcasing the breadth of emotional expression found within songs that use “face” as a focal point. Flack’s rendition remains an unparalleled exploration of love’s quiet yet all-encompassing strength, ensuring its place among the most evocative performances in contemporary music.

Read More: Top 10 Roberta Flack Songs

# 3 – Your Smiling Face – James Taylor

James Taylor’s “Your Smiling Face” stands as a jubilant celebration of love and gratitude, radiating a warmth that perfectly aligns with the uplifting energy of his 1977 album JT. The track was recorded at The Sound Factory in Los Angeles and produced by Peter Asher, a longtime collaborator of Taylor’s. Taylor’s distinctive voice is accompanied by an array of accomplished musicians, including Leland Sklar on bass, Danny Kortchmar on guitar, and Russ Kunkel on drums, creating a tight, rhythmically engaging arrangement that mirrors the song’s upbeat lyrics.

Lyrically, “Your Smiling Face” is a heartfelt expression of appreciation, encapsulating the joy that comes from being with someone who brings light and happiness into one’s life. Taylor’s poetic delivery, with lines such as “Every time I see your smiling face, I have to smile myself,” is simple yet deeply resonant. This directness contrasts with the reflective tone of Roberta Flack’s “The First Time Ever I Saw Your Face,” which delves into love’s quieter, more introspective moments. While Flack’s song meditates on love as a transformative force, Taylor’s song thrives on the immediate and tangible happiness that love provides, making it a dynamic counterpart within this list.

Released as a single, “Your Smiling Face” became a commercial success, peaking at No. 20 on the Billboard Hot 100 and No. 6 on the Adult Contemporary chart. Critics often praise the song for its infectious optimism, which is accentuated by the playful instrumentation and Taylor’s warm, conversational vocal delivery. Compared to the rich orchestration in “The First Time Ever I Saw Your Face” or the introspective nuances in “In a Hand or a Face” by The Who, “Your Smiling Face” prioritizes simplicity and direct emotional resonance, reinforcing its universal appeal.

The song’s enduring charm lies in its ability to evoke joy and sincerity without pretense. Its lively tempo and uplifting message provide a refreshing contrast to more somber entries on this list, while its focus on the transformative power of a smile highlights the many ways love and connection can be celebrated. “Your Smiling Face” exemplifies Taylor’s gift for crafting songs that feel both deeply personal and universally relatable, ensuring its place as one of the most cherished tracks in his catalog.

Read More: Top 10 James Taylor Songs

# 2 – I Just Want To See His Face – The Rolling Stones

Nestled within Exile on Main St., “I Just Want to See His Face” is a haunting and mysterious track that showcases The Rolling Stones’ penchant for pushing musical boundaries. Recorded between 1969 and 1972, the song was produced by Jimmy Miller and largely improvised at the Villa Nellcôte in France during the infamous sessions for the album. Featuring Mick Jagger on vocals and piano, Charlie Watts on drums, Bill Wyman on bass, and an assortment of other musicians, including Bobby Keys and Jim Price on horns, the track emanates a gospel-infused atmosphere that feels both raw and otherworldly.

The song’s lyrics, delivered in Jagger’s murky and half-spoken style, reflect a yearning for spiritual connection. “I Just Want to See His Face” delves into themes of faith and redemption, with lines like “Don’t want to talk about Jesus, just want to see His face” emphasizing the visceral need for personal experience over dogma. This emotional vulnerability is reminiscent of Roberta Flack’s “The First Time Ever I Saw Your Face,” albeit channeled through a more shadowy and enigmatic lens. While Flack’s ballad paints a picture of love’s purity, The Rolling Stones embrace ambiguity, allowing listeners to interpret the spiritual longing in their own way.

Critically, the song has been praised for its atmospheric depth and departure from the band’s usual rock-and-roll sound. The minimalist arrangement, featuring a hypnotic rhythm and gospel-style backing vocals, lends an almost trance-like quality to the track. Comparatively, “Your Smiling Face” by James Taylor offers a vibrant and polished sound that celebrates joy, contrasting sharply with the raw, almost unpolished aesthetic of this Rolling Stones entry. “I Just Want to See His Face” relies on its mood and mystique, making it a unique addition to the Exile on Main St. album.

Its inclusion on this list highlights the versatility of songs with “face” in their title, showcasing the word’s ability to encapsulate both emotional and spiritual longing. The track’s stripped-down production and soulful delivery ensure it resonates as a powerful yet understated gem, offering a meditative counterpoint to the more elaborate compositions featured in this article.

Read More: Our 10 Favorite Rolling Stones Songs Of The 1970s

# 1 – I’ve Just Seen A Face – The Beatles

“I’ve Just Seen a Face,” a lively and folk-inspired track by The Beatles, captures the exhilarating spontaneity of falling in love at first sight. Recorded on June 14, 1965, at EMI Studios in London, this Paul McCartney composition was produced by the legendary George Martin and included on the Help! album in the United Kingdom. The song’s acoustic-driven arrangement marked a departure from The Beatles’ typical rock and roll sound, showcasing their versatility and foreshadowing the folk-rock influences that would permeate their later work. McCartney’s nimble vocals, coupled with George Harrison’s intricate acoustic guitar lines and Ringo Starr’s subtle percussion, create a buoyant energy that perfectly mirrors the song’s lyrical optimism.

The lyrics convey a sense of instant connection and euphoria, encapsulated in lines such as “I can’t forget the time or place where we just met.” The narrative celebrates love’s transformative power, a theme that finds echoes in James Taylor’s “Your Smiling Face” from this list, where joy and devotion are similarly expressed with heartfelt immediacy. However, where Taylor’s track revels in polished production and a serene tempo, “I’ve Just Seen a Face” thrives on its raw, brisk rhythm, mirroring the impulsiveness of its romantic subject matter.

Critics have lauded the song for its simplicity and charm, often highlighting its seamless integration of folk and pop elements. The absence of a bassline—a rarity for The Beatles—further underscores the track’s acoustic intimacy, placing the focus squarely on its lively melody and effervescent vocal delivery. Comparatively, The Rolling Stones’ “I Just Want to See His Face” leans into a more enigmatic and spiritual tone, whereas “I’ve Just Seen a Face” is refreshingly straightforward, celebrating love in its purest, most immediate form.

The song’s enduring appeal lies in its ability to evoke universal feelings of excitement and possibility. Its placement in this list underscores how the word “face” can serve as a metaphorical window into human emotion, whether reflecting newfound love, as in this track, or deeper longing, as seen in others within this article.

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

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

10 Best Songs With The Word ‘Face’ In The Title article published on Classic RockHistory.com© 2025

In a new interview with Finland’s Chaoszine, drummer Kai Hahto spoke about his upcoming solo Alone tour, if Nightwish and Wintersun will play live again, and joining his Nightwish bandmates Auri for their third album.

Drummer Kai Hahto (Nightwish, Wintersun) has joined his Nightwish bandmates Tuomas Holopainen and Troy Donockley, in their other band, Auri, which also features Holopainen’s wife, singer Johanna Kurkela.

Auri shared the short studio video below to Instagram, in which Holopainen states: “Good evening and greetings from the legendary Petrax Studios in Hollola, Finland, where we just finished recording drums and percussion for the third Auri album by the legend himself, Mr. Kai Hahto, who will also join us for the tour later this year.”

Kai adds: “Yes, I’m really thrilled to be part of the live shows and hope to see you all there.”

Back in December, video producer Antti Kangasaho has shared drumcam video of Kai Hahto performing the Nightwish song “Ghost Love Score” in Vaasa, Finland on June 17, 2023.

Antti: “I have waited for quite a while to do a new version with Kai of this epic Nightwish song, the previous being from the early times of my drumcam-making journey (2015). Hopefully you enjoy as much watching as I really thoroughly loved making this one!”

Sepulchral Curses’ third full-length Crimson Moon Evocations paints a vivid portrait of a band at their creative and productive peak. On their Dark Descent Records debut, the Turku quintet demonstrate unmatched ferocity and craftmanship, cementing their place at the very zenith of the global blackened death metal scene.

As with many Finnish death metal pioneers, the band incorporates a distinctive sense of weirdness, blending diverse influences in crafting a sound that’s unmistakably their own. “The backbone is death metal,” states vocalist Kari Kankaanpää, “but we’ve never shied away from exploring new inspirations and influences, which shape the unique edge synonymous with Sepulchral Curse. Music needs to be dark, heavy and furious!”

Crimson Moon Evocations marks the band’s debut with Dark Descent Records, a partnership that feels both natural and profoundly significant: “Dark Descent Records has always held a special place in my heart. To join their renowned roster with this record is a true honour.”

This new collaboration reflects the Sepulchral Curse’s unwavering momentum, arriving merely two years after their bold leap forward with Abhorrent Dimensions “With Abhorrent Dimensions we truly began to find our own sound and style, and Crimson Moon Evocations takes an even deeper dive into who we are and crystallises the essence of the Sepulchral Curse sound.”

To capture their vision, the band returned to Finland’s Oxroad Studios to work with producer Tomi Uusitupa, whose influence has been pivotal. “Tomi is like our sixth member. He chooses the projects he works with carefully, as he pours a tremendous amount of love and personal input to each record he does.”

Complete with stunning artwork by Mark Erskine, the album is not just a milestone but a statement: Sepulchral Curse has ascended to the pinnacle of blackened death metal!

“Stay cursed. Onward the legions!” Kari concludes.

Crimson Moon Evocations is out February 28, preorder on Bandcamp.

Tracklisting:

“Wildfires”
“House Of The Black Moon”
“The Locust Scar”
“Beneath The Dismal Tides”
“Empress Of The Dead”
“The Currents Of Chaos”
“Crimson Passage”

“House Of The Black Moon” video:

As Orange Goblin approach their 30th anniversary, the band have announced that 2025 will mark their final year of activity—for now. The legendary UK heavy metal band, renowned for their uncompromising DIY ethos and electrifying live performances, shared this emotional decision with their fans, expressing gratitude for the support that has fuelled their extraordinary three-decade career.

In a heartfelt statement, Orange Goblin reflected on their journey:

“As Orange Goblin enters its 30th year of existence, we have made the collective decision that 2025 will be our last. Maybe not forever and who knows what could be possible further down the line. It’s been a wild 30 years and we have had some incredible experiences and are left with magical memories. For that we are all truly grateful. We started the band with no real preconception of what it eventually became, we started as bored teenagers with a mutual love of heavy metal, classic rock and punk rock. We feel very fortunate that we have been able to travel all over the world, numerous times, and have made a network of friends all around the globe. We are proud of everything we have accomplished together, we’ve always maintained a DIY ethic and done things our own way and on our terms. 

“We have never compromised to fit into any specific scene and we feel we leave a very strong legacy of 10 studio albums, each one a milestone that marks exactly where we were at each point of our journey. Of this, we are fiercely proud. It’s not been an easy decision for any of us, we have all given 30 years of our lives to this incredible band, but we feel that now is the right time for us to focus our attention on our families and other interests outside the band. We will of course be honouring all the shows and festivals we currently have planned for 2025, as well as a few other things that we have in the pipeline, but these could be your last chance to catch Orange Goblin live, wherever you are, for a while!

“We would like to express our gratitude to every single person that has made this possible for us, there are too many to name personally, but especially to our wives and children that have supported us no matter what, our former band mates, Martyn and Pete, the current and former road crew that have kept the show on the road for so long, despite us never making things easy for them. But last and by no means least, we thank you, the Orange Goblin fans that have been the bedrock of everything for us. Nothing we have done would’ve been possible without the fans that have bought the albums, the merchandise, the show tickets and ALWAYS showed us and made us feel just how appreciated we are. We thank you all from the bottom of our hearts…………Orange Fuckin’ Goblin Baby! End of transmission. – Ben, Joe, Chris & Harry – Orange Goblin”

Find tickets at orangegoblinofficial.com.

Final tour dates:

March
7 – Thessaloniki, Greece – Block 33
8 – Athens, Greece – Heavy Psych Sounds Fest
9 – Sofia, Bulgaria – Mixtape 5

May
24 – Baltimore, MD – Maryland Deathfest

June
13 – Leeuwarden, Netherlands – Into The Grave Festival
19 – Clisson, France – Hellfest
20 – Dessel, Belgium – Graspop Metal Meeting

July
31 – Rasnov, Romania – Rockstadt Extreme Fest

August
2 – Wacken, Germany – Wacken Open Air
3 – Saint Maurice de Gourdans, France- Sylak Open Air Festival
6 – Jaromer, Czech Republic – Brutal Assault Festival
8 – Catton Hall, UK – Bloodstock Open Air Festival
15 – Francavilla Al Mare, Italy – Frantic Fest

September
5 – Lodzki, Poland – Summer Dying Loud Festival 

(Photo – Tina Korhonen / Astrophography courtesy of Giancarlo Erra)

Beyond being a world-renowned guitarist, Kiko Loureiro is a transformational mentor. Through his Kiko Loureiro Guitar Academy, he helps guitarists evolve, transforming how they play, feel, and view music—developing not just great musicians but complete artists.

Kiko Loureiro, celebrated for his work with Angra and Megadeth, has shared fascinating insights into the creation of some of his most iconic riffs. Discussing tracks like Angra’s “Nothing to Say” and Megadeth’s “Night Stalkers,” Kiko offered an intimate look at his creative process behind these legendary compositions.

Through the Kiko Loureiro Guitar Academy (KLGA), Kiko provides a nurturing space for guitarists of all levels—beginner to professional. With over 9,000 students worldwide, the KLGA is more than just lessons; it’s a vibrant community where students not only refine their skills but also collaborate, form lasting bonds, and build a global network of guitarists.

At KLGA, Kiko imparts decades of international experience, covering advanced techniques, music theory, creativity, precision, and insights into the music industry. The academy also features guest instructors and study groups, creating opportunities for cultural exchange and mutual growth. KLGA is more than an educational space—it’s a community where passion for the guitar thrives.

Learn more at kikoloureiro.com.

Kiko’s accessible, motivational teaching style transforms learning into a journey that combines passion, technique, and excellence. From beginners to seasoned players, KLGA empowers students to develop their own musical identity and creativity.

In 2025, Kiko embarks on his highly anticipated Theory of Mind Tour, celebrating his latest solo album, Theory of Mind. This tour, promoted by Top Link Music, promises innovation and emotion, revisiting Kiko’s career while debuting new compositions that have already garnered critical acclaim.

“Night Stalkers,” one of the standout tracks from Megadeth’s latest album, exemplifies chaos and technical mastery. Kiko explains that the main riff was designed to evoke intense tension. “I wanted something that felt chaotic while retaining the essence of thrash metal. Using two semitone notes, I created a feeling of instability,” says Kiko.

The studio process elevated the riff’s intensity, with Dave Mustaine pushing to increase its BPM. “Mustaine asked for a 10 BPM boost, making it even more challenging. It reminded me of tracks like ‘Temple Of Hate’ from my Angra days, where pushing speed tests technique,” Kiko shares.

Ice-T’s guest appearance brought additional grit and attitude. His narration adds a cinematic layer, enhancing the song’s powerful energy. The track also features Dirk Verbeuren’s extraordinary drumming, which complements the song’s relentless pace.

The result is a controlled chaos of thrash metal brilliance, cementing “Night Stalkers” as a highlight of both Kiko’s career and the Megadeth catalog.

One of the standout tracks from Angra’s Angels Cry album, “Streets Of Tomorrow,” marked Kiko’s early efforts to establish his musical identity.

“This riff was one of the first I wrote for Angels Cry. At the time, I was experimenting a lot, looking for sounds that combined technique and heaviness. The riff is straightforward yet melodic, reflecting the balance I wanted to strike as a guitarist,” Kiko explains.

He credits influences like Queensrÿche and virtuosic guitarists who combined traditional metal with progressive elements. The riff helped define Angra’s unique sound as the band was finding its footing.

“Tackling this song live was a rush,” Kiko recalls. “It connected with the audience naturally, showcasing the energy of a young band ready to make its mark.”

A key track on Angra’s Holy Land, “Nothing To Say” underwent a significant transformation during the recording process.

“The original riff was simple when we first jammed on it at Rafael Bittencourt’s countryside house. But in the studio, I decided to experiment with added notes to make it more intricate,” says Kiko.

This decision sparked debates. “Andre Matos thought the riff had too many notes for his vocal lines. But Sascha Paeth (our producer) and I stood by the complexity—it felt more dynamic and aligned with the song’s epic theme,” he adds.

The final version became a cornerstone of the album, blending progressive metal with Brazilian influences. “The transition from riff to chorus is a magical moment, especially live—it brings the audience and band into perfect harmony.”

The riff for “Rebirth”, from Angra’s album of the same name, was born from a mix of spontaneity and revisiting old ideas.

“I initially wrote a riff that didn’t make it onto a previous album, but I didn’t want it to go to waste. I reimagined it during a jam session with Rafael Bittencourt, simplifying it to better match the optimistic, hopeful vibe of Rebirth,” Kiko shares.

The collaborative energy during the jam session turned the rough idea into a complete song almost overnight. “It was natural and organic, reflecting the spirit of renewal that the album represents,” he says.

“Nova Era” is a definitive Angra track, showcasing Kiko’s ability to blend advanced techniques with emotional expression.

“The main riff came to me while practicing alone. I love mixing technique with melody, and this one flowed naturally. The tapping section in the solo was already in my mind before the song fully took shape,” Kiko explains.

The track’s complexity required meticulous attention in the studio. “After the riff, I created a sequence of arpeggios as a climactic moment. It’s a nod to neoclassical influences but with a modern power metal twist.”

Producer Dennis Ward suggested adding the iconic “Arise!” shout in the middle of the riff, which became a defining moment for the song’s live performances.

“Nova Era combines speed, technique, and raw emotion. It’s a classic example of what makes Angra’s sound unique,” says Kiko.

From Angra to Megadeth, Kiko’s career reflects his ability to blend technical brilliance with emotional depth. His riffs and compositions—whether melodic, intricate, or raw—tell stories that resonate deeply with fans.

(Photo – Henrique Grandi)

a LIGHT in the BLACK has uploaded the video below, along with the following introduction:

Experience the rediscovery of a lost gem from Voivod’s self-titled 2003 album – an electrifying performance video for the track “Blame Us”. This long-lost footage was recently uncovered in the archives by Jeff Ertl and Keith McCabe, both former ILM Visual Effects artists and directors of the iconic “We Carry On” video featured on MTV’s Headbangers Ball.

Shot during Voivod’s 2003 tour with Sepultura, the footage captures the raw energy of the band’s performances in Tucson, AZ, Albuquerque, NM, and El Paso, TX. Additional scenes were filmed at the Bourbon Street Bar and Grill in Concord, CA, and Jason Newsted’s Chophouse Recording Studio. The video showcases Voivod’s Mark III legendary lineup, including the late Denis “Piggy” D’Amour, Michel “Away” Langevin, Denis “Snake” Bélanger, and Jason “Jasonic” Newsted.

“Blame Us” resonates powerfully today, with its potent lyrics and intense performance underscoring themes that are strikingly relevant in the current world climate. This rediscovery offers fans a unique glimpse into Voivod’s innovative and futuristic vision.

From tender ballads to raucous rock anthems, these tracks showcase the ways “more” can drive human experience, whether it’s the pursuit of love, the ache of loss, or the thrill of rebellion. Across genres and decades, these songs demonstrate that “more” is not just a word—it’s a catalyst for some of music’s most enduring stories and sounds.

“More Than a Feeling” by Boston immortalizes the bittersweet pull of memory and music, combining meticulous production with soaring melodies to evoke an emotional journey that transcends time. “How Many More Times” by Led Zeppelin twists and turns through dynamic blues-rock, channeling raw desire and improvisational brilliance. “Ain’t Wastin’ Time No More” by The Allman Brothers Band is a stirring reflection on grief and renewal, merging soulful lyrics with a vibrant musical pulse. “No More Tears” by Ozzy Osbourne combines haunting storytelling with a powerful instrumental arrangement, balancing darkness with cathartic release. “One More Time” by Joe Jackson confronts the frustrations of betrayal with biting wit and a defiant energy that matches its sharp lyrics.

“More Than Words” by Extreme strips down the barriers of communication to deliver a heartfelt acoustic ode to love’s unspoken truths. “No More ‘I Love You’s” by Annie Lennox transforms a cult classic into an art-pop masterpiece, pairing intricate vocal layers with lyrical vulnerability. “No More Mr. Nice Guy” by Alice Cooper delivers a tongue-in-cheek rebellion against societal expectations, amplified by sharp guitar riffs and theatrical flair. “It Doesn’t Matter Anymore” by Linda Ronstadt breathes new life into a sorrowful standard, her emotive voice turning resignation into beauty. Finally, “No More Lonely Nights” by Paul McCartney showcases his mastery of crafting deeply romantic melodies, blending tender lyrics with a timeless arrangement.

# 10 – No More Lonely Nights – Paul McCartney

Paul McCartney’s “No More Lonely Nights” is a lush and evocative ballad, showcasing his deft ability to blend heartfelt lyrics with timeless melodies. Released in 1984 as part of his soundtrack album Give My Regards to Broad Street, the track was recorded between November 1982 and July 1984 at AIR Studios in London. Produced by George Martin, the legendary Beatles collaborator, the song features McCartney on lead vocals, piano, and bass, with David Gilmour of Pink Floyd contributing an iconic, soaring guitar solo that elevates the song’s emotional resonance. Additional musicians include Anne Dudley, who provided the atmospheric synthesizer arrangements, and Linda McCartney on backing vocals, bringing a personal touch to the recording.

The song captures a longing for connection and an aching vulnerability, encapsulated in the repeated refrain, “No more lonely nights / Never be another.” This refrain underlines the universal desire for companionship and the fear of isolation, themes that are effortlessly relatable. McCartney’s tender delivery imbues the words with sincerity, while the orchestral arrangement, courtesy of George Martin, enhances the song’s emotional depth. The lyrics align seamlessly with the theme of this article, emphasizing the yearning for “more” in terms of love and human connection. The imagery of lonely nights is juxtaposed with a hopeful promise of never facing solitude again, a lyrical approach that distinguishes it from other songs on this list that might explore different shades of longing or fulfillment.

Critics widely praised the track upon its release, with particular commendation for Gilmour’s guitar work and the song’s polished production. The single achieved commercial success, reaching No. 6 on the UK Singles Chart and No. 2 on the Billboard Adult Contemporary Chart in the United States. The accompanying music video, blending performance footage with narrative scenes from Give My Regards to Broad Street, mirrors the song’s themes of isolation and hope. Compared to other songs in this article, “No More Lonely Nights” stands out for its cinematic quality and polished fusion of pop sensibilities with McCartney’s signature melodic craftsmanship. This contrasts with the more upbeat or raw approaches found in other entries, adding a reflective dimension to the list.

Through its sophisticated production, emotive lyrics, and memorable instrumentation, “No More Lonely Nights” underscores McCartney’s enduring ability to capture the complexities of human emotion. It seamlessly ties into the theme of longing for “more,” delivering a poignant meditation on the desire to transcend loneliness and find solace in love. The combination of McCartney’s heartfelt delivery and the song’s masterful arrangement ensures its place as a timeless classic that resonates deeply with listeners.

# 9 – It Doesn’t Matter Anymore – Linda Ronstadt

Linda Ronstadt’s rendition of “It Doesn’t Matter Anymore,” featured on her 1974 album Heart Like a Wheel, transforms the song into a heartfelt exploration of resignation and strength in the face of heartbreak. Originally penned by Paul Anka and famously recorded by Buddy Holly in 1958, Ronstadt’s interpretation breathes new life into the classic with her powerful vocal delivery and a distinctive country-rock arrangement. The song was recorded at the Sound Factory in Los Angeles, produced by Peter Asher, whose polished production became a hallmark of Ronstadt’s critically acclaimed career during this period. The album also features an array of talented musicians, including Andrew Gold on guitar, Kenny Edwards on bass, and Russ Kunkel on drums, each contributing to the track’s dynamic yet intimate sound.

“It Doesn’t Matter Anymore” delves into the emotions of moving on after a failed relationship, perfectly aligned with the theme of this article. Lines such as, “There’s no use in me a-cryin’ / I’ve done everything and now I’m sick of tryin’,” capture the weariness of heartbreak juxtaposed with the determination to let go and start anew. Ronstadt’s vocal delivery underscores the bittersweet nature of the lyrics, blending vulnerability with a quiet resolve. In the context of this list, the song’s exploration of closure and the word “more” subtly reflects the paradox of seeking more from a relationship while ultimately finding strength in accepting less. The lyrical parallels with Paul McCartney’s “No More Lonely Nights” underscore a thematic continuity in exploring human longing and resilience, though Ronstadt’s delivery leans into a raw, country-inspired vulnerability compared to McCartney’s polished balladry.

Heart Like a Wheel marked a pivotal moment in Ronstadt’s career, solidifying her as one of the most versatile and influential voices of her era. “It Doesn’t Matter Anymore” was praised for its ability to reimagine a classic while maintaining the emotional depth of the original. The album achieved both commercial and critical success, reaching No. 1 on the Billboard 200 chart and earning Ronstadt a Grammy for Best Country Vocal Performance. This accomplishment reflects how the song’s timeless appeal resonated with audiences across genres. Compared to other tracks on this list, such as “No More Lonely Nights,” Ronstadt’s interpretation stands out for its rootsy authenticity and the way it channels a universal experience of emotional release through a deeply personal lens.

# 8 – No More “I Love You’s – Annie Lennox

Annie Lennox’s rendition of “No More ‘I Love You’s” takes a hauntingly poetic journey into the complexities of love, memory, and self-preservation. Featured on her 1995 album Medusa, this song is a cover of the 1986 original by the British duo The Lover Speaks. Lennox’s version was recorded at The Church Studios in London, produced by Stephen Lipson. Her mesmerizing vocal performance is complemented by a rich instrumental arrangement featuring Lipson on guitar and bass, Clem Clempson on lead guitar, and Pete Murray on keyboards, with Lennox herself contributing keyboard elements. The song’s layered production amplifies its dreamlike quality, an essential hallmark of the track’s enduring allure.

The lyrics of “No More ‘I Love You’s” explore the disconnection and confusion that can accompany the end of love, captured poignantly in lines like, “I used to have demons in my room at night / Desire, despair, desire, so many monsters.” Lennox’s delivery imbues these words with both fragility and strength, as if grappling with the simultaneous loss and liberation that comes from severing emotional ties. In the context of this article, the inclusion of “more” in the title underscores the longing for a time when love felt abundant, while the phrase “no more” signals a firm yet bittersweet resolution. Comparatively, its themes of emotional closure resonate alongside Linda Ronstadt’s “It Doesn’t Matter Anymore,” though Lennox’s interpretation leans into surreal imagery and introspection, distinguishing itself through an avant-garde approach.

Lennox’s rendition of “No More ‘I Love You’s” was a resounding success, earning her a Grammy Award for Best Female Pop Vocal Performance in 1996. The single achieved notable chart performance, peaking at No. 2 in the UK and breaking into the top 40 in the United States. The accompanying music video, directed by Joe Dyer, further enhanced the song’s ethereal atmosphere, featuring Lennox in theatrical, otherworldly settings that visually echoed the song’s themes of transformation and emotional rebirth. In comparison to Paul McCartney’s “No More Lonely Nights,” Lennox’s track navigates similar territory of romantic loss but veers into a more experimental and surreal narrative, providing a multidimensional take on heartbreak.

“No More ‘I Love You’s” is a masterful fusion of sonic innovation, lyrical depth, and artistic vision. Lennox’s ability to transform The Lover Speaks’ original into a work uniquely her own is a testament to her interpretative brilliance. Its inclusion in this list underscores the myriad ways artists confront and reframe the idea of love and its absence, each finding new pathways to express universal emotions with a distinctive voice.

# 7 – No More Mr. Nice Guy – Alice Cooper

Alice Cooper’s “No More Mr. Nice Guy” is a defiant anthem that channels rebellion and theatricality, hallmarks of the band’s impact on rock in the 1970s. Released as a single from their 1973 album Billion Dollar Babies, the track was recorded at Morgan Studios in London under the meticulous production of Bob Ezrin, a frequent collaborator with the band. Musically, the lineup features Alice Cooper’s unmistakable vocals, Michael Bruce on rhythm guitar and keyboards, Glen Buxton on lead guitar, Dennis Dunaway on bass, and Neal Smith on drums. The song’s tight instrumentation and anthemic energy make it one of the most memorable tracks on an album that reached the top of the U.S. and U.K. charts.

The song’s lyrics reflect the frustration of being misjudged and cast aside, exemplified in the opening lines: “I used to be such a sweet, sweet thing / ‘Til they got a hold of me.” Cooper’s delivery strikes a perfect balance between sardonic humor and pointed rebellion, creating a narrative of a protagonist rejecting societal expectations. The theme of breaking free from imposed niceties ties into the broader context of the list, resonating particularly with Annie Lennox’s “No More ‘I Love You’s” in its declaration of autonomy, though Cooper’s approach is brash and unapologetic where Lennox’s is introspective. The phrase “No More” becomes a rallying cry in both tracks, albeit expressed through distinct emotional landscapes.

Critics lauded “No More Mr. Nice Guy” for its biting wit and accessible rock sound, with Rolling Stone describing it as a quintessential Alice Cooper track. It charted well, reaching No. 25 on the Billboard Hot 100 and gaining even broader recognition through its inclusion in the film Dazed and Confused. The song’s enduring appeal lies in its balance of mainstream rock appeal and the theatrical shock-rock aesthetic Cooper and his band perfected. When compared to Paul McCartney’s “No More Lonely Nights,” both tracks showcase an artist’s ability to encapsulate personal struggles, but where McCartney’s is tender and reflective, Cooper’s is confrontational and vivid, standing as an anthem of self-reclamation.

# 6 – More Than Words – Extreme

“More Than Words” by Extreme is a striking departure from the band’s hard rock roots, showcasing their ability to craft a tender acoustic ballad that resonated with listeners worldwide. Released in 1991 as the third single from their Pornograffitti album, the song was recorded at Scream Studios in Studio City, California. Produced by Michael Wagener, the track features only two members of the band—Gary Cherone on vocals and Nuno Bettencourt on acoustic guitar—underscoring the stripped-down intimacy that defines the song. Its minimalist arrangement highlights the sincerity of the lyrics, creating a heartfelt appeal that diverges from the over-the-top production typical of the era.

“More Than Words” implores a partner to demonstrate love through actions rather than relying solely on verbal affirmations. Cherone’s vocals deliver lines like, “More than words is all you have to do to make it real,” with vulnerability and conviction, emphasizing the universal yearning for deeper connection. This theme of love expressed through action ties in thematically with “No More ‘I Love You’s” by Annie Lennox, which also explores the complexities of communication in relationships, though Lennox’s interpretation is more introspective and avant-garde compared to Extreme’s direct emotional plea. Both songs reflect the list’s broader exploration of how “more” signifies a demand for greater meaning in relationships, though through very different stylistic lenses.

Critically and commercially, “More Than Words” became Extreme’s most successful single, reaching No. 1 on the Billboard Hot 100 and charting highly in multiple countries. The song received widespread acclaim for its emotive simplicity, with critics praising its departure from the band’s heavier sound. Its music video, directed by Jonathan Dayton and Valerie Faris, further emphasized the song’s understated elegance, featuring the band members performing in a dimly lit room, with a focus on Cherone and Bettencourt’s chemistry. This straightforward presentation aligns with the song’s message, mirroring its lyrical insistence on sincerity over superficiality.

When compared to Alice Cooper’s rebellious “No More Mr. Nice Guy,” the contrast is stark. While Cooper’s song exudes defiance through biting wit and raucous instrumentation, “More Than Words” relies on gentleness and vulnerability to convey its message. Both, however, share a thematic insistence on authenticity, whether in the context of societal expectations or intimate relationships. “More Than Words” remains an enduring testament to the power of simplicity, proving that sometimes less can indeed convey so much more.

# 5 – One More Time – Joe Jackson

Joe Jackson’s “One More Time” bursts open his debut album, Look Sharp!, with unrelenting energy and a wry lyrical perspective on disillusionment and self-determination. Recorded in 1978 at Eden Studios in London and produced by David Kershenbaum, the song features Jackson on vocals and piano, Gary Sanford on guitar, Graham Maby on bass, and David Houghton on drums. This lineup defines the taut, punk-inflected new wave sound that underpins the track, balancing urgency with an undercurrent of melodic sophistication.

Thematically, “One More Time” explores the frustration of living under societal expectations and the decision to break free, encapsulated in lines like, “Can’t you see that I don’t want everything they say?” Jackson’s sharp lyricism and biting delivery reinforce the defiance coursing through the song, making it a perfect vehicle for the album’s overarching themes of rebellion and self-reinvention. This thematic assertiveness resonates with Extreme’s “More Than Words,” albeit through a contrasting lens; while Extreme advocates for love shown through action, Jackson’s track demands action in rejecting conformity, aligning both songs in their insistence on authenticity.

“One More Time” received acclaim for its infectious hook and razor-sharp instrumentation, with Graham Maby’s driving bassline often singled out as a highlight. The song charted modestly but earned its place as a staple in Jackson’s live performances, where its frenetic pace and raw energy captivated audiences. Comparatively, its rebellious tone mirrors Alice Cooper’s “No More Mr. Nice Guy,” though where Cooper employs theatricality, Jackson relies on a stripped-down, no-frills approach, amplifying the track’s immediacy and grit.

In the context of this list, “One More Time” stands out for its fiery insistence on individuality and its commentary on societal pressure, offering a stark contrast to the introspective narratives of songs like Annie Lennox’s “No More ‘I Love You’s.” Together, these tracks underscore the versatility of the word “more” as a conduit for emotional expression, whether through defiance, longing, or introspection. Jackson’s debut anthem remains a testament to the enduring power of personal conviction set to a blistering new wave soundtrack.

# 4 -No More Tears – Ozzy Osbourne

Released in 1991 as the title track of his sixth studio album, No More Tears, the song was recorded at A&M Studios in Los Angeles. Produced by Duane Baron and John Purdell, the track showcases Osbourne’s signature theatricality, blending heavy metal grit with melodic undertones. The song features an all-star lineup, including Zakk Wylde on guitar, Bob Daisley on bass, Randy Castillo on drums, and John Sinclair on keyboards, whose collective artistry creates a sprawling six-and-a-half-minute journey through sorrow and strength.

“No More Tears” delves into themes of regret and liberation, weaving a narrative about a toxic relationship and the emotional resolve to break free. The opening line, “The light in the window is a crack in the sky,” sets a haunting tone that permeates the song, while the refrain, “No more tears,” embodies a declaration of emotional release. This introspective message resonates with Extreme’s “More Than Words,” as both tracks explore the power of internal resolution, albeit through vastly different sonic landscapes. While Extreme opts for acoustic intimacy, Osbourne’s piece envelops listeners in a grandiose, cinematic atmosphere.

Critically, “No More Tears” is hailed as one of Osbourne’s finest solo efforts, balancing accessibility with his trademark eccentricity. The song peaked at number ten on the Billboard Album Rock Tracks chart, demonstrating its appeal across both mainstream and metal audiences. Zakk Wylde’s iconic guitar riff, paired with a memorable bassline from Michael Inez, is frequently cited as a highlight. In comparison to Joe Jackson’s “One More Time,” which brims with punk energy, Osbourne’s track unfurls at a deliberate pace, emphasizing grandeur over immediacy.

Within the context of this list, “No More Tears” stands as a testament to Osbourne’s ability to channel personal anguish into a compelling and cathartic anthem. Its rich instrumentation and poignant lyrics offer a stark contrast to the defiant tone of Alice Cooper’s “No More Mr. Nice Guy,” yet both tracks share a thematic focus on self-liberation. The evocative layers of “No More Tears” ensure its enduring legacy, securing its place among the most memorable songs to wield the word “more” as a bridge to deeper emotional exploration.

# 3 – Ain’t Wastin’ Time No More – The Allman Brothers Band

Released as the opening track on Eat a Peach in February 1972, “Ain’t Wastin’ Time No More” is a poignant response to personal loss and an anthem of resilience. Written by Gregg Allman in the aftermath of his brother Duane Allman’s tragic death in a motorcycle accident, the song reflects both grief and determination. The recording took place in late 1971 at Criteria Studios in Miami, with Tom Dowd serving as producer. Dowd, a seasoned collaborator with the band, was instrumental in shaping the soulful, blues-infused sound that defines this track.

The lyrics of “Ain’t Wastin’ Time No More” are a testament to Gregg Allman’s ability to channel deep sorrow into a rallying cry for moving forward. Lines like “You don’t need no gypsy to tell you why / You can’t let one precious day slip by” underscore the theme of perseverance amidst adversity. The song’s layered meaning resonates with Ozzy Osbourne’s “No More Tears,” as both explore themes of personal strength and the refusal to be paralyzed by grief. However, while Osbourne’s track is expansive and cinematic, the Allman Brothers rely on a raw, stripped-down blues-rock arrangement to deliver their message with emotional immediacy.

Musically, “Ain’t Wastin’ Time No More” features Gregg Allman’s soulful vocals and Hammond organ playing, supported by Dickey Betts’ slide guitar work, which adds a touch of wistfulness to the arrangement. Berry Oakley’s steady bass lines and Jaimoe Johanson’s percussion give the track its rhythmic backbone. Unlike the intricate acoustic interplay of Extreme’s “More Than Words,” the Allman Brothers opt for a more straightforward yet equally evocative approach, allowing the emotional weight of the song to take center stage.

# 2 – How Many More Times – Led Zeppelin

As the grand finale to Led Zeppelin’s self-titled debut album, “How Many More Times” captures the raw energy and innovative spirit that defined the band’s early sound. Recorded in October 1968 at Olympic Studios in London, this nearly eight-and-a-half-minute track was produced by Jimmy Page, who also played lead guitar. The recording features Robert Plant on vocals, John Paul Jones on bass and organ, and John Bonham on drums, each member showcasing their individual artistry while contributing to the song’s cohesive and dynamic structure.

The lyrics of “How Many More Times” borrow heavily from traditional blues themes, reflecting Led Zeppelin’s deep roots in the genre. Drawing inspiration from blues legends like Albert King and Howlin’ Wolf, the song weaves a tale of heartbreak and longing, highlighted by lines like, “I was a young man, I couldn’t resist.” The repetition of the phrase “How many more times” underscores the narrator’s frustration and desperation, tying into the overarching theme of this list by exploring the nuanced ways the word “more” can express emotional intensity. In comparison to the reflective resolve of The Allman Brothers Band’s “Ain’t Wastin’ Time No More,” this track leans into its raw, unbridled passion, showcasing a more visceral approach to the word.

Musically, the track is an amalgamation of blues, hard rock, and improvisational jam sections, with Jimmy Page’s dynamic guitar riffs and John Bonham’s thunderous drumming at the forefront. The bowed guitar solo stands out as an experimental touch, adding an eerie, almost orchestral quality to the piece. The shifting tempos and moods within the song make it a journey, akin to Ozzy Osbourne’s “No More Tears,” but with a more fragmented and freeform arrangement. John Paul Jones’ bass lines provide a steady foundation, allowing the band to explore varying textures and intensities.

# 1 – More Than A Feeling – Boston

Boston’s “More Than a Feeling” is a quintessential anthem of the 1970s rock era, blending technical precision with emotional depth. Released in 1976 as the lead single from Boston’s self-titled debut album, the song was recorded at Foxglove Studios and Capitol Studios in Massachusetts and Los Angeles. Written and produced by Tom Scholz, the band’s mastermind and multi-instrumentalist, the track features Brad Delp’s soaring vocals, Barry Goudreau’s rhythm guitar, Fran Sheehan’s bass, and Sib Hashian’s drumming. Scholz’s meticulous production layered the track with lush harmonies and a rich sonic texture, reflecting his background as an MIT-educated engineer.

“More Than a Feeling” captures a sense of nostalgia and longing. The protagonist reflects on a past love, Marianne, as a powerful memory rekindled by a song. Lines like “I see my Marianne walkin’ away” juxtapose the immediacy of loss with the enduring impact of music as a trigger for emotional resonance. The song’s theme of a deeply personal yet universally relatable emotional journey finds a thematic connection to Extreme’s “More Than Words,” which also delves into the interplay between expression and action. However, while Extreme’s acoustic ballad is intimate, “More Than a Feeling” relies on an expansive, anthemic arrangement to evoke its emotional core.

Musically, the track is celebrated for its intricate structure, beginning with a delicate acoustic guitar riff before building into an explosive crescendo of electric guitars and vocal harmonies. The song’s use of dynamics—alternating between quiet introspection and powerful choruses—showcases Scholz’s innovative approach to production. The bridge’s striking guitar solo and Delp’s falsetto further elevate the track’s intensity. This dynamic progression echoes the emotional highs and lows present in The Allman Brothers Band’s “Ain’t Wastin’ Time No More,” both songs demonstrating the transformative power of music to convey complex feelings.

“More Than a Feeling” received critical acclaim, peaking at number five on the Billboard Hot 100 and solidifying Boston’s place in rock history. Critics praised the song’s craftsmanship, with its layered production and soaring melodies serving as a benchmark for arena rock. Compared to other entries on this list, such as Led Zeppelin’s “How Many More Times,” which thrives on improvisational intensity, Boston’s track is a meticulously constructed studio masterpiece. Both songs, however, share an ability to evoke visceral emotional responses, underscoring the versatility of “more” as a lyrical concept—ranging from longing to catharsis. The enduring popularity of “More Than a Feeling” lies in its masterful fusion of technical brilliance and heartfelt emotion, making it an unforgettable entry in this article’s exploration of songs with “more” in the title.

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10 Best Songs With The Word ‘More’ In The Title article published on Classic RockHistory.com© 2025

January 22, 2025, 22 minutes ago

news hard rock joe holmes robert trujillo mike bordin

Former Ozzy Osbourne guitarist, Joe Holmes, has released the new single, “The Deadfall”. The track features Robert Locke on vocals and Holmes’ former Ozzy bandmates, bassist Robert Trujillo (Metallica) and drummer Mike Bordin (Faith No More). Listen to the single below:

Holmes previously released the single, “Cross Eyed Stare”, featuring the same lineup. Watch a video below:

The 61-year-old guitarist played for Ozzy from 1995-98 and again from 1999-01. Holmes also played guitar for Lizzy Borden and is featured on their 1987 album, Visual Lies.