Author: uylrjp

The story of Aerosmith’s rise and fall and continued rebirth depicts one of the great pages of Rock and Roll history. The “Bad Boys from Boston” have never stopped, never even slowed down, even when things weren’t looking so good. Theirs is a story of perseverance and how perseverance pays off. Their story is rich and complicated, but that goes with the territory. Regardless of all the trials and tribulations the band experienced, once they set foot on the stage, their power was undeniable. Everything that makes rock and roll so special, Aerosmith defined on stage night after night.

In the late 1960s, musicians Steven Tyler and Joe Perry played in bands around the Boston area. Tyler was the drummer and backup singer for a band called The Chain Reaction. Joe Perry was the lead guitarist for The Jam Band, featuring Tom Hamilton on bass and Joey Kramer on drums. In 1970, the two bands performed on the same bill together. The two groups began to entertain the idea of uniting as one. Tyler insisted that he would agree only if allowed to move out from behind the drums and take over the lead singer role. The rest agreed, and the line-up that would endure for most of 45 years was completed. Rhythm guitarist Ray Tabano was added, and the band began its rehearsals.

The name Aerosmith was apparently coined by Joey Kramer, who claims it was a reference to Harry Nilsson’s album Aerial Ballet. However, others have stated it was related to a Sinclair Lewis novel.

Aerosmith’s first official gig was at a high school in Mendon, Massachusetts, on November 6th, 1970. By January of the following year Tabano was out and guitarist Brad Whitford was in. The band was quickly developing a reputation for their hard-rocking, high-energy performances, and it wasn’t long before Clive Davis, President of Columbia Records, came to see them at Max’s Kansas City in NYC. Only there was a problem. Aerosmith wasn’t supposed to play the night Davis was attending. They scraped their money together and managed to pay their way onto the bill that night, surely the best investment of their lives as Davis signed them in 1972 for $125,000.

Their self-titled debut album hit the streets in January of 1973 to minor success. It only reached number 166 on the Billboard charts but the lead single, “Dream On,” crept up to number 59. Their second studio effort, Get Your Wings

, dropped in 1974 and spawned three singles that failed to chart. After extensive touring in support of the release the band went back into the studio to record their third effort, what many believe was their breakout recording.

Toys in the Attic

was released in April of 1975 behind the single “Sweet Emotion,” the band’s first Top 40 hit. Rising to number 11, Toys catapulted the band to national and international status making their touring schedule more hectic and hedonistic. In 1976, Columbia Records re-released “Dream On” as a single, only this time it reached number six. Shortly thereafter, they re-released “Walk This Way,” which climbed to number 10. The remarkable re-release success of the two singles drove their first two records back onto the charts as well. This time around, their debut reached number 11, and Get Your Wings made it to number 74.

More touring kept the band from releasing their next record until almost a year later. Rocks

came out in May 1976 and made its way to number 3 behind a top-25 single, “Last Child.” Rocks  is considered their most influential album.

1977 saw the release of Draw The Line

, but the wildly successful band was beginning to show signs of the strain. Excessive drinking and drug use, along with the intense touring schedule, were taking their toll, and it was beginning to show in their performances. Joe Perry and Steven Tyler were labeled “The Toxic Twins” for their excessive drug use in and around the shows.

Perry and Tyler made a guest appearance in the film Sgt. Pepper’s Lonely Hearts Club Band featured their cover of The Beatles’ “Come Together.” The song became a Top 40 hit and kept Aerosmith in the limelight, for the time being.

The band began recording their sixth studio project in 1979. During breaks in the recording process they would hit the road for as many dates as possible. The tension simmering below the surface was coming to a head and finally boiled over at a show in July of that year. A backstage altercation between Tyler, Perry, and their wives led to Perry officially quitting the band. He immediately formed the Joe Perry Project and set about recording. Jimmie Crespo was hired as a replacement.

The band finished the recording, and Night in the Ruts

was released in November of that year. While it didn’t generate huge sales, it did reach number 14 on the charts but failed to chart any singles or gain much attention. The band’s popularity was waning and the subsequent tour found them playing in smaller and smaller venues to smaller and smaller crowds. Tyler’s drug use was reaching epic proportions, resulting in missing shows and collapsing onstage in 1980. The band was falling apart in every way.

Aerosmith’s Greatest Hits was released in part to soothe impatient fans who wanted the next studio record. Greatest Hits was a slow build but ended up being their best-selling album, racking up over 11 million sales. Soon after, Steven Tyler was badly injured in a motorcycle accident and found himself in a hospital for over two months.

After Tyler had recovered, the band began recording for Rock In A Hard Place

. After recording the first song, Whitford had had enough and quit, opting to play in the Joe Perry Project. Journeyman Rick Dufay replaced Whitford. The album hit number 32, and the one single, “Lightning Strikes,” reached number 21. Perry’s face began to be seen around the group again, and a reunion seemed to be in the works, but Tyler’s issues continued, and he collapsed on stage again.

On February 14th, 1984, Joe Perry and Brad Whitford officially re-joined the band, and while the ensuing Back In The Saddle Again tour was a financial success, the band was reaching rock bottom. They signed with Geffen Records but failed to produce another record. Meanwhile, their old label, Columbia, released two live records, Classics Live I & II, and another compilation record called Gems.1985 saw their next album, Done With Mirrors, which brought no hits and garnered little attention. The band continued to tour and tour until they found a hit song in the unlikeliest places.

Hip-hop icons Run DMC sampled and covered “Walk This Way” and invited Perry and Tyler to be part of the music video. The song hit number four on the charts, not only affirming that hip-hop was here to stay but also introducing Aerosmith to an entirely new generation of music lovers.

By 1986, the problems peaked, and an intervention was conducted for Steven Tyler. A stint in rehab followed. Manager Tim Collins then challenged the other members, reportedly promising to make them the greatest band in the world if they all got clean and sober. In short order, all members checked themselves into rehab and took on the challenge of reinventing themselves as sober musicians.

Collins must have known what he was doing because a cleaned-up Aerosmith was a massive success. They immediately recorded Permanent Vacation, which hit the stores in September of 1987. Besides being their first sober record, it was also the first record utilizing outside songwriting talent, something the band was reticent to accept. Ultimately, the combination proved powerful as the album produced three Top 20 singles, including “Dude Looks Like A Lady, Rag Doll, and Angel,” which reached number 3. Aerosmith was back and in a big, big way.

After a challenging tour with Guns N’ Roses, the follow-up to Vacation was 1989’s Pump. The Pump album reached number five and dropped three singles: “Jamie’s Got a Gun, Love In An Elevator,” and “What It Takes,” all of which reached the Top 10. The band received their first Grammy and two video music awards. A grueling 12-month tour followed.

Get a Grip was released in 1992. It was the band’s first number one and featured three Top 20 singles and one Top 40. Two years of touring later, another compilation, Big Ones, reached number six.

The next record, Nine Lives, was released in March 1999 amidst a whirlwind of changes: a new manager, a new producer, and injuries to Tyler and Kramer. The list went on and on, but Nine Lives still managed to hit number one.

In 1998, the love theme from the movie Armageddon became the band’s first and only number-one single. “Don’t Wanna Miss A Thing” received massive airplay, and the band rode its success over the next leg of touring.

In March of 2001, Just Push Play was released and reached number two behind the single “Jaded,” which reached number seven. That same year, the band was the featured performer at the Super Bowl halftime show, being joined onstage by ‘NYSNC, Britney Spears, Mary J Blige, and Nelly. Shortly thereafter, the band was inducted into the Rock and Roll Hall of Fame, receiving the honor of being the only band ever inducted while having a single on the charts.

In 2003, Aerosmith teamed up with Kiss to co-headline the Rocksimus Maximus tour, which played to arenas around the globe. Honkin’ With Bobo, the band’s long-awaited blues album came out in 2004 to little fanfare but still reached number five. A Spring 2006 tour with Cheap Trick was canceled abruptly when it was announced that Steven Tyler was undergoing throat surgery. By August, Tyler was back, and the Route of All Evil Tour was announced, featuring Aerosmith and Motley Crüe. While on tour, another compilation was released, “Devil’s Got a New Disguise,” which featured two new songs and reached number 15.

A 2009 tour with ZZ Top was plagued with injuries and setbacks including Tyler’s broken shoulder after he fell off the stage in Sturgis, South Dakota. The rest of the tour had to be canceled while Tyler recovered from his injuries. By the end of that year, Tyler announced he was pulling out of any subsequent touring to pursue his projects. On December 22nd, it was announced that Tyler would be entering rehab again to deal with a painkiller addiction that resulted from his many injuries.

In January 2010, Joe Perry announced the band would be holding auditions for his replacement, evoking a cease-and-desist letter from Tyler’s legal team. However, it wasn’t long before Tyler was back with the band.

In August of that year, Tyler signed on as a judge for the hit television show American Idol, which angered the rest of the group. However, Tyler assured them he would continue touring and recording with them while working on the show.

In 2012, Music From Another Dimension was released, followed by more touring. This installment was called the Global Warming Tour, and it carried the band into 2014, when yet another tour was announced, this one featuring Slash from Guns N’ Roses. The next in the endless column of tour dates was The Blue Army Tour, which took the band into 2015. With Steven Tyler’s throat issues in 2024, the band’s future status is up in the air.

It would be difficult to find a harder-working, more dedicated band anywhere in the world. Aerosmith has been a major influence on countless artists. They have strong American roots. They’ve had a long life filled with ups and downs and then ups again, but looking back, it’s easy to see why Aerosmith is the Greatest American Rock Band of all time.

It’s also why we’ve written many articles about Aerosmith on this site.

Complete List Of Aerosmith Albums And Discography
Top 10 Aerosmith Albums
Top 10 Aerosmith Album Covers
Top 10 Aerosmith Songs
10 Most Underrated Aerosmith Songs
Top 10 Aerosmith Love Songs
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Aerosmith’s Best Song On Each Of Their Studio Albums
Why Aerosmith Is The Greatest American Rock Band Of All Time
Aerosmith Is Going Vegas
Joey Kramer Out Again As The Drummer For Aerosmith
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Aerosmith Retires From The Road For Good
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Complete List Of Aerosmith Band Members
Complete List Of Aerosmith Songs From A to Z
Tom Hamilton of Aerosmith: The ClassicRockHistory.com Interview

Why Aerosmith Is The Greatest American Rock Band Of All Time article published on Classic RockHistory.com© 2025

Black Sabbath’s legacy is built not just on its groundbreaking music but on the many musicians who passed through its ranks over the decades. What started in 1968 as a four-piece band in Birmingham, England, became a constantly evolving force in heavy metal, with Tony Iommi as its only consistent member. From the original lineup that pioneered the genre to the many vocalists, drummers, bassists, and keyboardists who shaped different eras of the band, each musician left their mark on Sabbath’s ever-changing history.

This article documents every member who played a role in Black Sabbath, whether for a brief period or across multiple decades. Some were part of the band’s most iconic moments, while others contributed to transitional periods that kept the band moving forward. Each lineup change brought a different sound, from the doom-laden blues of the early years to the melodic metal of the Tony Martin era. By examining each musician’s time in the band, we gain a deeper understanding of how Black Sabbath continuously reinvented itself while remaining a defining force in rock and metal.

Tony Iommi

Tony Iommi has been the driving force behind Black Sabbath since its formation, serving as the band’s only continuous member. His guitar work shaped the foundation of heavy metal, creating a sound that was darker, heavier, and more ominous than anything that had come before. His signature downtuned playing, developed after an industrial accident severed the tips of two of his fingers, gave Black Sabbath its unmistakable heaviness. Iommi’s riff-driven style defined legendary tracks such as Iron Man, Paranoid, and Children of the Grave, setting the standard for generations of metal guitarists to follow. Beyond his guitar work, he also contributed keyboards on select recordings between 1971 and 1976 and provided backing vocals in 1978.

As the band evolved through different lineups, Iommi remained at its core, steering Black Sabbath through the Ozzy Osbourne years, the Ronnie James Dio era, and later, the Tony Martin period. His leadership ensured the band’s survival and evolution, culminating in their final studio album, 13, in 2013. Even after the band’s farewell The End Tour in 2017, Iommi remains synonymous with Black Sabbath. With a 2025 one-off reunion on the horizon, he once again proves that his connection to the band is unbreakable.

Bill Ward

Bill Ward’s drumming played a crucial role in shaping Black Sabbath’s early sound, blending power, jazz influences, and unpredictable fills that gave their music an unmistakable groove. His thunderous playing drove classics like War Pigs, Fairies Wear Boots, and Hand of Doom, delivering both precision and raw energy. Beyond drumming, Ward occasionally contributed lead vocals, most notably on It’s Alright from Technical Ecstasy and Swinging the Chain from Never Say Die! His distinctive playing style helped Black Sabbath stand apart from their peers, as his ability to shift between dynamic restraint and explosive intensity brought a unique feel to the band’s sound.

Despite his integral role, Ward’s time in the band was marked by departures and returns. He initially left in 1980 due to personal struggles but made several comebacks over the years, including stints in 1982, 1984, 1994, and during the 1997 reunion. His absence from Black Sabbath’s final The End Tour in 2017 was controversial, but his legacy as the band’s original drummer remains unquestioned. With a 2025 reunion planned, the possibility of Ward returning to the stage alongside his former bandmates would be a historic moment for Black Sabbath fans.

Geezer Butler

Geezer Butler was the primary lyricist for Black Sabbath, crafting the dark and thought-provoking themes that defined the band’s image and message. His bass playing was equally important, delivering thick, intricate grooves that formed the backbone of Sabbath’s sound. His style, influenced by blues and early rock, was a key ingredient in tracks like N.I.B., Into the Void, and Children of the Grave. Unlike many bassists of his era, Butler often played melodic counterpoints to Iommi’s crushing guitar riffs, giving the music an added layer of depth.

Beyond his role as a bassist, Butler’s lyrical themes of war, social issues, and the occult helped establish the band’s identity. His contributions extended through multiple lineups, including the original era, the Dio-fronted Heaven and Hell, and the later 13 album. Although he officially retired from touring in 2017, his legacy as one of heavy metal’s most influential bassists is cemented. A 2025 reunion would provide an opportunity for fans to see Butler return to the stage, reinforcing his place in the band’s legendary history.

Ozzy Osbourne

Ozzy Osbourne’s unmistakable voice and wild stage presence helped make Black Sabbath one of the most influential rock bands of all time. His eerie, almost trance-like vocal delivery brought an apocalyptic feel to songs like Black Sabbath, Paranoid, and Snowblind. While he was not a primary songwriter, his vocal melodies and performances became an integral part of the band’s identity. Alongside Iommi, Butler, and Ward, Ozzy helped shape the band’s signature sound, creating a blueprint for what would become heavy metal.

His time with Black Sabbath was turbulent, marked by legendary highs and dramatic departures. After being fired in 1979 due to substance abuse issues, Ozzy embarked on a massively successful solo career, becoming one of rock’s biggest icons. However, he reunited with Sabbath multiple times, including the Reunion live album in 1998 and 13 in 2013, which became their final studio release. While health concerns have slowed him down in recent years, a 2025 reunion could offer a historic moment where the Prince of Darkness once again takes his place at the front of Black Sabbath.

Dave Walker

Dave Walker briefly served as Black Sabbath’s lead vocalist between 1977 and 1978, stepping in after Ozzy Osbourne’s departure. Before joining Sabbath, he had fronted bands such as Fleetwood Mac and Savoy Brown, bringing a blues-influenced vocal style that contrasted with the band’s heavier sound. His addition marked an uncertain period for Sabbath as they attempted to move forward without their original frontman.

Although Walker rehearsed with the band and even performed an early version of Junior’s Eyes on BBC’s “Look Hear” program, he never recorded an official release with Black Sabbath. His tenure was short-lived, as Osbourne returned to the band later in 1978, leading to Walker’s departure before the band recorded Never Say Die! Despite not leaving a lasting impact on Sabbath’s discography, his brief time with the band remains a fascinating footnote in their history.

Ronnie James Dio

Ronnie James Dio joined Black Sabbath in 1979, stepping into the lead vocalist role following Ozzy Osbourne’s dismissal. His addition brought a dramatic shift in the band’s sound, as his operatic vocal style and fantasy-driven lyrics steered Sabbath toward a more epic, grandiose approach. The result was Heaven and Hell (1980), an album that rejuvenated the band’s career and introduced classics like Neon Knights and Die Young. Dio’s presence gave Sabbath a new identity, making them one of the defining bands of the early heavy metal movement.

Dio remained with the band through Mob Rules (1981) and Live Evil (1982) before leaving due to tensions with Tony Iommi and Geezer Butler. He returned in 1991 for Dehumanizer, which modernized Sabbath’s sound for a heavier, darker era. In the 2000s, Dio reunited with Iommi, Butler, and Vinny Appice under the name Heaven & Hell, releasing The Devil You Know (2009) before his passing in 2010. His legacy in Sabbath remains one of the most celebrated in the band’s history.

Geoff Nicholls

Geoff Nicholls was Black Sabbath’s longtime keyboardist, contributing to the band from 1979 to 2004. Initially hired to play bass during Geezer Butler’s brief departure, Nicholls transitioned to keyboards when Butler returned, becoming an essential but often unseen part of the band’s sound. His atmospheric keyboard work added depth to Sabbath’s music, particularly on albums like Heaven and Hell, Mob Rules, and Headless Cross.

While he rarely performed on stage with the band, his influence was present across numerous albums, providing orchestral textures and sonic layers that helped define their evolving sound. He remained with the band through multiple lineup changes before departing in 2004. Nicholls passed away in 2017, leaving behind a legacy as one of the most significant behind-the-scenes contributors to Black Sabbath.

Craig Gruber

Craig Gruber was briefly involved with Black Sabbath in 1979 during a transitional period when Geezer Butler had stepped away. Having previously played with Elf alongside Ronnie James Dio, Gruber was brought in for rehearsals as the band worked on material for what would become Heaven and Hell.

Although he played with the band during early writing sessions, Butler returned before the album was recorded, and Gruber did not appear on any official Black Sabbath releases. He later worked with bands like Rainbow and Gary Moore before passing away in 2015.

Vinny Appice

Vinny Appice became Black Sabbath’s drummer in 1980, replacing Bill Ward during the Heaven and Hell tour. His powerful, precise drumming fit seamlessly with the band’s heavier, more polished sound, and he contributed to Mob Rules (1981) and the live album Live Evil (1982). His work in Sabbath helped establish him as one of heavy metal’s premier drummers.

After Dio left Sabbath in 1982, Appice followed him to form the band Dio, where he played on multiple iconic albums. He returned to Black Sabbath in 1992 for Dehumanizer, once again anchoring the rhythm section. In the 2000s, he reunited with Iommi, Butler, and Dio under the Heaven & Hell name, performing with them until Dio’s passing in 2010.

Ian Gillan

Ian Gillan’s tenure as Black Sabbath’s vocalist from 1982 to 1984 remains one of the most unexpected chapters in the band’s history. Best known as the frontman of Deep Purple, Gillan joined Sabbath for Born Again (1983), an album that took a rawer, more aggressive approach. While his bluesy, wailing vocal style differed from his predecessors, he delivered energetic performances on tracks like Trashed and Disturbing the Priest.

Despite the album gaining a cult following, Gillan’s time with the band was short-lived. He left in 1984 to rejoin Deep Purple, making Born Again his only studio recording with Sabbath. His stint with the band remains a fascinating and divisive moment in their history.

Bev Bevan

Bev Bevan, best known as the drummer for Electric Light Orchestra, joined Black Sabbath in 1983, filling in for Bill Ward during the Born Again tour. His style was noticeably different from the band’s usual drummers, leaning more toward rock than heavy metal.

While he primarily served as a touring drummer, he contributed percussion to reissued bonus tracks of Born Again and played on two songs from The Eternal Idol (1987). His time in Sabbath was brief, and he returned to ELO after his tenure with the band.

Ron Keel

Ron Keel was briefly considered as Black Sabbath’s vocalist in 1984, during a period of instability within the band. Having fronted the band Steeler, Keel’s involvement with Sabbath was short-lived, as they ultimately chose Glenn Hughes as their new singer instead.

Keel went on to form his own band, Keel, which found success in the glam metal scene of the 1980s. His connection to Sabbath remains an interesting footnote in the band’s long and complex history.

David Donato

David Donato briefly joined Black Sabbath in 1984, rehearsing with the band and participating in a photo shoot, but he was dismissed before recording any material. His time with the band was fleeting, and he never appeared on an official release. Donato later distanced himself from the music industry and passed away in 2021.

Jeff Fenholt

Jeff Fenholt’s involvement with Black Sabbath has been a topic of debate. He claimed to have worked with Tony Iommi in 1985 on early versions of what would become Seventh Star, but Iommi later denied that Fenholt was ever an official member.

After his alleged time with Sabbath, Fenholt left the rock world and became a Christian evangelist. He passed away in 2019.

Eric Singer

Before gaining fame as the drummer for KISS, Eric Singer played with Black Sabbath from 1985 to 1987. His drumming was featured on Seventh Star (1986) and The Eternal Idol (1987), helping Sabbath transition into a more melodic, polished sound.

Gordon Copley

Gordon Copley briefly played bass for Black Sabbath in 1985, contributing to a single track, No Stranger to Love, on the Seventh Star album. At the time, Seventh Star was intended to be a solo album for Tony Iommi, but the record label insisted on branding it under the Black Sabbath name. Copley’s involvement was minimal, and he did not tour with the band or appear on any other recordings.

Outside of his brief tenure with Sabbath, Copley built a career as a respected session musician, contributing to various rock and pop projects. His time with the band remains a small but notable part of the Seventh Star sessions, marking a transitionary period in Sabbath’s history.

Dave Spitz

Dave Spitz joined Black Sabbath in 1985 and remained with the band through 1987, playing bass on Seventh Star. His style brought a solid, hard-hitting foundation to Sabbath’s evolving sound, fitting well with the more melodic direction the band was exploring at the time. Spitz was part of the touring lineup for Seventh Star, performing alongside Tony Iommi and Glenn Hughes.

After leaving Sabbath, Spitz continued working with various rock and metal acts, including Great White and White Lion. Although he wasn’t part of Sabbath’s classic years, his contributions during this era helped stabilize the band as they experimented with new directions.

Glenn Hughes

Glenn Hughes became Black Sabbath’s lead vocalist in 1985, marking another major shift in the band’s identity. Best known for his work with Deep Purple and Trapeze, Hughes was an unconventional choice for Sabbath, bringing a more soulful and bluesy vocal style to Seventh Star. His powerful voice gave the album a distinct sound, but his tenure with the band was short-lived.

Hughes’ time in Sabbath was troubled, as he struggled with substance abuse during the Seventh Star tour. He was ultimately replaced by Ray Gillen after only a handful of shows. Despite this, Hughes recovered and went on to have a successful solo career, later forming Black Country Communion and continuing to perform as one of rock’s most revered vocalists.

Ray Gillen

Ray Gillen joined Black Sabbath in 1986, replacing Glenn Hughes on vocals after the Seventh Star tour began. Though he never recorded a full studio album with the band, he played a significant role in Sabbath’s live performances during this time. Gillen’s voice was powerful and versatile, making him a strong fit for both the new material and classic Sabbath songs.

He worked with the band on early demos for The Eternal Idol, but before the album was completed, he left to form the band Badlands. Some of his recordings surfaced as bonus tracks on later reissues of The Eternal Idol and Seventh Star. Gillen passed away in 1993, but his brief time with Sabbath remains an interesting chapter in the band’s ever-changing history.

Tony Martin

Tony Martin joined Black Sabbath in 1987 and became the band’s longest-tenured vocalist after Ozzy Osbourne. His debut album, The Eternal Idol, showcased his impressive vocal range and ability to adapt to Sabbath’s evolving sound. Over the next decade, he would record five studio albums with the band, including Headless Cross and Tyr, both of which became fan favorites among those who followed Sabbath’s post-Dio years.

Martin’s era was marked by a more melodic and gothic approach to metal, with his voice lending a dramatic, operatic feel to the music. Although his contributions are often overshadowed by Sabbath’s more famous lineups, he remained a key figure in the band’s later years. He was dismissed in 1991 to make way for the Dio-fronted Dehumanizer, but returned in 1993 for Cross Purposes and stayed until 1997.

Cozy Powell

Cozy Powell became Black Sabbath’s drummer in 1988, bringing his legendary hard-hitting style to the band. A veteran of Rainbow, Whitesnake, and Jeff Beck’s band, Powell’s drumming on Headless Cross and Tyr gave Sabbath a renewed sense of power and precision. His contributions were crucial in shaping the more theatrical and epic sound of this era.

Powell left the band in 1991 but returned in 1994 to record Forbidden. Sadly, he passed away in 1998, but his time in Sabbath remains one of the highlights of his storied career. His influence on the band’s late ‘80s and early ‘90s sound cannot be overstated.

Neil Murray

Neil Murray joined Black Sabbath in 1988 as the band’s bassist, appearing on Tyr and later rejoining in 1994 for Forbidden. His extensive background in rock and metal, including his work with Whitesnake and Gary Moore, made him a strong addition to the band’s rhythm section. His bass work provided a solid foundation for the more melodic and dramatic sound of the Tony Martin era.

Murray’s time with Sabbath may not have been as high-profile as the Geezer Butler years, but he remained an essential part of the band’s late-period lineup, contributing to their touring and recording efforts. He left in 1997 as Sabbath transitioned back toward their original lineup.

Bobby Rondinelli

Bobby Rondinelli took over drumming duties for Black Sabbath in 1993, replacing Cozy Powell. His first major contribution was on Cross Purposes, where his hard-hitting, technical style gave the album a sharper, more aggressive feel. He also played on Cross Purposes Live, showcasing his ability to handle both the new material and classic Sabbath songs.

Rondinelli stayed with the band until 1997 before moving on to other projects, including working with Blue Öyster Cult and Rainbow. His time in Sabbath was relatively brief but played an important role in keeping the band’s momentum going in the mid-1990s.

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Complete List Of Black Sabbath Band Members article published on Classic RockHistory.com© 2025

“Carry on Wayward Son” has been a cornerstone of the Kansas catalog for decades. But it has also found an interesting place in pop culture, including being used as featured music leading up to the newest season of Amazon Prime’s crime thriller Reacher, which premiered this week (Feb. 20).

The ties between Kansas and the program go back to the first season, when chief detective Oscar Finlay pulled out a CD from his collection, while traveling as a passenger with series namesake, Jack Reacher. “Best opening of any rock song ever,” Finlay comments as the famous a capella vocal introduction begins to play through the car stereo. “What are you doing?” Reacher asks Finlay, who air drums as the song continues to build. “I gotta say, my guys don’t get their due. They can rock out,” he replies.

Hear Kansas’ ‘Carry on Wayward Son’ in the ‘Reacher’ Trailer

The a capella vocal intro came about very naturally, Kansas guitarist and co-founder Rich Williams shares in an upcoming interview on the UCR Podcast. “I don’t know whose idea it was, but it was a unanimous decision as we were doing the vocal tracks, ‘This needs to be at the beginning. It just make perfect sense,'” he remembers, adding that they quickly recognized they had something special on their hands. “Listening to the whole album, that’s when it really hit us. ‘This is a game changer, this record.’ It was obvious that ‘Carry on Wayward Son’ was going to be a hit. We were really happy with it. We knew that finally, after three albums, our fourth album, this could make a big difference.”

The Birth of ‘Carry on Wayward Son’

The sessions for Leftoverture, the group’s fourth album, had begun with the band facing a bit of a crisis — they didn’t have songs ready to go because of their constant road work and vocalist Steve Walsh was also dealing with writer’s block. The album got its title from the sprawling epic “Magnum Opus,” which had the working name of “Leftoverture.” It earned that tag, having been assembled from pieces of music the group had come up with at soundchecks as well as some leftover bits from their previous album, Masque.

Guitarist Kerry Livgren ultimately penned five of the eight songs on Leftoverture — with “Carry on Wayward Son” being a last-minute arrival.”We were in rehearsals in Topeka and finishing up working on the material which was going to be on what was to become Leftoverture,” Williams details. “The last song to come in was ‘Wayward Son,’ on the last day. We didn’t really have much of it. We didn’t run through it and it wasn’t arranged in the form that it is now, verse, chorus, etc. It wasn’t until we got into the recording process [that we finally finished it].”

“It was kind of an assembly line. You’re working on getting bass and drum tracks and you go through all of the material,” he continues. “Then, you have keyboard days, guitar days and vocal days, working from song to song. At the end of cutting the basic tracks, we needed to get on with that new song, because we’d finished everything else. That’s when we arranged it, learned it and started rolling tape. Really, that version is probably the first time we played it correctly.”

READ MORE: Kansas Carry On in a Big Way With ‘Leftoverture’

Reacher is just the latest moment in the spotlight for “Carry on Wayward Son,” which was famously featured previously throughout 15 seasons of the drama Supernatural between 2005 and 2019. The band also performed the song in a scene from the contemporary western crime drama, Walker. The AEW wrestling team, the Elite, used it as their entrance music in recent years — and you can even discover what it might sound like if South Park’s Cartman handled the vocals, thanks to Instagram.

“It’s becoming normalized,” Williams says. “I’ll get a call from Phil, ‘What do you think about it being in this next show?’ It’s like, how many shows is this going to be in? It’s used so frequently! I learned a few months ago that it was going to be part of the season 3 preview for Reacher, but I didn’t watch it. I waited until me and my wife finally finished watching the first two seasons. Then, I watched the trailer and they did such a great job with the way they used it. I’m amazed that a song that is over 40 years old is still so relevant.”

The band finished off their long-running 50th anniversary tour at the end of 2024. Though current vocalist Ronnie Platt recently shared that he’s battling thyroid cancer, he’s keeping a positive outlook and the group is looking forward to getting back on the road. Kansas has concerts scheduled throughout 2025 including a run of summer co-headlining dates with 38 Special.

Watch Kansas Perform ‘Carry on Wayward Son’ Live in 2024

Sharon Osbourne has revealed that she once turned down an opportunity for Ozzy Osbourne to audition for a role in the hugely successful Pirates Of The Caribbean franchise.

On the latest episode of Billy Corgan’s new podcast The Magnificent Others, in which the Smashing Pumpkins frontman “engages in profound conversations with extraordinary individuals who have reached the pinnacle of success in their respective field”, Osbourne tells Corgan about what she calls her “biggest mistake.”

“He got offered to go and read for Pirates Of The Caribbean, and I’ve never said this to anyone, and I said no,” Osbourne reveals. “Now wouldn’t he have been perfect?”

“He would have been perfect!” responds Corgan. “Maybe it’s not too late, but God bless.”

In other news, Corgan has revealed that he plans to perform with Adam Jones from Tool and Tom Morello at this summer’s Black Sabbath reunion show Back To The Beginning in Birmingham, UK.

“Adam, Tom and I all grew up in the same sort of general vicinity. Tom had this idea – what he calls ‘The Illinois Boys’ – that The Illinois Boys would get together and play, so that’s cool,” Corgan tells NME. “I love it. I’m very fond and love Adam’s music and playing and I’ve known Tom for 30 years or so, so it’s a cool thing.”

Back To The Beginning will be the first time Black Sabbath’s founding lineup have played together since appearing at the UK Music Hall Of Fame in 2005. It is set to be the band’s final show, as well as the last time Osbourne performs onstage. The Prince Of Darkness retired from touring in 2023.

Everyone has a Bruce Springsteen story. Maybe it’s the first time you heard the opening harmonica notes of Thunder Road and felt something stir deep in your chest. Maybe it’s the moment when you saw him live, sweat-drenched, guitar slung low, singing with an urgency that made you believe he was pouring every ounce of his soul into the microphone. Maybe it’s something even deeper—a personal connection to his songs, a recognition that his words tell your story, our story, the story of America in all its triumphs and hardships. Springsteen’s music isn’t just sound—it’s life, set to a driving beat.

Springsteen was raised in Freehold, New Jersey, a blue-collar town that shaped the very DNA of his music. The factories, the closed-down mills, the bars where people went to drink away their broken dreams—it was all there, waiting for him to turn it into poetry. He wasn’t an overnight sensation. By the late ’60s, he was already cutting his teeth in bar bands, grinding it out on the New Jersey circuit, playing relentless sets that foreshadowed the marathon performances he’d become famous for. He lived and breathed rock and roll, and in 1972, that dedication landed him a deal with Columbia Records. But success didn’t come easy.

His first two albums, Greetings from Asbury Park, N.J. and The Wild, The Innocent & The E Street Shuffle, were critically admired but commercially underwhelming. And then came 1975. Born to Run wasn’t just a record—it was an explosion. The title track, that epic escape anthem with Clarence Clemons’ sax soaring like the sound of freedom itself, turned Springsteen into a phenomenon. That year, he landed on the covers of Time and Newsweek in the same week, a moment that signaled rock’s next great storyteller had arrived.

But Springsteen never settled for being a rock star. He was chasing something bigger—something real. He built his legend through relentless touring and albums that evolved with the times. Darkness on the Edge of Town (1978) was a working-class manifesto. The River (1980) gave us anthems of both joy and heartbreak. Nebraska (1982) stripped everything away, leaving nothing but raw, haunting stories of lost souls. And then came Born in the U.S.A. (1984)—the album that made him a global superstar. It wasn’t just the seven Top 10 singles, the stadium tours, or the MTV dominance—it was the misunderstood fury of the title track, the loneliness of I’m on Fire, the desperation of Dancing in the Dark. He was everywhere, but he never lost sight of the people he was singing about.

Over the decades, Springsteen has never stopped evolving. Tunnel of Love (1987) examined love’s bruises and breakdowns. The Rising (2002) became a nation’s post-9/11 anthem of resilience. Wrecking Ball (2012) was a furious critique of economic injustice. And in Western Stars (2019), he proved he could reinvent himself again, delivering an orchestral, cinematic masterpiece. Every album is another chapter, another deep dive into the American experience.

His impact goes beyond music. He’s won 20 Grammys, an Academy Award, and a Tony for Springsteen on Broadway. He’s played for presidents, received the Presidential Medal of Freedom, and in 2023, was honored with the National Medal of Arts. And yet, none of that fully explains why he means so much to so many people. The truth is, Springsteen doesn’t just sing about the working man—he is one. He’s never stopped fighting for veterans, the marginalized, the forgotten. He has used his voice for justice, raising money for food banks, speaking out against oppression, and standing up for the people who need a champion.

And still, at seventy-four years old, he steps onto the stage like a man possessed, playing as if the very survival of rock and roll depends on him. Maybe it does. Because no one tells our stories like Bruce Springsteen. No one makes us believe in the power of music the way he does. And no one ever will.

Complete List Of Bruce Springsteen Songs From A to Z

(#)

“30 Days Out” – B-side of “Leap of Faith” (1992)
“4th of July, Asbury Park (Sandy)” – The Wild, the Innocent & the E Street Shuffle (1973)
“57 Channels (And Nothin’ On)” – Human Touch (1992)
“7 Rooms of Gloom” – Only the Strong Survive (2022)

(A)

“Across the Border” – The Ghost of Tom Joad (1995)
“Adam Raised a Cain” – Darkness on the Edge of Town (1978)
“Addicted to Romance” – She Came to Me (soundtrack) (2023)
“Ain’t Good Enough for You” – The Promise (2010)
“Ain’t Got You” – Tunnel of Love (1987)
“All I’m Thinkin’ About” – Devils & Dust (2005)
“All or Nothin’ at All” – Human Touch (1992)
“All That Heaven Will Allow” – Tunnel of Love (1987)
“All the Way Home” – Devils & Dust (2005)
“Always a Friend” – Magic Tour Highlights (EP) (2008)
“American Beauty” – American Beauty (EP) (2014)
“American Land” – We Shall Overcome: The Seeger Sessions (American Land Edition) (2006)
“American Skin (41 Shots)” (live) – Live in New York City (2001)
“The Angel” – Greetings from Asbury Park, N.J. (1973)
“Any Other Way” – Only the Strong Survive (2022)
“Atlantic City” – Nebraska (1982)

(B)

“Baby I” – Chapter and Verse (2016)
“Backstreets” – Born to Run (1975)
“Back in Your Arms” – Tracks (1998)
“Badlands” – Darkness on the Edge of Town (1978)
“Balboa Park” – The Ghost of Tom Joad (1995)
“The Ballad of Jesse James” – Chapter and Verse (2016)
“Be True” – B-side of “Fade Away” (1981)
“Because the Night” (live) – Live 1975–85 (1986)
“Better Days” – Lucky Town (1992)
“The Big Muddy” – Lucky Town (1992)
“The Big Payback” – B-side of “Open All Night” (1982)
“Bishop Danced” (live) – Tracks (1998)
“Black Cowboys” – Devils & Dust (2005)
“Blinded by the Light” – Greetings from Asbury Park, N.J. (1973)
“Blood Brothers” – Greatest Hits (1995)
“Bobby Jean” – Born in the U.S.A. (1984)
“Book of Dreams” – Lucky Town (1992)
“Born in the U.S.A.” – Born in the U.S.A. (1984)
“Born to Run” – Born to Run (1975)
“Breakaway” – The Promise (2010)
“Brilliant Disguise” – Tunnel of Love (1987)
“Bring ‘Em Home” – We Shall Overcome: The Seeger Sessions (American Land Edition) (2006)
“Bring On the Night” – Tracks (1998)
“The Brokenhearted” – The Promise (2010)
“Brothers Under the Bridges (’83)” – Tracks (1998)
“Brothers Under the Bridge (’95)” – Tracks (1998)
“Buffalo Gals” – We Shall Overcome: The Seeger Sessions (DualDisc bonus disc) (2006)
“Burnin’ Train” – Letter to You (2020)

(C)

“Cadillac Ranch” – The River (1980)
“Candy’s Room” – Darkness on the Edge of Town (1978)
“Car Wash” – Tracks (1998)
“Cautious Man” – Tunnel of Love (1987)
“Chain Lightning” – The Ties That Bind: The River Collection (2015)
“Chasin’ Wild Horses” – Western Stars (2019)
“Chimes of Freedom” (live) – Chimes of Freedom (EP) (1988)
“Chinatown” (Bleachers featuring Bruce Springsteen) – Take the Sadness Out of Saturday Night (2020)
“Cindy” – The Ties That Bind: The River Collection (2015)
“City of Night” – The Promise (2010)
“Code of Silence” (live) – The Essential Bruce Springsteen (Limited Edition bonus disc) (2003)
“Come On (Let’s Go Tonight)” – The Promise (2010)
“Countin’ on a Miracle” – The Rising (2002)
“County Fair” – The Essential Bruce Springsteen (Limited Edition bonus disc) (2003)
“Cover Me” – Born in the U.S.A. (1984)
“Cross My Heart” – Human Touch (1992)
“Crush on You” – The River (1980)
“Cynthia” – Tracks (1998)

(D)

“Dancing in the Dark” – Born in the U.S.A. (1984)
“Darkness on the Edge of Town” – Darkness on the Edge of Town (1978)
“Darlington County” – Born in the U.S.A. (1984)
“Dead Man Walkin’” – Dead Man Walking (soundtrack) (1996)
“Death to My Hometown” – Wrecking Ball (2012)
“Detroit Medley” (live) – No Nukes: The Muse Concerts for a Non-Nuclear Future (1979)
“Devils & Dust” – Devils & Dust (2005)
“Devil’s Arcade” – Magic (2007)
“Do I Love You (Indeed I Do)” – Only the Strong Survive (2022)
“Does This Bus Stop at 82nd Street?” – Greetings from Asbury Park, N.J. (1973)
“Dollhouse” – Tracks (1998)
“Don’t Look Back” – Tracks (1998)
“Don’t Play That Song” – Only the Strong Survive (2022)
“Down in the Hole” – High Hopes (2014)
“Downbound Train” – Born in the U.S.A. (1984)
“Dream Baby Dream” – High Hopes (2014)
“Drive All Night” – The River (1980)
“Drive Fast (The Stuntman)” – Western Stars (2019)
“Dry Lightning” – The Ghost of Tom Joad (1995)

(E)

“The E Street Shuffle” – The Wild, the Innocent & the E Street Shuffle (1973)
“Easy Money” – Wrecking Ball (2012)
“Empty Sky” – The Rising (2002)
“Erie Canal” – We Shall Overcome: The Seeger Sessions (2006)
“Eyes on the Prize” – We Shall Overcome: The Seeger Sessions (2006)

(F)

“Factory” – Darkness on the Edge of Town (1978)
“Fade Away” – The River (1980)
“The Fever” – 18 Tracks (1999)
“Fire” (live) – Live 1975–85 (1986)
“For You” – Greetings from Asbury Park, N.J. (1973)
“Frankie” – Tracks (1998)
“Frankie Fell in Love” – High Hopes (2014)
“Froggie Went A-Courtin’” – We Shall Overcome: The Seeger Sessions (2006)
“From Small Things (Big Things One Day Come)” – The Essential Bruce Springsteen (Limited Edition bonus disc) (2003)
“Further On (Up the Road)” – The Rising (2002)
“The Fuse” – The Rising (2002)

(G)

“Galveston Bay” – The Ghost of Tom Joad (1995)
“Gave It a Name” – Tracks (1998)
“The Ghost of Tom Joad” – The Ghost of Tom Joad (1995)
“Ghosts” – Letter to You (2020)
“Girls in Their Summer Clothes” – Magic (2007)
“Give the Girl a Kiss” – Tracks (1998)
“Gloria’s Eyes” – Human Touch (1992)
“Glory Days” – Born in the U.S.A. (1984)
“Goin’ Cali” – Tracks (1998)
“Good Eye” – Working on a Dream (2009)
“A Good Man Is Hard to Find (Pittsburgh)” – Tracks (1998)
“Gotta Get That Feeling” – The Promise (2010)
“Growin’ Up” – Greetings from Asbury Park, N.J. (1973)
“Gypsy Biker” – Magic (2007)

(H)

“Happy” – Tracks (1998)
“Harry’s Place” – High Hopes (2014)
“He’s Guilty (The Judge Song)” (Steel Mill) – Chapter and Verse (2016)
“Hearts of Stone” – Tracks (1998)
“Heaven’s Wall” – High Hopes (2014)
“Held Up Without a Gun” – B-side of “Hungry Heart” (1980)
“Hello Sunshine” – Western Stars (2019)
“Henry Boy” – Chapter and Verse (2016)
“Hey Blue Eyes” – American Beauty (EP) (2014)
“Hey, Western Union Man” – Only the Strong Survive (2022)
“High Hopes” – Blood Brothers (EP) (1996)
“Highway 29” – The Ghost of Tom Joad (1995)
“Highway Patrolman” – Nebraska (1982)
“Hitch Hikin’” – Western Stars (2019)
“The Hitter” – Devils & Dust (2005)
“The Honeymooners” – Tracks (1998)
“House of a Thousand Guitars” – Letter to You (2020)
“How Can a Poor Man Stand Such Times and Live?” – We Shall Overcome: The Seeger Sessions (American Land Edition) (2006)
“How Can I Keep from Singing?” – We Shall Overcome: The Seeger Sessions (DualDisc bonus disc) (2006)
“Human Touch” – Human Touch (1992)
“Hungry Heart” – The River (1980)
“Hunter of Invisible Game” – High Hopes (2014)
“Hurry Up Sundown” – American Beauty (EP) (2014)

(I)

“I Forgot to Be Your Lover” (featuring Sam Moore) – Only the Strong Survive (2022)
“I Wanna Be with You” – Tracks (1998)
“I Wanna Marry You” – The River (1980)
“I Wish I Were Blind” – Human Touch (1992)
“I Wish It Would Rain” – Only the Strong Survive (2022)
“I’ll See You in My Dreams” – Letter to You (2020)
“I’ll Work for Your Love” – Magic (2007)
“I’m a Rocker” – The River (1980)
“I’m Goin’ Down” – Born in the U.S.A. (1984)
“I’m on Fire” – Born in the U.S.A. (1984)
“Iceman” – Tracks (1998)
“If I Should Fall Behind” – Lucky Town (1992)
“If I Was the Priest” – Letter to You (2020)
“Incident on 57th Street” – The Wild, the Innocent & the E Street Shuffle (1973)
“Independence Day” – The River (1980)
“Into the Fire” – The Rising (2002)
“It’s a Shame” – The Promise (2010)
“It’s Hard to Be a Saint in the City” – Greetings from Asbury Park, N.J. (1973)

(J-K)

“Jack of All Trades” – Wrecking Ball (2012)
“Jackson Cage” – The River (1980)
“Jacob’s Ladder” – We Shall Overcome: The Seeger Sessions (2006)
“Janey, Don’t You Lose Heart” – B-side of “I’m Goin’ Down” (1985)
“Janey Needs a Shooter” – Letter to You (2020)
“Jersey Girl” (live) – B-side of “Cover Me” (1984)
“Jesse James” – We Shall Overcome: The Seeger Sessions (2006)
“Jesus Was an Only Son” – Devils & Dust (2005)
“Johnny 99” – Nebraska (1982)
“Johnny Bye-Bye” – B-side of “I’m on Fire” (1985)
“John Henry” – We Shall Overcome: The Seeger Sessions (2006)
“Jungleland” – Born to Run (1975)
“Just Like Fire Would” – High Hopes (2014)
“Kingdom of Days” – Working on a Dream (2009)
“Kitty’s Back” – The Wild, the Innocent & the E Street Shuffle (1973)

(L)

“Land of Hope and Dreams” (live) – Live in New York City (2001)
“The Last Carnival” – Working on a Dream (2009)
“Last Man Standing” – Letter to You (2020)
“Last to Die” – Magic (2007)
“Leah” – Devils & Dust (2005)
“Leap of Faith” – Lucky Town (1992)
“Leavin’ Train” – Tracks (1998)
“Let’s Be Friends (Skin to Skin)” – The Rising (2002)
“Letter to You” – Letter to You (2020)
“Life Itself” – Working on a Dream (2009)
“Lift Me Up” – Limbo (soundtrack) (1999)
“Light of Day” (live) – In Concert/MTV Plugged (1993)
“Linda Let Me Be the One” – Tracks (1998)
“The Line” – The Ghost of Tom Joad (1995)
“Lion’s Den” – Tracks (1998)
“The Little Things (My Baby Does)” – The Promise (2010)
“Little White Lies” – The Ties That Bind: The River Collection (2015)
“Livin’ in the Future” – Magic (2007)
“Living on the Edge of the World” – Tracks (1998)
“Living Proof” – Lucky Town (1992)
“Local Hero” – Lucky Town (1992)
“Lonesome Day” – The Rising (2002)
“The Long Goodbye” – Human Touch (1992)
“Long Time Comin’” – Devils & Dust (2005)
“Long Walk Home” – Magic (2007)
“Loose Change” – Tracks (1998)
“Loose Ends” – Tracks (1998)
“Lost in the Flood” – Greetings from Asbury Park, N.J. (1973)
“Lucky Man” – B-side of “Brilliant Disguise” (1987)
“Lucky Town” – Lucky Town (1992)

(M)

“Magic” – Magic (2007)
“Man at the Top” – “Sad Eyes” CD single (1999)
“The Man Who Got Away” – The Ties That Bind: The River Collection (2015)
“Man’s Job” – Human Touch (1992)
“Mansion on the Hill” – Nebraska (1982)
“Maria’s Bed” – Devils & Dust (2005)
“Mary Lou” – Tracks (1998)
“Mary Mary” – American Beauty (EP) (2014)
“Mary Queen of Arkansas” – Greetings from Asbury Park, N.J. (1973)
“Mary’s Place” – The Rising (2002)
“Matamoros Banks” – Devils & Dust (2005)
“Meet Me in the City” – The Ties That Bind: The River Collection (2015)
“Meeting Across the River” – Born to Run (1975)
“Merry Christmas Baby” – A Very Special Christmas (1987)
“Missing” – “Sad Eyes” CD single (1999)
“Moonlight Motel” – Western Stars (2019)
“Mr. Outside” – The Ties That Bind: The River Collection (2015)
“Mrs. McGrath” – We Shall Overcome: The Seeger Sessions (2006)
“Murder Incorporated” – Greatest Hits (1995)
“My Beautiful Reward” – Lucky Town (1992)
“My Best Was Never Good Enough” – The Ghost of Tom Joad (1995)
“My City of Ruins” – The Rising (2002)
“My Father’s House” – Nebraska (1982)
“My Hometown” – Born in the U.S.A. (1984)
“My Love Will Not Let You Down” – Tracks (1998)
“My Lover Man” – Tracks (1998)
“My Lucky Day” – Working on a Dream (2009)
“My Oklahoma Home” – We Shall Overcome: The Seeger Sessions (2006)

(N)

“Nebraska” – Nebraska (1982)
“The New Timer” – The Ghost of Tom Joad (1995)
“New York City Serenade” – The Wild, the Innocent & the E Street Shuffle (1973)
“Night” – Born to Run (1975)
“Night Fire” – The Ties That Bind: The River Collection (2015)
“A Night with the Jersey Devil” – Download-only single (2008)
“Nightshift” – Only the Strong Survive (2022)
“No Surrender” – Born in the U.S.A. (1984)
“None But the Brave” – The Essential Bruce Springsteen (2003)
“Nothing Man” – The Rising (2002)

(O)

“O Mary Don’t You Weep” – We Shall Overcome: The Seeger Sessions (2006)
“Old Dan Tucker” – We Shall Overcome: The Seeger Sessions (2006)
“One Minute You’re Here” – Letter to You (2020)
“One Step Up” – Tunnel of Love (1987)
“One Way Street” – The Promise (2010)
“Only the Strong Survive” – Only the Strong Survive (2022)
“Open All Night” – Nebraska (1982)
“Out in the Street” – The River (1980)
“Outlaw Pete” – Working on a Dream (2009)
“Outside Looking In” – The Promise (2010)
“Over the Rise” – Tracks (1998)

(P-Q)

“Paradise” – The Rising (2002)
“Paradise by the ‘C’” (live) – Live 1975–85 (1986)
“Part Man, Part Monkey” – B-side of “57 Channels (And Nothin’ On)” (1992)
“Party Lights” – The Ties That Bind: The River Collection (2015)
“Pay Me My Money Down” – We Shall Overcome: The Seeger Sessions (2006)
“Pink Cadillac” – B-side of “Dancing in the Dark” (1984)
“Point Blank” – The River (1980)
“Pony Boy” – Human Touch (1992)
“The Power of Prayer” – Letter to You (2020)
“The Price You Pay” – The River (1980)
“The Promise” – 18 Tracks (1999)
“The Promised Land” – Darkness on the Edge of Town (1978)
“Prove It All Night” – Darkness on the Edge of Town (1978)
“Quarter to Three” (live) – The Legendary 1979 No Nukes Concerts (2021)

(R)

“Racing in the Street” – Darkness on the Edge of Town (1978)
“Radio Nowhere” – Magic (2007)
“Rainmaker” – Letter to You (2020)
“Raise Your Hand” (live) – Live 1975–85 (1986)
“Ramrod” – The River (1980)
“Rave On” (live) – The Legendary 1979 No Nukes Concerts (2021)
“Real Man” – Human Touch (1992)
“Real World” – Human Touch (1992)
“Reason to Believe” – Nebraska (1982)
“Red Headed Woman” (live) – In Concert/MTV Plugged (1993)
“Rendezvous” (live) – Tracks (1998)
“Reno” – Devils & Dust (2005)
“Restless Nights” – Tracks (1998)
“Rhinestone Cowboy” – Western Stars (film) (2019)
“Ricky Wants a Man of Her Own” – Tracks (1998)
“The Rising” – The Rising (2002)
“The River” – The River (1980)
“Rocky Ground” – Wrecking Ball (2012)
“Roll of the Dice” – Human Touch (1992)
“Rosalita (Come Out Tonight)” – The Wild, the Innocent & the E Street Shuffle (1973)
“Roulette” – B-side of “One Step Up” (1988)

(S)

“Sad Eyes” – 18 Tracks (1999)
“Sandpaper” – The Great American Bar Scene (2024)
“Santa Ana” – Tracks (1998)
“Santa Claus Is Comin’ to Town” (live) – B-side of “My Hometown” (1985)
“Save My Love” – The Promise (2010)
“Seaside Bar Song” – Tracks (1998)
“Secret Garden” – Greatest Hits (1995)
“Seeds” (live) – Live 1975–85 (1986)
“Seven Angels” – Tracks (1998)
“Shackled and Drawn” – Wrecking Ball (2012)
“She’s the One” – Born to Run (1975)
“Shenandoah” – We Shall Overcome: The Seeger Sessions (2006)
“Sherry Darling” – The River (1980)
“Shut Out the Light” – B-side of “Born in the U.S.A.” (1984)
“Silver Palomino” – Devils & Dust (2005)
“Sinaloa Cowboys” – The Ghost of Tom Joad (1995)
“Sleepy Joe’s Café” – Western Stars (2019)
“So Young and in Love” – Tracks (1998)
“Someday (We’ll Be Together)” – The Promise (2010)
“Someday We’ll Be Together” – Only the Strong Survive (2022)
“Something in the Night” – Darkness on the Edge of Town (1978)
“Somewhere North of Nashville” – Western Stars (2019)
“Song for Orphans” – Letter to You (2020)
“Soul Days” (featuring Sam Moore) – Only the Strong Survive (2022)
“Soul Driver” – Human Touch (1992)
“Souls of the Departed” – Lucky Town (1992)
“Spanish Eyes” – The Promise (2010)
“Spare Parts” – Tunnel of Love (1987)
“Spirit in the Night” – Greetings from Asbury Park, N.J. (1973)
“Stand on It” – B-side of “Glory Days” (1985)
“State Trooper” – Nebraska (1982)
“Stay” (live) – No Nukes: The Muse Concerts for a Non-Nuclear Future (1979)
“Stolen Car” – The River (1980)
“Stones” – Western Stars (2019)
“Straight Time” – The Ghost of Tom Joad (1995)
“Stray Bullet” – The Ties That Bind: The River Collection (2015)
“Streets of Fire” – Darkness on the Edge of Town (1978)
“Streets of Philadelphia” – Philadelphia (soundtrack) (1993)
“Sundown” – Western Stars (2019)
“The Sun Ain’t Gonna Shine Anymore” – Only the Strong Survive (2022)
“Surprise, Surprise” – Working on a Dream (2009)
“Swallowed Up (In the Belly of the Whale)” – Wrecking Ball (Special Edition) (2012)

(T)

“Take ‘Em as They Come” – Tracks (1998)
“Talk to Me” – The Promise (2010)
“Tenth Avenue Freeze-Out” – Born to Run (1975)
“Terry’s Song” – Magic (2007)
“There Goes My Miracle” – Western Stars (2019)
“This Depression” – Wrecking Ball (2012)
“This Hard Land” – Greatest Hits (1995)
“This Is Your Sword” – High Hopes (2014)
“This Land Is Your Land” (live) – Live 1975–85 (1986)
“This Life” – Working on a Dream (2009)
“Thunder Road” – Born to Run (1975)
“Thundercrack” – Tracks (1998)
“The Ties That Bind” – The River (1980)
“The Time That Never Was” – The Ties That Bind: The River Collection (2015)
“Tomorrow Never Knows” – Working on a Dream (2009)
“Tougher Than the Rest” – Tunnel of Love (1987)
“Trapped” (live) – We Are the World (1985)
“Trouble in Paradise” – Tracks (1998)
“Trouble River” – 18 Tracks (1999)
“Tunnel of Love” – Tunnel of Love (1987)
“Turn Back the Hands of Time” – Only the Strong Survive (2022)
“Turn! Turn! Turn!” (with Roger McGuinn) – Magic Tour Highlights (EP) (2008)
“Tucson Train” – Western Stars (2019)
“TV Movie” – Tracks (1998)
“Two Faces” – Tunnel of Love (1987)
“Two for the Road” – B-side of “Tunnel of Love” (1987)
“Two Hearts” – The River (1980)

(U-W)

“Used Cars” – Nebraska (1982)
“Valentine’s Day” – Tunnel of Love (1987)
“Viva Las Vegas” – The Essential Bruce Springsteen (Limited Edition bonus disc) (2003)
“Wages of Sin” – Tracks (1998)
“Waitin’ on a Sunny Day” – The Rising (2002)
“Walk Like a Man” – Tunnel of Love (1987)
“The Wall” – High Hopes (2014)
“War” (live) – Live 1975–85 (1986)
“The Way” (hidden track) – The Promise (2010)
“The Wayfarer” – Western Stars (2019)
“We Are Alive” – Wrecking Ball (2012)
“We Shall Overcome” – We Shall Overcome: The Seeger Sessions (2006)
“We Take Care of Our Own” – Wrecking Ball (2012)
“Western Stars” – Western Stars (2019)
“What Becomes of the Brokenhearted” – Only the Strong Survive (2022)
“What Love Can Do” – Working on a Dream (2009)
“When She Was My Girl” – Only the Strong Survive (2022)
“When the Lights Go Out” – Tracks (1998)
“When You’re Alone” – Tunnel of Love (1987)
“When You Need Me” – Tracks (1998)
“Where the Bands Are” – Tracks (1998)
“Whitetown” – The Ties That Bind: The River Collection (2015)
“Wild Billy’s Circus Story” – The Wild, the Innocent & the E Street Shuffle (1973)
“The Wish” – Tracks (1998)
“With Every Wish” – Human Touch (1992)
“Without You” – Blood Brothers (EP) (1996)
“Working on the Highway” – Born in the U.S.A. (1984)
“Worlds Apart” – The Rising (2002)
“Working on a Dream” – Working on a Dream (2009)
“Wreck on the Highway” – The River (1980)
“Wrecking Ball” – Wrecking Ball (2012)
“The Wrestler” – Working on a Dream (2009)
“Wrong Side of the Street” – The Promise (2010)

(X-Z)

“Youngstown” – The Ghost of Tom Joad (1995)
“You Can Look (But You Better Not Touch)” – The River (1980)
“You Can’t Judge a Book by the Cover” – Chapter and Verse (2016)
“Your Own Worst Enemy” – Magic (2007)
“You’ll Be Comin’ Down” – Magic (2007)
“You’re Missing” – The Rising (2002)
“You’ve Got It” – Wrecking Ball (2012)
“Zero and Blind Terry” – Tracks (1998)

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Greed has fueled some of the most compelling narratives in rock and roll, serving as both a cautionary tale and an unapologetic anthem. Whether it’s a biting critique of wealth and corruption, an indictment of personal excess, or a tongue-in-cheek embrace of material desires, the theme has been explored in every era and genre. From blistering hard rock to soulful blues and theatrical prog, these songs dissect ambition, avarice, and the consequences of wanting too much. Some artists sneer at the greed-driven elite, while others step into the role of the guilty party, reveling in their hunger for more. The result is a collection of tracks that expose the many faces of greed—its allure, its destruction, and its undeniable presence in human nature.

Sarah McLachlan’s “Black” took an introspective approach, portraying greed as an internal struggle between indulgence and regret, while Styx’s “Half Penny Two Penny” cast a wider net, condemning societal corruption with anthemic grandeur. Godsmack’s “Greed” channeled raw aggression, attacking selfishness with a modern metal edge, whereas George Thorogood & The Destroyers’ “Greedy Man” leaned into bluesy bravado, portraying greed with a wry sense of humor. The Tedeschi Trucks Band’s “I Want More” blurred the line between ambition and excess, illustrating how insatiable desire can be both a driving force and a curse.

The Stooges, never ones to mince words, delivered a scathing takedown of entitled elites in “Greedy Awful People,” while Ann Wilson’s “Greed” took a more poetic and introspective turn, acknowledging the seductive emptiness of endless craving. Pink Floyd’s “Money” set the gold standard for greed anthems, pairing biting sarcasm with one of rock’s most iconic basslines, and Queen’s “I Want It All” turned unchecked ambition into a fist-pumping rallying cry. The Beatles, always masters of economy, stripped the subject down to its essence in “Money (That’s What I Want),” offering a blunt and infectious declaration of desire.

# 10 – Black – Sarah McLachlan

Recorded for Solace, Sarah McLachlan’s 1991 sophomore album, “Black” is an unflinching meditation on greed and its moral consequences. Produced by Pierre Marchand and recorded at Morin Heights Studio in Quebec, the song presents a darker, more atmospheric side of McLachlan’s early work. The lineup for the album featured McLachlan on vocals and guitar, while Marchand contributed keyboards, bass, and programming, crafting an eerie, textured backdrop for the song’s haunting melody. While Solace helped McLachlan gain recognition in Canada, “Black” was never released as a single, instead remaining an album deep cut that resonated for its thematic depth and stark emotionality.

The lyrics present a narrator consumed by selfish desires, justifying their actions through the illusion of entitlement. “’Cause I want what is pleasing / All I take should be free” exemplifies the central theme of greed, as the speaker takes without remorse, unable—or unwilling—to confront the ethical implications of their choices. The imagery of walls closing in and colors fading to black suggests the inevitable collapse brought on by unchecked avarice, mirroring the self-destruction often associated with greed. Unlike other songs on this list that explore materialism or corporate excess, “Black” approaches the subject from a deeply personal and introspective angle, depicting greed as a moral and spiritual corrosion.

Read More: Top 10 Sarah McLachlan Songs

# 9 – Half Penny Two Penny – Styx

Released as part of Paradise Theatre in 1981, “Half Penny Two Penny” offered a searing critique of greed, corruption, and the American obsession with wealth. Written by guitarist James “J.Y.” Young, the track was recorded at Pumpkin Studios in Oak Lawn, Illinois, with production handled by Styx and engineer Gary Loizzo. The lineup featured Dennis DeYoung on keyboards and vocals, Tommy Shaw and Young on guitars, Chuck Panozzo on bass, and John Panozzo on drums. The album became the band’s only No. 1 record on the Billboard 200, cementing Styx’s dominance in early ’80s rock.

Lyrically, “Half Penny Two Penny” embodies the theme of excess and financial inequality. Lines like “Justice for money, what can you say? / We all know it’s the American way” reflect a cynical view of a society where wealth dictates morality. The song’s protagonist, disillusioned with greed-fueled corruption, dreams of escaping across the sea to reclaim his freedom. Compared to other songs on this list, which explore personal greed, “Half Penny Two Penny” broadens the scope, taking aim at systemic avarice and its impact on the working class. The song climaxes with a spoken-word section mourning the demolition of a childhood theater, symbolizing the loss of culture to commercial interests—a fitting metaphor for how greed erodes tradition and values.

Musically, the track’s aggressive guitar riffs and thunderous rhythm section reinforce its themes of frustration and rebellion. The song’s hard-hitting approach sets it apart from the more theatrical elements of Paradise Theatre, aligning it more with the band’s earlier progressive rock roots. While not released as a single, “Half Penny Two Penny” became a staple of Styx’s live performances, known for its fiery energy and uncompromising message. The track serves as a sharp contrast to other greed-focused songs in this article, as it presents a broader societal critique rather than an individual’s struggle with avarice.

Read More: 10 Most Rocking Styx Songs

# 8 – Greed – Godsmack

Godsmack’s “Greed” delivered a seething condemnation of selfishness and manipulation, fitting seamlessly into the thematic framework of Awake, the band’s 2000 sophomore album. Recorded at River’s Edge Productions in Haverhill, Massachusetts, and produced by frontman Sully Erna and Andrew Murdock, the track channeled the band’s signature mix of hard-hitting riffs and primal aggression. Featuring Erna on vocals and rhythm guitar, Tony Rombola on lead guitar, Robbie Merrill on bass, and Tommy Stewart on drums, “Greed” captured the band’s relentless energy and confrontational attitude. Released as the third single from Awake, it peaked at No. 3 on the Billboard Mainstream Rock Tracks chart, reinforcing Godsmack’s presence in the early 2000s metal landscape.

Lyrically, “Greed” stands as a direct assault on an opportunistic figure, with lines like “Oh, you greedy little baby” and “Controlling me every step of the way” painting a picture of exploitation and resentment. Unlike “Black” by Sarah McLachlan, which internalized greed as a personal struggle with self-justification, or “Half Penny Two Penny” by Styx, which examined greed’s societal consequences, Godsmack’s approach was far more confrontational. The lyrics bristled with rage, portraying greed not as an abstract flaw but as an immediate and personal betrayal. The song’s chorus—”Hard to find how I feel, especially when you’re smothering me”—emphasized the claustrophobic nature of unchecked selfishness, positioning the narrator as someone breaking free from a toxic, consuming force.

Musically, “Greed” embodied the nu-metal aesthetic of its time, driven by grinding guitar work and Erna’s venomous vocal delivery. The track’s stop-start riffing and tribal drumming provided a relentless, pounding backdrop for its lyrical fury, contrasting sharply with the progressive rock sophistication of Styx’s “Half Penny Two Penny” and the atmospheric introspection of McLachlan’s “Black.” While Styx and McLachlan approached greed from thematic and narrative perspectives, Godsmack’s “Greed” was a blunt-force weapon—unapologetic, raw, and designed to be as visceral as its subject matter.

Read More: 10 Best Godsmack Songs

# 7 – Greedy Man – George Thorogood & the Destroyers

Recorded for Ride ‘Til I Die, released in 2003, “Greedy Man” was a blues-rock anthem steeped in swagger and excess. Produced by Jim Gaines and recorded at Rumbo Recorders in Los Angeles, the track embodied Thorogood’s signature style—raw, riff-driven, and unapologetically brash. The album featured Thorogood on vocals and guitar, along with long-time Destroyers Jeff Simon on drums, Billy Blough on bass, and Jim Suhler on rhythm guitar. While Ride ‘Til I Die didn’t chart as high as some of the band’s earlier releases, it continued Thorogood’s legacy of hard-hitting, blues-infused rock.

Lyrically, “Greedy Man” presented a different take on avarice compared to other songs in this article. Unlike the bitter condemnation of wealth in Styx’s “Half Penny Two Penny” or the personal anguish in Sarah McLachlan’s “Black,” Thorogood’s song embraced greed with a knowing grin. The narrator lists off extravagant desires—Cadillacs, women, and even a ship filled with money—delivering the lines with a mix of bravado and humor. The exaggerated materialism in “Greedy Man” placed it closer in spirit to the confrontational anger of Godsmack’s “Greed,” though where Sully Erna raged against greed’s corrupting force, Thorogood leaned into it with tongue firmly in cheek.

Musically, the track built on classic blues traditions, with a driving rhythm and slide guitar flourishes that recalled the Chicago blues greats Thorogood often paid homage to. Unlike the more polished, arena-ready sound of Styx or the nu-metal aggression of Godsmack, “Greedy Man” thrived in its simplicity—a stomping groove, a raspy vocal delivery, and a riff that felt tailor-made for a barroom jukebox. While greed in other songs on this list served as a source of societal decay or personal torment, Thorogood’s interpretation was more playful, making “Greedy Man” a unique and fitting addition to the discussion.

Read More: Jim Suhler of the George Thorogood & The Destroyers: The ClassicRockHistory.com Interview

# 6 – I Want More – Tedeschi Trucks Band

Released on Let Me Get By in 2016, “I Want More” showcased the Tedeschi Trucks Band’s signature fusion of blues, rock, and soul while lyrically capturing the insatiable nature of human desire. The album was recorded at Swamp Raga Studios in Jacksonville, Florida, with Derek Trucks handling production alongside Bobby Tis. The track featured Susan Tedeschi on vocals and guitar, Derek Trucks on lead guitar, and a full ten-piece ensemble, including Kofi Burbridge on keyboards, Tim Lefebvre on bass, and dual drummers Tyler Greenwell and J.J. Johnson. As part of an album that marked the band’s first fully independent effort, “I Want More” embodied both their technical prowess and their ability to craft songs with layered, evocative meaning.

The lyrics explored a theme of relentless craving, whether for love, experience, or power, aligning with the broader concept of greed seen throughout this list. Unlike the aggressive condemnation found in Godsmack’s “Greed” or the satirical indulgence of George Thorogood’s “Greedy Man,” Tedeschi Trucks Band approached the subject with a subtler, more soulful delivery. The chorus, “Can’t get enough, I want more,” reflected an emotional rather than purely material hunger, blurring the lines between ambition and excess. In contrast to the societal critique of Styx’s “Half Penny Two Penny” or the self-destructive indulgence in Sarah McLachlan’s “Black,” “I Want More” suggested that greed is not always about financial gain but an intrinsic human drive that can be both empowering and destructive.

Read More: Top 10 Tedeschi Trucks Band Songs

# 5 – Greedy Awful People – The Stooges

Released in 2007 on The Weirdness, “Greedy Awful People” delivered a raw, sneering critique of materialism and cultural decay. Recorded at Electrical Audio Studios in Chicago and produced by Steve Albini, the album marked The Stooges’ first full-length studio release in 34 years. The track featured Iggy Pop on vocals, Ron Asheton on guitar, Scott Asheton on drums, and Mike Watt on bass. Despite anticipation surrounding the band’s return, The Weirdness received mixed reviews, though its aggressive, no-frills approach reflected the band’s classic punk ethos.

Lyrically, “Greedy Awful People” offered a scathing takedown of wealth-driven social elites. The song’s verses mocked privileged individuals who ruin neighborhoods, flaunt status, and fail to appreciate art or music. Iggy Pop’s snarling delivery, particularly on lines like “They always clap on the wrong beat,” reinforced his disdain for those whose affluence insulates them from cultural depth. Unlike Sarah McLachlan’s “Black,” which explored personal moral conflict, or Styx’s “Half Penny Two Penny,” which addressed institutional greed, The Stooges’ track attacked greed from a street-level perspective, portraying it as an invasive, destructive force.

Musically, “Greedy Awful People” thrived on gritty, stripped-down instrumentation. Ron Asheton’s jagged guitar riffs and Scott Asheton’s pounding rhythms underscored the track’s confrontational energy. While Godsmack’s “Greed” harnessed a modern, heavy rock sound to express frustration, The Stooges relied on punk’s primal aggression to convey their disgust. The track served as a blunt, unapologetic reminder of the band’s origins, reinforcing their legacy as anti-establishment provocateurs.

Read More: Top 10 Stooges Songs

# 4 – Greed – Ann Wilson

Released on Fierce Bliss in 2022, “Greed” was a searing reflection on excess, desire, and the insatiable hunger that drives human ambition. Recorded at Muscle Shoals Sound Studios in Alabama, the song featured Wilson’s commanding vocals alongside an impressive lineup of musicians, including Warren Haynes and Kenny Wayne Shepherd on guitar. The album, produced with a focus on raw, organic rock textures, captured Wilson’s enduring vocal power and ability to bring weight to emotionally charged themes. With its blues-inflected instrumentation and haunting atmosphere, “Greed” stood as a striking moment on Fierce Bliss, offering both a critique and a confession about the nature of wanting too much.

Lyrically, the song wove together contradictions, positioning the narrator as both an angel and a lush—someone who desires nothing yet still craves everything. The line “I am feasting, I am fasting / Satisfaction, never, never lasting” captured the paradox at the heart of greed: the endless cycle of indulgence and emptiness. Compared to other songs in this article, such as Styx’s “Half Penny Two Penny,” which lambasted systemic greed, or Godsmack’s “Greed,” which channeled personal anger toward a manipulative individual, Wilson’s approach was far more introspective. She did not simply condemn greed but examined its seduction, portraying it as both intoxicating and isolating. The chorus—”Greed is empty, greed is lonely / Constant craving for one thing, only”—echoed this duality, illustrating how the pursuit of more can leave one hollow.

Musically, “Greed” carried a slow-burning intensity, its bluesy riffs and deliberate pacing reinforcing the weight of the lyrics. Wilson’s voice soared over the track, balancing defiance with vulnerability. While songs like The Stooges’ “Greedy Awful People” took a sneering, punk-infused approach to the subject, Wilson’s rendition of greed was more meditative, examining its emotional toll rather than simply railing against it. In this way, “Greed” stood out among the tracks in this article, offering a deeply personal exploration of the theme rather than an outwardly aggressive denunciation.

Read More: Top 10 Ann Wilson Songs

# 3 –  Money – Pink Floyd

Released in 1973 on The Dark Side of the Moon, “Money” offered a cynical and biting critique of wealth, capitalism, and materialism. The song was recorded at Abbey Road Studios in London between June 1972 and January 1973, with production handled by the band alongside engineer Alan Parsons. The lineup featured Roger Waters on bass and lead vocals, David Gilmour on guitars and backing vocals, Richard Wright on keyboards, and Nick Mason on drums. Known for its distinctive 7/4 time signature in the verses and the innovative use of tape loops to create the sound of cash registers and clinking coins, “Money” became one of Pink Floyd’s most commercially successful tracks, reaching No. 13 on the Billboard Hot 100 and helping The Dark Side of the Moon become one of the best-selling albums of all time.

Lyrically, “Money” dissected greed with a blend of sarcasm and scorn, painting a portrait of a world where financial gain superseded all else. The opening lines—”Money, get away / Get a good job with more pay and you’re okay”—introduced the song’s tongue-in-cheek perspective, highlighting society’s relentless pursuit of wealth. The narrator’s unapologetic indulgence, seen in lines like “New car, caviar, four-star daydream / Think I’ll buy me a football team,” captured the absurdity of excess. Unlike Ann Wilson’s “Greed,” which explored the emotional emptiness of insatiable desire, or The Stooges’ “Greedy Awful People,” which sneered at the privileged elite, “Money” adopted a detached, observational stance, allowing listeners to either revel in or recoil from its message. The later verses, particularly “Money, it’s a crime / Share it fairly but don’t take a slice of my pie,” revealed the selfish hypocrisy inherent in greed, making it one of the most pointed indictments of financial obsession in rock history.

Musically, the song stood apart from others in this article due to its fusion of blues-based rock with progressive elements. The transition from the rigid 7/4 groove into a more traditional 4/4 time during Gilmour’s guitar solo mirrored the song’s descent from detached satire into full-blown indulgence. Compared to the raw aggression of Godsmack’s “Greed” or the boisterous swagger of George Thorogood’s “Greedy Man,” “Money” exuded a slick, polished confidence, making its critique of excess even more potent. By the time the song’s final lines dismissed the notion that wealth should be shared, it had cemented itself as one of rock’s most definitive statements on greed.

Read More: Top 10 Pink Floyd Deep Tracks

# 2 – I Want It All – Queen

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# 1 –  Money (That’s What I Want) – The Beatles

Originally recorded by Barrett Strong in 1959, “Money (That’s What I Want)” became one of the most recognizable songs about greed when The Beatles recorded their own version for With the Beatles in 1963. Their rendition was recorded at EMI Studios in London on July 18 and 30, 1963, with George Martin handling production. The lineup featured John Lennon on lead vocals and rhythm guitar, Paul McCartney on bass and backing vocals, George Harrison on lead guitar and backing vocals, and Ringo Starr on drums. Unlike some of their later, more polished recordings, this track leaned into raw energy, with Lennon’s urgent vocal delivery reinforcing the song’s unapologetic craving for wealth.

Lyrically, “Money (That’s What I Want)” expressed greed in its simplest and most direct form. The opening line, “The best things in life are free, but you can give them to the birds and bees,” dismissed sentimental notions of love and happiness in favor of cold, hard cash. Unlike Pink Floyd’s “Money,” which analyzed the corrupting nature of financial obsession, or Queen’s “I Want It All,” which framed greed as an ambitious pursuit, The Beatles’ take on materialism was more primal and immediate. The repeated chant of “That’s what I want” left no room for nuance—the narrator desired money above all else, a sentiment that aligned closely with the brash, self-indulgent spirit of George Thorogood’s “Greedy Man.”

Musically, The Beatles’ version of “Money (That’s What I Want)” leaned heavily on the pounding piano riff played by George Martin, adding to the track’s driving momentum. Compared to the sneering cynicism of The Stooges’ “Greedy Awful People,” The Beatles delivered their greed-driven anthem with a more celebratory tone, making it sound less like a critique and more like an anthem for unapologetic indulgence. While the song lacked the social commentary of other tracks in this article, its straightforwardness made it one of the most enduring declarations of material desire in rock history.

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

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10 Best Songs About Greed article published on Classic RockHistory.com© 2025