Founding Tom Petty and the Heartbreakers drummer Stan Lynch’s new band The Speaker Wars have released their first-ever video, for the song “You Make Every Lie Come True.”
The song comes from the group’s self-titled debut album, which will get its first label release on May 30 via Frontiers Music. The Speaker Wars previously released the song “Never Ready to Go” back in April 2022.
You can watch the “You Make Every Lie Come True” video below, and see the full track list for The Speaker Wars. The album is available for pre-order from the band’s official site and all major online retailers.
“After my 20-year tenure with the Heartbreakers, I got a second act writing and producing,” Lynch explains in the press release promoting the album. “It was educational beyond measure to learn how to create music from the other side of the glass. Around this time, I met [Texas-based singer-songwriter] Jon Christopher Davis in Nashville who casually mentioned that we should start a band –– so here I am –– in the Speaker Wars and it’s good to have my old job back. The guys in our new band know how to make great music, and I’m looking forward to another round.”
‘The Speaker Wars’ Track List:
1. “You Make Every Lie Come True” 2. “It Ain’t Easy” 3. “Taste of Heaven” 4. “Never Ready to Go” 5. “The Forgiveness Tree” 6. “When the Moon Cries Wolf” 7. “Trader’s South” 8. “Leave Him” 9. “Sit With My Soul” 10. “I Wish You Peace”
Tom Petty Albums Ranked
He’s a rock ‘n’ roll rarity: an artist who was consistent until the very end.
“I’d get up in the morning, practise scales at my piano, go off dancing, and then in the evening I’d come back and play the piano all night.” The story of Kate Bush’s debut album The Kick Inside
(Image credit: EMI Records)
In March 1978, a young singer-songwriter called Kate Bush shot to the top of the UK singles charts with Wuthering Heights. Based on Emily Brontë’s gothic novel of the same name, it was the centrepiece of Bush’s debut album, The Kick Inside, and introduced her elegant songwriting and explosive baroque pop to the unsuspecting masses. With a little help from some early collaborators and a few famous fans, Prog charts her journey from teenage wonder to one of the most unique and influential artists of the modern age
She was the baby of the family, born in Bexleyheath in 1958, but in her elder brother John’s black and white snapshots of her aged between eight and 12, dressed up and posing in various places around the extensive family plot of East Wickham Farm and their seaside retreat near Margate, Kate Bush’s sweet little visage often shows a deep, pensive look that’s beyond her years.
Kate – then answering to Cathy – was taking everything in. Her semi-rural upbringing on the border of Kent and south-east London was a social bubble filled with family love, happily disrupted by two much older siblings who brought art, philosophy and music into an already culturally vibrant and liberal home. Their parents balanced practical jobs – their Irish mother a nurse and Essex-born father a doctor – with an enjoyment of fun and entertaining friends. While Kate’s brothers John (more frequently called Jay) and Paddy honed skills in martial arts, photography and performing folk music, Kate was surrounded by classic English poetry and literature, Celtic folklore and fairy tales, and she started to write poems. Some were published in her school magazine – a rare highlight in a time of unhappiness while at St Joseph’s Convent Grammar School, where Kate had few allies. Back home, comedy, TV drama and old films provided comfort when she wasn’t plonking away on a decrepit old church organ in one of the outbuildings, or spinning discs by Donovan, Bowie, Elton, Roxy, Billie Holiday and John Fahey.
Kate was signed up for violin lessons. However, Dr Bush – an amateur musician himself – acquired a piano and Kate’s world changed forever.
“[It was] a release,” she later told DJ Tony Myatt, “I could create something out of nothing. It was a very special discovery.”
The song compositions flowed, with lyrics inspired – as her poetry had been – by love, death and religion, among other things. By the time Kate was 13, in 1972, Jay and Paddy had recorded demos, which Jay passed to his Cambridge Uni friend Ricky Hopper, a record plugger, who shopped them around record labels, unsuccessfully. But when Ricky played the songs to his other Cambridge pal David Gilmour, who had set up a studio and was looking to foster new talent, the Pink Floyd man was impressed enough to offer his services as a mentor to the young artist: the Bush family agreed. One of Kate’s early studio encounters included sitting in at Abbey Road while Pink Floyd recorded Wish You Were Here in 1975.
“I was absolutely staggered,” she remarked in Brian Southall’s 1982 book on the studio. “I really thought I’d never be able to record [there].”
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(Image credit: EMI)
At age 15, Kate’s repertoire blossomed from 30 to 50 compositions.
Gilmour recalled to Q magazine in 1999: “I had her up to my studio and recorded some things [Passing Through Air and Maybe, with Peter Perrier and Pat Martin of Unicorn, a band he was A&Ring, on drums and bass]. I decided that the way she sang and played piano, on its own, was not going to be very effective for convincing A&R men at record companies of her value.”
He was right: these new demos were also declined at the time, and Kate continued her education – achieving 10 O-Levels and passing English, Music and Latin with particularly good grades – but pondered dropping music and entering psychiatry.
Gilmour decided to bankroll demos that would present a more 360˚ view of her music and assigned his friend, Andrew Powell, as producer-arranger.
Powell was an astute choice; a piano-playing prodigy at the age of four, he was a multi-instrumentalist and orchestral percussionist by the time he was 11 and at King’s College School in Wimbledon. Later he studied under Ligeti and Stockhausen in the 60s before joining Cambridge Uni group Henry Cow in 1968, and also the live electronic group Intermodulation, which featured composers Tim Souster and Roger Smalley. While at King’s College, Powell had put together a May Ball in that year and booked Pink Floyd – then touring A Saucerful Of Secrets – for £200; he became firm friends with the band thereafter.
After graduation Powell aimed to be a concert pianist and began performing in orchestras, but fell into session work for artists such as Nick Drake – he was mates with arranger Robert Kirby – and the jazz-rock group Come To The Edge, led by percussionist Morris Pert. Thanks to Robert Kirby he then moved into arrangements for pop music, taking on a session that Kirby hadn’t time for, Cockney Rebel’s debut, The Human Menagerie, in ’73. His treatment of the choral-enhanced seven-minute centrepiece Sebastian certainly got Powell noticed and he stayed for the next two records as he bonded with producer Alan Parsons. Powell’s blend of traditional classical rudiments and modern progressive approach – with wiggle room for theatrical quirkiness – could be just the right fit for elevating Kate’s ideas.
Speaking to Prog from his home in Wales, Powell remembers meeting Kate for the first time: “David had said to me, ‘I’ve got this girl, and at least one of her songs needs an orchestral arrangement. I can’t do that, but you can!’ I went to Floyd’s offices in Bond Street and David, Kate and I talked for a bit and then played me some of the music. I was hooked straight away. When I heard The Man With The Child In His Eyes I said, ‘I’m in!’”
And who wouldn’t be? A poignant and haunting love song in the vein of the baroque pop of the time, The Man With The Child In His Eyes was a remarkably sophisticated work in lyrics and melody by the schoolgirl. Powell noted that Kate “knew what she wanted” from production and that her compositions were “remarkably consistent”.
“We spoke about a few of her influences, and she was enthusiastic about creating a lovely orchestral part on that track in particular,” he recalls.
Alongside The Man…, Maybe and Berlin were chosen to be recorded, later renamed Humming and The Saxophone Song, respectively. Kate found herself in AIR studios in June 1975, right above the crossroads of Oxford Street and Regent Street, central London.
“It was owned by George Martin and was a studio that both David and I liked,” says Powell.
“Dave was doing his guardian angel bit… he was great, such a human, kind person – and genuine,” Kate told Q magazine in 1999. “[He] put up the money for everything. It must have cost a fortune, but he didn’t want anything out of it.”
Also working this session was Abbey Road’s eminent engineer Geoff Emerick, whose work with The Beatles, Zombies, Wings, Robin Trower and more must have been a tad daunting for Kate, but the 16-year-old took it in her stride.
“Geoff did a wonderful job on the rhythm section, and on the orchestra,” Powell says. “We did one session, I think, maybe two. I had a day between to write the orchestral parts and then we did overdubs. When we did The Man With The Child In His Eyes Kate did it in one take, and the whole recording was live.”
(Image credit: Koh Hasebe/Shinko Music)
In July, David Gilmour took Kate’s tape to a listening session at Abbey Road with EMI’s General Manager, Bob Mercer. Mercer was impressed, but also wary of having a young, possibly vulnerable act on the books. A deal was reached – £3,000 and a four-year contract – but with the caveat that activity be held off for two years while Kate finished all her studies and gained more real-world experience. Mercer recommended Floyd manager Steve O’Rourke to the family, paid for piano lessons to refine her technique, and, importantly, took her along to a performance by Lindsay Kemp, the flamboyant choreographer and actor who had inspired and taught David Bowie.
“I just thought she might enjoy it,” Mercer said in 1999, “but she was completely blown away.”
Kemp’s world of burlesque, drag, avant-garde and erotica was another creative spur for Kate.
Kate moved out of one family home and into a flat that was one of three in a converted house in Brockley, Lewisham, owned by her parents, where her brothers also lived. With no pressure to write or record, she enjoyed this period of freedom and for a few months became part of a group, The KT Bush Band, that played local pubs and clubs. She had now fully adopted the name Kate after 18 years of being Cathy, and her bandmates were Brian Bath on guitar, Vic King on drums and Del Palmer on bass, old(ish) hands on a gigging circuit who were closer to Paddy Bush’s age – in their early-20s – and all nuts about the band Free. Already jamming pals with Brian, Paddy told him that his little sister needed a band to gain some live performance experience, so after practices at a swimming-bath boiler house in Greenwich and in a barn at the bottom of the East Wickham garden, they debuted at Lewisham’s Rose Of Lee in March 1977 with a well-drilled setlist of original Kate tunes such as James And The Cold Gun and Them Heavy People as well as covers of Motown songs, Steely Dan, The Beatles and Free’s The Stealer. By day, the 18-year-old was in jeans, T-shirts and hacking jackets; onstage at night she wore long, floaty dresses and some decoration in her hair. Nerve-wracked at first, by the time of their 20th, and final, live show, her new-found self-assurance and stage presence helped to draw audiences.
Outside of the band, Kate had enrolled in dance classes in Covent Garden led by Lindsay Kemp, mime artist Adam Darius and jazz dancer Robin Kovac. Back in her flat, in the company of kittens Zoodle and Pye, she applied herself to improving her vocals and playing her piano.
“I’d get up in the morning, practise scales at my piano, go off dancing, and then in the evening I’d come back and play the piano all night,” she told VH1, recalling the remarkably hot summer of 1976. “I had all the windows open and I used to write until four in the morning. I got a letter of complaint from a neighbour who was basically saying, ‘Shut up!’ They got up at five to do shift work and my voice carried the length of the street.”
The end of two years of development was approaching. Kate was getting impatient and visited Bob Mercer in his office with some newer songs; at some point Kate began dancing and Mercer saw her transformation.
“She now had the courage to perform in front of me like that,” he said. “I knew she was ready. Within a couple of weeks, we had her in the studios. I didn’t want to miss anything.”
(Image credit: Getty Images)
Demos for the upcoming debut album occurred in locations such as De Lane Lea and De Wolfe studios in Soho, but the label had some feedback for their star David Gilmour about his charge: in their humble opinion, what was emerging was disappointing and that Gilmour had sold them “a dud”. In a 1987 radio interview he recalled that, “[Bob Mercer said,] ‘You conned us by making one song sound really good.’ I said, ‘Give me a fucking break, this girl’s really talented!’ They said, ‘We just can’t get anything right, we’ve tried God-knows-who…’ I said, ‘Why don’t you put her with the guy that I put her with originally?’… and that’s when it became plain sailing.”
Kate was finally reunited with Andrew Powell at AIR studios in July and August 1977. House engineer Jon Kelly rode shotgun on the desk and would become part of her future crew. Powell tells us that there was “no mention of budget at all” from EMI – a vote of confidence, surely. Kate asked for the KT Bush Band to be in the studio but this was overruled in favour of Powell’s dream squad of Cockney Rebel keyboardist Duncan Mackay and drummer Stuart Elliott, with Ian Bairnson on guitars and David Paton on bass, both members of Scottish pop band Pilot. Powell’s old jazz-fusion comrade Morris Pert guested on percussion, popular session pro Alan Parker on guitar and Powell dived in himself on various synths, Fender jazz bass and celeste. Lastly, Kate’s brother Paddy was present, playing mandolin and adding BVs.
Powell says that crunching a track listing down to 13 songs was “incredibly difficult” given the quality of compositions available. And then, just days before the session, Kate arrived at Powell’s flat with a new work.
“It was Wuthering Heights!” he says with a laugh. “Once I heard that I knew that it had to go on the album, so we bumped Wow off the list to make room.”
Fortunately, the players bonded with Kate immediately.
“On the first day of the session, she sat down at the piano to play them the first track,” remembers Powell. “I was watching them and thinking, ‘They’re lapping this up.’ They were mesmerised, and she was entirely in her comfort zone.”
Kate had also worked out “90 per cent of the backing vocals and other touches” while at home.
“During one track,” recalls Powell, “Stuart ceased playing and shouted, ‘Oi, stop! Listen! Can you ’ear what she’s singing? It’s really sensitive lyrics and you’re all banging away!”
It also helped that Kate would be constantly asking if any players would like some tea – they thought she was AIR’s tea girl to begin with – bringing a little of her home life sociability and maternal Irish nurturing into the space as she also picked up tips about recording and producing – as ever, taking her surroundings in.
That first track on the first day was Moving, dedicated to Lindsay Kemp, who received an acknowledgment on the sleeve, and the intro would feature a sample of a bio-acoustician Roger Payne’s 1970 popular new age record The Song Of the Humpback Whale. This might tie in with the cover art, which referenced a scene with Monstro the whale in the Disney’s Pinocchio. Kite was also recorded on day one, its reggae lilt worked up by the players in the studio.
In the final list were two “demo” tracks from the 1975 session, The Saxophone Song and The Man With The Child In His Eyes – why mess with their perfection? Bluesbreaker Alan Skidmore had provided the jazzy sax part to the former, chosen because “I wanted something slightly left-field, and I think Kate did too,” says Powell as they conjured a nightclub type of mood and realised Kate’s idea of the sax as a “feminine voice”.
James And The Cold Gun didn’t stray too far from the rocking KT Bush Band’s version, nor the treatment of Them Heavy People, the theme of which drew on Kate’s thirst for learning, and the philosophy of spiritual leader George Gurdjieff who had particularly affected Kate’s brother Jay (check out his matching moustache style) with his Eastern-influenced Fourth Way enlightenment theory.
Ever-fascinated by ghosts, ley lines and supernatural energies, the Twilight Zone-twinkling Strange Phenomena showed off Kate’s hippie side, complete with the Buddhist chant ‘om mani padme hum’. A slew of earthier songs balanced the set. Feel It, Oh To Be In Love and L’Amour Looks Something Like You were conduits for Kate’s sensual self-expression, lyrics frankly discussed with her family, much to Ian Bairnson’s surprise when he saw her show the ‘feeling of sticky love inside’ lyric to her dad, receiving warm, supportive approval. Kate’s personal life had taken a turn; always drawn to older men, she was now dating KT Bush Band bassist Del, and they’d be together for 16 years, and collaborate creatively for even longer. Del would provide the small illustration of a man on a kite for the back cover of the LP.
The title track drew from a folk song, Lucy Wan, where an incestuous sibling relationship resulted in a pregnancy, so the sister was to take her own life to protect her brother, her final act of love. Heavy themes indeed, worn surprisingly lightly, as Powell notes: “That’s what she writes. It’s her art, it’s not personal to her.”
During the six weeks of recording, the band and technical personnel would see Kate inhabit many characters and personas, and none more so than that late addition, Wuthering Heights. Inspired by a BBC TV adaptation she’d watched in ’67, she later firmed up her lyrics with a scan of Emily Brontë’s 19th-century turbulent gothic romance, and it then developed into the tour-de-force that we know today (later, the dance moves learned from Robin Kovac would inform the weird and spooky expressive choreography for the video clip and live performances). The lyrics came from the point of view of the doomed lover Cathy, called back from the grave to haunt by her distraught and dysfunctional beau Heathcliff after her dreadful death in childbirth. What could be a better lead-off single to launch a very unusual and eccentric new artist into the world?
The label didn’t agree, pushing for the more straightforward, easier-on-the-ear James And The Cold Gun. “But Kate was very, very persistent,” says Powell. “And she was absolutely right.”
Released on January 20, 1978, Wuthering Heights and its spectral video clip made the most incredible and unlikely impression on a stunned – and in some cases bemused – general public, rising to No.1 for four weeks in March, just as The Kick Inside hit the record shops, going on to become the ninth biggest-selling album of the year. The world had never seen or heard a teenage performer like her, and now there was no going back.
Jo is a journalist, podcaster, event host and music industry lecturer with 23 years in music magazines since joining Kerrang! as office manager in 1999. But before that Jo had 10 years as a London-based gig promoter and DJ, also working in various vintage record shops and for the UK arm of the Sub Pop label as a warehouse and press assistant. Jo’s had tea with Robert Fripp, touched Ian Anderson’s favourite flute (!), asked Suzi Quatro what one wears under a leather catsuit, and invented several ridiculous editorial ideas such as the regular celebrity cooking column for Prog, Supper’s Ready. After being Deputy Editor for Prog for five years and Managing Editor of Classic Rock for three, Jo is now Associate Editor of Prog, where she’s been since its inception in 2009, and a regular contributor to Classic Rock. She continues to spread the experimental and psychedelic music-based word amid unsuspecting students at BIMM Institute London, hoping to inspire the next gen of rock, metal, prog and indie creators and appreciators.
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)
Check out our fantastic and entertaining Bruce Springsteen articles, detailing albums, songs, band members, and more…all on ClassicRockHistory.com
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.
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.
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.
# 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.
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.
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.
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.
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.
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.
Stoneground, a band born in Concord, California, in 1970, emerged as a distinctive voice in the American rock scene with their blend of rock, blues, and folk influences. This unique group was initially envisioned as part of a broader multimedia project spearheaded by radio DJ and music entrepreneur Tom Donahue. Comprised of an eclectic lineup of musicians, the band quickly gained recognition for their multi-vocalist approach, blending male and female voices to create rich harmonies that stood out against the backdrop of early 1970s rock.
The original lineup of Stoneground was as diverse as their sound. It included Tim Barnes on guitar, bassist John Blakeley, and Michael Mau on drums, with a vocal lineup featuring Annie Sampson, Lynne Hughes, and Deirdre LaPorte. Sal Valentino, formerly of The Beau Brummels, added his distinctive voice and experience to the mix, while Cory Lerios and David Jenkins contributed on keyboards and guitar, respectively. This dynamic group of musicians brought their individual talents together to create a sound that was both timeless and innovative.
The band’s inception was intertwined with Donahue’s vision of a traveling rock revue, and Stoneground soon became part of the “Medicine Ball Caravan” tour, a countercultural project akin to the famous Woodstock film. Their participation in this tour, which included performances across the United States and Europe, provided the band with valuable exposure and helped them hone their craft on the road. The Medicine Ball Caravan experience was captured in a 1971 documentary, solidifying Stoneground’s place in the annals of rock history.
Over the years, Stoneground experienced several lineup changes, which brought fresh perspectives and new dimensions to their music. Members like Cory Lerios and David Jenkins departed to form Pablo Cruise, while others joined and left in a revolving-door fashion that was common among bands of the era. Despite these changes, Stoneground managed to maintain their core identity, built around their powerful vocal arrangements and diverse instrumentation.
Stoneground released their self-titled debut album in 1971, followed by several others, including Stoneground 3 (1972) and Family Album (1972). These records showcased their ability to blend genres, incorporating elements of country rock, gospel, and blues into their repertoire. Songs like “Passion Flower,” “Rainy Day in June,” and their covers of classic tracks demonstrated their versatility and artistic ambition. Although they did not achieve significant commercial success, their music resonated deeply with a dedicated fan base, earning them a cult following that persists to this day.
One of Stoneground’s most notable contributions to music was their emphasis on collaborative artistry and community. The band’s multi-vocalist approach not only set them apart but also highlighted the importance of collective creativity. Their performances were marked by an infectious energy and a sense of inclusivity that drew audiences into their world, creating a shared musical experience that transcended individual egos.
Beyond their music, members of Stoneground contributed to the broader cultural landscape of the 1970s. Their involvement in projects like the Medicine Ball Caravan highlighted their commitment to the countercultural ideals of the era, emphasizing themes of unity, peace, and artistic freedom. While awards and chart-topping hits eluded them, the band’s legacy lies in their ability to capture the spirit of their time and translate it into music that remains relevant and inspiring.
Today, Stoneground is remembered as a band that defied conventions and embraced the communal spirit of rock music. Their innovative sound, diverse lineup, and commitment to artistic exploration have cemented their place in the history of American rock. While they may not have achieved widespread commercial acclaim, their influence on the genre and their dedication to creative authenticity continue to inspire musicians and fans alike.
# 10 – Dancin’
This is a great track to introduce the music of Stoneground to anyone who has never heard of this band. Dancin was the opening track on the band’s third album. It would be the band’s final record before most of the original group left the band.
# 9 – Total Destruction to Your Mind
Now, that’s what you call a rock and roll title. “Total Destruction to Your Mind” was released on the band’s classic double LP Family Affair. I love the photograph on the album cover; it just perfectly captures early 70s rock and roll culture, as does this stunning, grooving tune. This one will not destroy your mind, but it will totally blow it away. This band really jams on this track. There’s even a drum solo.
# 8 – Prove It
“Prove It” stands as one of the defining tracks from Hearts of Stone, the 1978 album that marked Stoneground’s return to a major label after a tumultuous period of lineup changes and independent releases. Produced by Bob Gaudio, the track was recorded at Record Plant in Sausalito, California, and served as the album’s lead single.
The song features a tight, driving groove, propelled by Sammy Piazza’s crisp drumming and Terry Davis’ pulsing bass work. The addition of Lenny Lee Goldsmith on vocals and keyboards added a new dimension to the band’s sound, complementing the powerhouse lead vocals of Jo Baker and Annie Sampson. The interplay between Tim Barnes’ guitar licks and Fred Webb’s keyboard textures creates a rich sonic backdrop, with Jerry Peterson’s saxophone injecting an extra layer of intensity. As a single, “Prove It” was meant to reintroduce Stoneground to a wider audience, blending their signature roots-rock sensibility with a more polished, radio-friendly production.
Despite the strength of the track and the band’s ambitious return to the mainstream, Hearts of Stone struggled commercially, leading Warner Bros.
# 7 – Added Attraction (Come And See Me)
Once you get past the annoying announcer in this video below, the following musical performance stands as a great musical presentation of what this band was all about. Don’t miss this one, take a few minutes and watch it. The song was released on the band’s debut album.
# 6 – Down to the Bottom
Released on the band’s third album, Stoneground 3, this one is a lot of fun. I love the backing vocals on this track.
# 5 – Looking For You
Simply smoking stuff from the band’s debut album. Listen to that guitar work at the song’s start. The song lands a little differently from what you’re expecting, but still eventually takes off again.
# 4 – You Must Be One of Us
From the wonderful Family Affair album released in 1971.The album was produced by Tom Donahue, Sal Valentino, and Ron Elliott, with recording sessions taking place in San Francisco. The lineup on this track includes Sal Valentino on vocals, Tim Barnes and Luther Bildt on guitars, Mike Mau on drums, John Blakeley on bass, and vocalists Lynne Hughes, Annie Sampson, Lydia Moreno, and Deirdre LaPorte.
# 3 – Passion Flower
Just listen to the great blues piano opening on this killer track. Lynne Hughes’ vocal performance takes it to another level. The song was featured on the band’s double album Family Affair.
# 2 – Queen Sweet Dreams
“Queen Sweet Dreams” is another standout track from Stoneground’s 1971 album, Family Album.
# 1 – Colonel Chicken Fry
Featured on their self-titled debut album released in 1971.
Check out more Robert Plant articles on ClassicRockHistory.com Just click on any of the links below……
After the Thrill Is Gone – One of These Nights (1975) Already Gone – On the Border (1974) Best of My Love – On the Border (1974) Bitter Creek – Desperado (1973) Business as Usual – Long Road Out of Eden (2007) Busy Being Fabulous – Long Road Out of Eden (2007) Center of the Universe – Long Road Out of Eden (2007) Certain Kind of Fool – Desperado (1973) Chug All Night – Eagles (1972) Desperado – Desperado (1973) Do Something – Long Road Out of Eden (2007) Doolin-Dalton – Desperado (1973) Doolin-Dalton/Desperado (Reprise) – Desperado (1973) Doolin-Dalton (Instrumental) – Desperado (1973)
(E-H)
Earlybird – Eagles (1972) Frail Grasp on the Big Picture – Long Road Out of Eden (2007) Funk 49 – Hotel California (40th Anniversary Bonus Disc) (1976) Fast Company – Long Road Out of Eden (2007) Good Day in Hell – On the Border (1974) Guilty of the Crime – Long Road Out of Eden (2007) Heartache Tonight – The Long Run (1979) Hole in the World – Long Road Out of Eden (Deluxe Edition) (2007) Hollywood Waltz – One of These Nights (1975) Hotel California – Hotel California (1976) How Long – Long Road Out of Eden (2007)
(I-J)
I Can’t Tell You Why – The Long Run (1979) I Don’t Want to Hear Any More – Long Road Out of Eden (2007) I Dreamed There Was No War – Long Road Out of Eden (2007) I Love to Watch a Woman Dance – Long Road Out of Eden (2007) I Wish You Peace – One of These Nights (1975) In the City – The Long Run (1979) Is It True? – On the Border (1974) It’s Your World Now – Long Road Out of Eden (2007) James Dean – On the Border (1974) Journey of the Sorcerer – One of These Nights (1975)
(K-N)
King of Hollywood – The Long Run (1979) Last Good Time in Town – Long Road Out of Eden (2007) Life in the Fast Lane – Hotel California (1976) Long Road Out of Eden – Long Road Out of Eden (2007) Lyin’ Eyes – One of These Nights (1975) Midnight Flyer – On the Border (1974) Most of Us Are Sad – Eagles (1972) My Man – On the Border (1974) New Kid in Town – Hotel California (1976) Nightingale – Eagles (1972) No More Cloudy Days – Long Road Out of Eden (2007) No More Walks in the Wood – Long Road Out of Eden (2007)
(O-S)
Ol’ ’55 – On the Border (1974) On the Border – On the Border (1974) One of These Nights – One of These Nights (1975) Out of Control – Desperado (1973) Outlaw Man – Desperado (1973) Peaceful Easy Feeling – Eagles (1972) Please Come Home for Christmas – Long Road Out of Eden (Deluxe Edition) (2007) Pretty Maids All in a Row – Hotel California (1976) Saturday Night – Desperado (1973) Somebody – Long Road Out of Eden (2007) State of the Universe – Long Road Out of Eden (2007)
(T)
Take It Easy – Eagles (1972) Take It to the Limit – One of These Nights (1975) Take the Devil – Eagles (1972) Teenage Jail – The Long Run (1979) Tequila Sunrise – Desperado (1973) The Disco Strangler – The Long Run (1979) The Greeks Don’t Want No Freaks – The Long Run (1979) The Last Resort – Hotel California (1976) The Long Run – The Long Run (1979) The Sad Café – The Long Run (1979) Those Shoes – The Long Run (1979) Too Many Hands – One of These Nights (1975) Train Leaves Here This Morning – Eagles (1972) Try and Love Again – Hotel California (1976) Tryin’ – Eagles (1972) Twenty-One – Desperado (1973)
(U-Z)
Victim of Love – Hotel California (1976) Visions – One of These Nights (1975) Waiting in the Weeds – Long Road Out of Eden (2007) Wasted Time – Hotel California (1976) Wasted Time (Reprise) – Hotel California (1976) Witchy Woman – Eagles (1972) What Do I Do with My Heart – Long Road Out of Eden (2007) You Are Not Alone – Long Road Out of Eden (2007) You Never Cry Like a Lover – On the Border (1974)
Check out our fantastic and entertaining Eagles articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
Intra-band turmoil was nothing new in Guns N’ Roses but by the beginning of 1995, irreparable cracks had begun to appear. Their imperial first phase was coming to an end and the debut album by Slash’s Snakepit, released 30 years ago this week, was a crucial nail in the coffin.
On the face of it, it didn’t need to be. Duff McKagan, after all, had released his own solo album, Believe In Me, in 1993 and then was back in G N’ R mode for their covers set “The Spaghetti Incident?”, released the same year. But Slash’s extra-curricular work, and the resultant record It’sFive O’Clock Somewhere, was different. This was an album intertwined with the ever-growing discord and division in Guns N’ Roses. In an interview just a year earlier, Slash had declared he had no interest in doing a solo project. So what changed?
It’s Five O’ Clock Somewhere began life as a bit of a laugh for the guitarist, a sort of musical release valve to offset the high-flying, high-pressured, multi-cogged machine that GN’ R had become. “I had to get away from Guns for a minute just because it’s such an institution,” Slash told Metal Edge at the time. “I want to get really inspired to do any new Guns stuff. Guns is big enough that it doesn’t matter what year we come out with a record.”
He had grown a little uneasy, he added, with what GN’ R had become. “We’d been doing so many ballads and conceptual videos that I started to get a little concerned about where it was going,” he said. He was keen for the world’s biggest rock band to start rocking again.
Looking for something to do in his downtime following the conclusion of GN’ R’s mammoth Use Your Illusion tour, the guitarist built a studio in his house (the titular Snakepit) and was keen to get down some of the ideas and riffs he’d come up with on the road, inviting drummer Matt Sorum over to help him flesh them out.
“I wrote 17 songs or something,” he told Metal Hammer in 1995. “After all that set was done, I was like, ‘What will I do with all this stuff?’. We had so much fun doing it that I wanted to keep the momentum going and didn’t want to sit around.”
The way Slash told it at the time, his next step was to put together a band around him, enlisting Alice In Chains bassist Mike Inez, recently-sacked GN’ R guitarist Gilby Clarke and Jellyfish’s Eric Dover on vocals alongside himself and Sorum, and then the group set to work on making the record.
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But numerous interviews over the years have revealed that this version of events omits the fact that Slash originally intended those demos for Guns N’ Roses. He openly explained that he had played the barbed, bluesy central riff to instrumental Jizz Da Pit to Axl Rose and been knocked back. “It was a riff I’d been carrying around that Axl hated,” he said. “He called it ‘red neck’. He hated it so I never did anything with it.”
That pretty much sums up Rose’s opinion of everything Slash played him. By 2000, the guitarist was more open about where much of It’sFive O’ Clock Somewhere’s material had originated from. “On the first Snakepit record, I used some ideas which were really planned for the next GN’ R record,” he explained to Rock Hard magazine. “But Axl and I disagreed on the future direction of the band. I played Axl a demo with some of my ideas for songs and all he said was, ‘I don’t feel like playing this kind of music.’ I answered, ‘But this could be an excellent Gunner-record, hundred percent in G N’R style’. He didn’t really care because he only wanted to play industrial and Pearl Jam-sounding crap.”
“What people don’t know is, the Snakepit album is the Guns N’ Roses album,” Rose himself said in a 1999 interview with MTV’s Kurt Loder when asked on the state-of-play for a new GN’R album. “I just wouldn’t do it… I didn’t believe in it. I thought that there were riffs and parts and some ideas that needed to be developed.” In a catty swipe at what he seemingly considered to be the below-par quality of the album, Rose concluded, “I think I’m with the public on that one.”
Rose had obviously chosen to ignore the fact that It’s Five O’Clock Somewhere had actually sold over a million copies, and that its blend of up’n’at’em rock grooves and crunching riffs would’ve been a great next move for GN’R. Maybe the frontman had picked up on some of the album’s lyrical themes and the fact that a lot of these songs were about Slash’s problems with a problematic singer.
“All of my songs are directed at one person, though no-one picked up on it at the time,” Slash wrote in his autobiography. “I used that record as an opportunity to vent a lot of shit that I needed to get off my chest.”
Perhaps he didn’t vent enough, though. A year and a half later, he was gone from the band he’d joined in 1985 and who had gone on to conquer the world. The spontaneous nature of It’s Five O’Clock Somewhere’s creation and the intimate club shows he’d played to support it had reminded Slash of what GN’R once had and lost. For now, the Snakepit was where he felt most at home.
Niall Doherty is a writer and editor whose work can be found in Classic Rock, The Guardian, Music Week, FourFourTwo, on Apple Music and more. Formerly the Deputy Editor of Q magazine, he co-runs the music Substack letter The New Cue with fellow former Q colleagues Ted Kessler and Chris Catchpole. He is also Reviews Editor at Record Collector. Over the years, he’s interviewed some of the world’s biggest stars, including Elton John, Coldplay, Arctic Monkeys, Muse, Pearl Jam, Radiohead, Depeche Mode, Robert Plant and more. Radiohead was only for eight minutes but he still counts it.
Spring Into It: Here’s How You Can Win a $500 Prepaid Visa Gift Card
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QUIZ: Can you identify 50 famous companies by their logos?
How well do you know the logos of 50 of the world’s most famous companies? Keep scrolling to see if you can guess which icon belongs to which brand.
LOOK: Food history from the year you were born
From product innovations to major recalls, Stacker researched what happened in food history every year since 1921, according to news and government sources.
(Image credit: Sacha Lecca/Rolling Stone via Getty Images))
Pulp have announced six arena shows in the UK and Ireland to take place in June.
The tour will kick off at Glasgow’s OVO Hydro on June 7, and take in visits to Dublin, London (two nights at the 02 Arena), and Birmingham, before closing on June 21 at Manchester Co-op Live.
The dates are:
Jun 07: Glasgow, OVO Hydro Jun 10: Dublin 3Arena, Ireland Jun 13: London The O2 Jun 14: London The O2 Jun 19: Birmingham Utilita Arena Jun 21: Manchester Co-op Live
Tickets for the shows go on general sale next Friday, February 21, at 9:30am.
Fans who sign up to Pulp’s mailing list by midnight on Monday, February 17, will be eligible for a pre-sale, scheduled to begin at 9:30am on February 18.
In a press release announcing the band’s summer sessions, Jarvis Cocker says, “You deserve more & we have more. In fact, we have More – (but that’s a whole other story… you’ll have to wait a little more time to hear that one). In the meantime: see you this Summer!”
Jarvis Cocker’s band played two shows in Japan last month, and also have summer festival appearances lined up in the UK (Tramlines, in Sheffield, on July 25) and Spain (Bilbao BBK 2025, July 10-12).
Last year the reactivated Britpop legends announced that they have signed a record deal with Rough Trade Records.
“Rough Trade have managed Pulp for over 30 years so it feels great to be finally on the label” they stated. “We did it!”
The Sheffield group have premiered a number of unreleased songs since their reunion.
These include A Sunset (co-written with fellow Yorkshireman Richard Hawley), Hymn Of The North (debuted at Sheffield Arena on July 15, 2023) and Background Noise, performed for the first time at the Autódromo Hermanos Rodríguez in Mexico in November ’23, during the Corona Capital Festival. and Spike Island, premiered at Chicago’s Aragon Ballroom on September 8 last year.
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
“The wolves are howling with great soul, great passion… it’s jazz, the jazz wolf of the Arctic tundra.” Former Police drum legend Stewart Copeland on recording his new album with wolves, hyenas and a black-footed albatross
(Image credit: Lester Cohen/Getty Images for The Recording Academy | Anthony Souffle/Star Tribune via Getty Images)
Stewart Copeland, former drummer with The Police, has announced the imminent release of one of his most ambitious and audacious albums, a concerto fusing orchestral compositions with authentic animal sounds, recorded in the field by celebrated British naturalist Martyn Stewart.
Inspired by the migration of the Arctic tern from pole to pole, Wild Concerto will be released by Platoon Records on April 18, and will be premiered live on Earth Day, April 22, to underscore its environmental message.
In a video released to tease the concerto, Copeland says, “This project is the culmination of everything that I learned as a film composer, and then the years since as an opera composer, taking all that I’ve learned about how the orchestra works and guides emotions. I don’t have a soprano and a tenor, I’ve got hyena and wolves and all different kinds of birds howling away.”
In the video, producer Ricky Kej describes Martyn Stewart as “The David Attenborough of Sound”.
Copeland adds: “In my comfortable air-conditioned studio as I’m composing these sounds I am very aware of Martin out there on his hands and knees in the deepest jungles getting bitten by tsetse fly, Black Mamba, tarantula. Because he has to go far, far away because of sound pollution he’s got to go way out there to get this incredible library of sounds.”
Talking exclusively to The Guardian about his new ‘bandmates’, which include an Asian barred owlet, a black-footed albatross, and red deer, Copeland says, “Their voices bring an unparalleled authenticity to the music.”
“They all have their own individual, often atonal melodies but when you put a flute against a red-breasted nuthatch, for example, the synergy is amazing. I picked out sounds that I felt were the soloists, like the wolves, and others that were more atmospheric, like the wild winds of Antarctica, and treated them in a similar way to a trombone or a guitar … The wolves are howling with great soul, great passion, and accompanied by a trombone following their line. It’s jazz, the jazz wolf of the Arctic tundra.”
Watch the teaser video, and listen to the album’s first single White Throated Sparrow (Is Happy On the Glacier), below:
Stewart Copeland | Wild Concerto : Teaser – YouTube
The latest news, features and interviews direct to your inbox, from the global home of alternative music.
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
