Author: wamdines

The John Hackett Band have begun announcing plans for 2025 which will see the quartet release a new studio album, as well as performing live throughout the year, which will include a celebration of Steve Hackett‘s debut album Voyage Of The Acolyte, on which John performed with his brother and which celebrates its 50th anniversary next year.

The quartet have been busy working on a new studio album, the long-awaited follow up to their 2017s We Are Not Alone. Entitled Red Institution, the new album is slated for release in the first half of 2025.

The band have also announced an array of live dates for throughout the year which will see the band supported by the likes of EBB, Heather Findlay, Dikajee and more, on which the band will be performing material from the new album, as well as celebrating Voyage Of The Acolyte, and also includes a slot oat next year’s Danfest.

John Hackett has also been working with the new line-up of the Beatrix Players of late, while guitarist Nick Fletcher recently released his latest solo album, A Longing For Home.

You can see a full list of live dates and ticket details below.

John Hackett Band 2025 Live Dates

Mar 14: Chelmsford Social Club (support: Olja Dikajee)
Apr 11: Sheffield Greystones (support: Olja Dikajee)
Apr 12: Oswestry Hermon Chapel (support: Olja Dikajee)
May 9: Glasgow Ivory Blacks (support: Heather Findlay)
May 10: Newcastle The Cluny 2 (support: Heather Findlay)
May 11: Edinburgh Bannermans Bar (support: Heather Findlay)
Jun 1: London Dublin Castle (support: The Gift)
Jun 21: Honotn The Beehive (support: Heather Findlay)
Jun 22: Penzance Acord (support: Heather Findlay)
Sep 26: Colchester Arts Centre (support: Heather Findlay)
Sep 27: Aylesbury Queens Park Arts
Oct 17: Tunbridge Wells Trinity Theatre (support: Book Of Genesis)
Oct 18: Hove The Brunswick
Oct 19: Southampton The 1865 (support: EBB)
Nov 14: Liverpool Capstone Theatre (support: EBB)
Nov 15: Abingdon The Northcourt (support: Olja Dikajee)
Nov 28-30: Leicester Danfest

Get tickets.

The Rolling Stones have been around a long time.

Long enough, certainly, for their catalog to amass a collection of cover versions from artists spanning genres and generations.

The great thing about Stones songs is that they can be interpreted just about every which way from straight rock ‘n’ roll to slow blues. In the list below, using data from secondhandsongs.com, we’ve compiled the 20 Most-Covered Rolling Stones Songs, with each entry featuring one cover version.

20. “Get Off of My Cloud” and “No Expectations”
From: 1965 Single/Beggars Banquet (1968)
Number of Covers: 60

Tying for 20th place with 60 covers each is “Get Off of My Cloud,” a 1965 single, and “No Expectations” from 1968’s Beggars Banquet. Joan Baez‘s version of the latter is below, from 1970’s The First Ten Years, an album that also included covers of Bob Dylan, Donovan and more.

19. “Dead Flowers”
From: Sticky Fingers (`1971)
Number of Covers: 61

In 2011, Scott Weiland released an entire album of covers titled A Compilation of Scott Weiland Cover Songs, full of songs by artists Weiland admired over the years. “Dead Flowers” was included on it. “I think I’m more of a Keith [Richards] person, because, you know, Mick [Jagger] is more the business guy, he keeps the band together that way,” Weiland told Esquire in 2015. “I’m more of a music person, so I identify more with Keith, but Mick had a huge influence on the way I perform.”

18. “Brown Sugar”
From: Sticky Fingers (1971)
Number of Covers: 64

From the very beginning, the Rolling Stones looked up to Little Richard. What a full circle moment it must have been for them then when Little Richard recorded a groovy cover of the Stones’ “Brown Sugar” for his 1971 album The King of Rock and Roll. “He was the biggest inspiration of my early teens and his music still has the same raw electric energy when you play it now as it did when it first shot through the music scene in the mid ’50s,” Jagger wrote on social media when Richard passed in 2020. “When we were on tour with him I would watch his moves every night and learn from him how to entertain and involve the audience and he was always so generous with advice to me.”

17. “Miss You”
From: Some Girls (1978)
Number of Covers: 66

Ann Peebles has interpreted the work of many, but her version of the Rolling Stones’ “Miss You” sounds like it was practically written for her, even with the similar song arrangement. (In fact, she even name-checks another one of her covers in the song itself: 1973’s “I’m Gonna Tear Your Playhouse Down.”) A special shoutout should be given to Sugar Ray Norcia who played the blistering harmonica solo.

16. “Lady Jane”
From: Aftermath (1966)
Number of Covers: 72

Trini Lopez’s cover of “Lady Jane” stays mostly true to the song’s original intention, but there’s a hint of Spanish-sounding guitar and of course, Lopez’s voice is a lot smoother than Jagger’s. This cover appears on the 1967 album Trini Lopez in London.

15. “Under My Thumb”
From: Aftermath (1966)
Number of Covers: 79

It would be fair to say that the Rolling Stones’ “Under My Thumb” has not aged very well — it’s best to avoid singing about putting women down. But in 1975 Tina Turner took some power in singing it herself, changing the pronouns and including it on her Acid Queen album. The year after that, Turner was finally able to leave her abusive husband Ike Turner and be free from his controlling and violent behavior.

14. “Let’s Spend the Night Together”
From: Between the Buttons (1967)
Number of Covers: 80

You may not think the Rolling Stones and the Grateful Dead had much in common, but Jerry Garcia evidently had a soft spot for the British bad boys, consistently covering “Let’s Spend the Night Together” with the Jerry Garcia Band over the years. Below is an extra special version featuring Clarence Clemons of Bruce Springsteen‘s E Street Band.

13. “You Can’t Always Get What You Want”
From: Let It Bleed (1969)
Number of Covers: 87

There are many frontmen who worship at the altar of Mick Jagger. But Jagger himself looked up to Aretha Franklin, who offered her interpretation of “You Can’t Always Get What You Want” on her 1981 album Love All the Hurt Away. “She was so inspiring,” Jagger wrote on social media after Franklin’s passing in 2018, “and wherever you were she always brought you to church.”

12. “Play With Fire”
From: 1965 Single
Number of Covers: 88

The Rolling Stones walked so bands like the Heartbreakers could run. “Everything comes from somebody,” Johnny Thunders once said in an interview. Thunders recorded a version of “Play With Fire” in the ’90s. “I mean, Keith Richards took it from Chuck Berry, I took it from Keith Richards, you know?”

11. “Gimme Shelter”
From: Let It Bleed (1969)
Number of Covers: 118

Merry Clayton set the bar incredibly high when she recorded her vocal for “Gimme Shelter” — a scorching part that squeaks and screeches in all the right rock ‘n’ roll ways. Patti Smith put a new, expressive spin on it for her 2007 album Twelve, which also featured covers of Jimi Hendrix, Neil Young, the Doors and more.

10. “Angie”
From: Goats Head Soup (1973)
Number of Covers: 120

Tori Amos’ version of “Angie” is possibly the most hauntingly beautiful rendition of a Stones song on this list. Stripped of any other instrumentation save a piano and Amos’ delicate vocal, it was included in her set lists for over a decade.

9. “Ruby Tuesday”
From: Between the Buttons (1967)
Number of Covers: 126

The original “Ruby Tuesday” is light, airy and a bit whimsical. Nazareth‘s 1984 version is the complete opposite. But Nazareth frankly had a knack for transforming the songs of others into their own sound — you may also want to check out their covers of things like “The Weight” by the Band or “This Flight Tonight” by Joni Mitchell.

8. “Sympathy for the Devil”
From: Beggars Banquet (1968)
Number of Covers: 127

Let’s be real: Axl Rose has the sort of wailing rock ‘n’ roll voice made for a song like “Sympathy for the Devil.” Guns N’ Roses‘ version of the song appeared over the ending credits of the 1994 film Interview With the Vampire. “We have lots of influences, but the Stones are most definitely a big part of it,” Rose told the Los Angeles Times in 1989. “As a band, we haven’t seemed to wear out the Stones yet. We keep learning more and more from them…about the fact you are able to do anything you want in your music.”

7. “Wild Horses”
From: Sticky Fingers (1971)
Number of Covers: 132

There would not be the Rolling Stones without blues music — it was the foundation on which they laid their sound on even in their early years. It’s fitting then that someone like Otis Clay, a Blues Hall of Famer, would choose to record their music. In 2002, Clay contributed a soulful rendition of “Wild Horses” to the tribute album All Blues’d Up: Songs of the Rolling Stones.

6. “Jumpin’ Jack Flash”
From: 1968 Single
Number of Covers: 132

Believe it or not, there was a brief window of time where the Rolling Stones considered having Peter Frampton join the band following the departure of Mick Taylor at the end of 1974. Two years before that, Frampton had included a cover of “Jumpin’ Jack Flash” on his album Wind of Change. Frampton ultimately was not invited into the Stones, but things turned out fine in the long run — he went on to enjoy enormous success with 1976’s Frampton Comes Alive!

5. “As Tears Go By”
From: 1965 Single
Number of Covers: 161

Before the Rolling Stones themselves even recorded “As Tears Go By” Marianne Faithfull had a hit with it. Here is another woman’s interpretation of it, recorded by the singer-songwriter Melanie.

4. “The Last Time”
From: 1965 Single
Number of Covers: 166

In 1967, two years after the Stones released it, the Who put their own spin on “The Last Time.” “The Stones really affected me very, very deeply, their wildness on the stage, the fact that they didn’t wear uniforms,” Pete Townshend said in a 1979 radio broadcast. “This kind of thing was very, just, outrageous, you know. Jagger’s stage performance and Keith Richards’ stage performance, which is just very, very wild and unkempt. They were the first, I think, the closest to sort of a latter-day punk image.”

3. “Country Honk”
From: 1969 Single
Number of Covers: 169

Truthfully, this writer didn’t really expect “Country Honk” to have this many cover versions, but here we are at No. 3. Here is a rendition from one of country’s most prominent names, Waylon Jennings, who really let the song’s roots show.

2. “Paint It, Black”
From: Aftermath (1966)
Number of Covers: 285

What if “Paint It, Black” was a heavy metal song? Look no further than W.A.S.P.‘s cover of the song, which was released on a 1998 CD reissue of their debut album.

1. “(I Can’t Get No) Satisfaction”
From: Out of Our Heads (1965)
Number of Covers: 380

The below cover looks and sounds like some kind of fever dream one might have: Devo in full Devo garb playing the Stones’ “(I Can’t Get No) Satisfaction.” And Jagger definitely approved — Mark Mothersbaugh and Gerald Casale of Devo played it for him in 1978 before they released it. “He suddenly stood up and started dancing around on this Afghan rug in front of the fireplace,” Casale later recalled of Jagger, “the sort of rooster-man dance he used to do, and saying ‘I like it, I like it.’ Mark and I lit up, big smiles on our faces, like in Wayne’s World: ‘We’re not worthy!’ To see your icon that you grew up admiring, that you had seen in concert, dancing around, like Mick Jagger being Mick Jagger. It was unbelievable.”

Dual legends initially grew up around John Lennon‘s Nov. 28, 1974, appearance onstage with Elton John at Madison Square Garden: That he only appeared there after losing a bet. And that a backstage moment marked Lennon’s reunion with Yoko Ono, after his co-called “Lost Weekend.”

One turns out to be true, while the other most certainly is not.

Sadly, history replaced them both. The beauty of this night, the fun, and even the hagiography of a romance rekindled would be tragically obscured by Lennon’s awful murder a little more than six years later. A hail of assassin’s bullets ensured that this offhand stage performance – unannounced that night, until just before Lennon came on stage – would be the former Beatles star’s last.

It began with the bet. Elton John sang and played piano on both “Surprise Surprise (Sweet Bird of Paradox)” and “Whatever Gets You Thru the Night” for Lennon’s 1974 album Walls and Bridges. To that point, Lennon had been the only former Beatle who’d never achieved a solo No. 1 single – a streak John suggested would be snapped by “Whatever.” So confident was Elton, in fact, that he offered to make a little wager.

“He sang harmony on it and he really did a damn good job,” Lennon told David Sheff in 1980. “So, I sort of halfheartedly promised that if ‘Whatever Gets You Thru the Night’ became No. 1, which I had no reason to expect, I’d do Madison Square Garden with him. So one day Elton called and said, ‘Remember when you promised …'”

“Whatever Gets You Thru the Night” had just moved past Bachman-Turner Overdrive‘s “You Ain’t Seen Nothing Yet” that November to top the Billboard singles charts.

Lennon most recent full-length performance was 1972’s One to One concert, also held at the Garden. To get over the pre-show jitters, he actually slipped into an earlier Elton John show at Boston. “I was thinking ‘Thank God it isn’t me,’ as he was getting dressed to go on,” Lennon told Scheff. “I went through my stage fright at Boston so, by the time I got to Madison Square, I had a good time – and when I walked on they were all screaming and shouting. It was like Beatlemania. I was thinking ‘What is this?’ ’cause I hadn’t heard it since the Beatles.”

Carrying a black Fender Telecaster, Lennon performed three songs, opening with the new hit then following with “Lucy in the Sky with Diamonds” – which Elton John had recently covered with Lennon on vocals and guitar, releasing it just 10 days before this show – and a surprise nugget from even further back in the Beatles catalog.

Listen to John Lennon and Elton John Perform ‘I Saw Her Standing There’

“He suggested ‘I Saw Her Standing There,'” Lennon told Scheff, “and I thought ‘great,’ because I never sang the original of that. Paul [McCartney] sang it and I did the harmony.” On stage, Lennon introduced the old favorite with an impish quip: “We tried to think of a number to finish off with so I can get out of here and be sick, and we thought we’d do a number of an old, estranged fiance of mine, called Paul. This is one I never sang. It’s an old Beatle number, and we just about know it.”

Lennon later admitted his on-stage partner was in tears. “I just went up and did a few numbers, but the emotional thing was me and Elton together,” Lennon told Pete Hamill in 1975. “Elton had been working in [early Beatles music publisher] Dick James’ office when we used to send our demos in, and there’s a long sort of relationship musically with Elton that people don’t really know about. He has this sort of Beatle thing from way back. … Well, it meant a lot to me and it meant a hell of a lot to Elton.”

The set list was actually a point of contention, as Elton initially insisted that Lennon perform his 1971 anthem “Imagine.” Lennon demurred, telling Scheff that he “didn’t want to come on like Dean Martin doing my classic hits. I wanted to have some fun and play some rock and roll – and I didn’t want to do more than three, because it was Elton’s show after all.” Their live take on “I Saw Her Standing There” later appeared as the b-side to Elton John’s single “Philadelphia Freedom” in February 1975.

By then, Yoko Ono and John Lennon were back together – ending a separation that began in the summer of 1973. In truth, however, this concert provided only the first stirrings of reconciliation after a lengthy period away. That era, often referred to by Lennon as his “Lost Weekend,” was dotted with the headline-grabbing foibles of a single man on the prowl again. But Lennon had also been on a creative tear.

Beyond the success of “Whatever Gets You Thru the Night,” this same 16-month era of reckless second bachelorhood found him scoring a Top 10 hit with “#9 Dream” and a Top 20 hit in his remake of “Stand By Me”; making important assists on a pair of other No. 1 smashes (David Bowie’s “Fame,” as well as Elton John’s update of “Lucy”); giving away notable songs to Ringo Starr (the Top 10 hit “Goodnight Vienna“), Johnny Winter (“Rock and Roll People”) and Keith Moon (“Move Over Ms. L”); and producing Harry Nilsson’s 1974 album Pussy Cats.

Most of that was obscured, however, in a haze of booze-soaked debauchery. “Suddenly, I was out on me own,” Lennon told Hamill. “Next thing, I’d be waking up, drunk, in strange places or reading about meself in the paper, doin’ extraordinary things – half of which I’d done and half of which I hadn’t done, but you know the game, anyway.”

Listen to John Lennon and Elton John Perform ‘Lucy in the Sky’

Lennon subsequently insisted that he was unaware that his wife was in the audience on this historic occasion at Madison Square Garden. But Lennon actually arranged for tickets, and Ono in turn sent the orchids that Lennon and Elton John memorably sported on stage. Nevertheless, what happened following the show was undoubtedly real. “She was backstage afterward, and there was just that moment when we saw each other and like, it’s like in the movies, you know, when time stands still?” Lennon said. “And there was silence. Everything went silent, y’know, and we were just sort of lookin’ at each other.”

After the concert, however, Lennon and May Pang – the assistant with whom Lennon had been in a relationship while living and working in Los Angeles – left together for a party at a New York hotel. There was even a rumor that the couple was planning to buy a home in one of the city’s boroughs, before Lennon returned to Ono. In the interim, Lennon reportedly wooed Yoko as if they were unwed singles, taking her to a exhibition of work by Man Ray, and to the movies.

Years later, Ono admitted that it was actually McCartney who had played a critical role in saving this marriage. She says Paul and his wife Linda visited Ono in early 1974, and the subject of reconciling with John loomed large. McCartney then traveled to L.A., advising Lennon to return to New York and work on his relationship. McCartney might have figured that Ono was the only one who could save his old friend. Certainly, a drug-fueled attempt at collaborating – also, alas, Lennon and McCartney’s last together – had gone nowhere.

After the release of Lennon’s oldies package Rock ‘n’ Roll in February 1975, he filmed a three-song television appearance in honor of latter-day Beatles music publisher Sir Lew Grade, which aired that summer. In the fall, Ono gave birth to their son Sean – on the elder Lennon’s birthday, no less. A five-year retirement followed, as Lennon focused on being a father, then there was a short-lived comeback before he was tragically gunned down by a lunatic fan on the streets of his adopted hometown.

John Lennon would never perform on stage again – making his first words after the Elton John collaboration eerily prophetic. “When I came off stage,” Lennon told Scheff, “I said to the waiting journalists, ‘It was good fun, but I wouldn’t like to do it for a living.'”

See John Lennon in Rock’s Craziest Conspiracy Theories

Whether it’s a heartfelt ballad or a funky anthem, these tracks demonstrate the versatility of gratitude in music and the way it transcends personal boundaries to forge connections with audiences.

Alanis Morissette’s introspective “Thank U” explores spiritual and emotional awakening through her characteristic raw honesty and sweeping melodies. Sly & The Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” redefined funk, showcasing Larry Graham’s groundbreaking slap bass technique while weaving a message of individuality and resilience. Bob Hope’s timeless “Thanks for the Memories” captures a nostalgic elegance, proving the enduring appeal of a well-crafted goodbye. The Flaming Lips’ “Thanks to You” dives into their signature experimental rock with lyrics that turn gratitude into an abstract but touching exploration of love. John Denver’s “Thank God I’m a Country Boy” infuses his joyful ode to a simpler life with energetic fiddles and irresistible charm, cementing it as a fan favorite.

HELLYEAH’s “Thank You” stands as a poignant tribute to loved ones lost, blending their heavy sound with deeply personal lyrics. Andrew Gold’s “Thank You for Being a Friend” radiates warmth and sincerity, a celebration of the enduring bond of friendship immortalized by its use as The Golden Girls theme. The Beatles’ “Thank You Girl” showcases their knack for writing direct, infectious pop, serving as an endearing nod to their loyal fans. ZZ Top’s gritty cover of “I Thank You” injects swagger and Southern blues-rock into the soul classic, proving their ability to make any song uniquely theirs. Finally, Led Zeppelin’s “Thank You” is a poignant declaration of love, blending poetic lyrics with the band’s signature layered instrumentation to create a timeless ballad.

# 10 – Thanks To You – The Flaming Lips

“Thanks to You,” from The Flaming Lips’ second album, Oh My Gawd!!!, released in 1987, captures the raw, experimental spirit of the band’s early work. Recorded with producer Ruben Ayala, the album reflects the DIY ethos of the late 1980s alternative rock scene. The lineup at the time featured Wayne Coyne on lead vocals and guitar, Michael Ivins on bass, and Richard English, who not only played drums and piano but also delivered lead vocals on this track. With its introspective lyrics and unconventional structure, “Thanks to You” stands out as a heartfelt moment on an otherwise eclectic album.

The song’s lyrics explore themes of gratitude and personal transformation. Lines like “You’ve been the meaning of life for me / Now I can see the real me” convey a deep emotional resonance, with English’s vocals adding a sincerity that contrasts with the band’s usual surrealist tendencies. The track moves between moments of introspection and a sense of uplifting realization, underscored by a stripped-down arrangement of bass, piano, and percussion. This minimalist approach allows the lyrics to take center stage, showcasing a vulnerability that feels authentic and unpolished.

Compared to other songs on this list, such as the psychedelic overtones of later Flaming Lips tracks or the broader, thematic gratitude in songs like “Thank You for the Music,” “Thanks to You” feels deeply personal and intimate. While it did not chart or become a major commercial success, the song offers a glimpse into the band’s early creative process and their willingness to experiment with lyrical and musical themes. Its inclusion on Oh My Gawd!!! highlights the transitional period of The Flaming Lips, as they began to explore the potential of music as a vehicle for emotional storytelling.

Read More: Top 10 Flaming Lips Songs

# 9 – Thank U- Alanis Morissette

“Thank U,” released as the lead single from Alanis Morissette’s fourth studio album Supposed Former Infatuation Junkie in 1998, marked a bold artistic shift following the massive success of Jagged Little Pill. The song, written by Morissette and longtime collaborator Glen Ballard, reflects the emotional and spiritual transformation Morissette experienced during a trip to India. Recorded in Los Angeles, Supposed Former Infatuation Junkie featured Morissette’s introspective lyrics paired with Ballard’s polished production. The single reached number one in Canada, the top three in New Zealand and Norway, and charted in the top ten in several other countries, solidifying Morissette’s global appeal.

Lyrically, “Thank U” conveys themes of gratitude and self-awareness, framed within the context of personal growth. The repeated refrain, “Thank you, India / Thank you, terror / Thank you, disillusionment,” juxtaposes gratitude for positive experiences with appreciation for challenges that foster transformation. Lines such as “How ’bout me not blaming you for everything?” and “How ’bout unabashedly bawling your eyes out?” underscore the song’s central theme of acceptance and release. Musically, the track employs a lush arrangement of layered vocals and ambient instrumentation, creating a sense of calm that mirrors the song’s reflective tone.

The accompanying music video, directed by Stéphane Sednaoui, features Morissette appearing nude in various public settings, symbolizing vulnerability and openness, much like the song itself. Compared to other tracks on this list, such as “Thanks to You” by The Flaming Lips, which leans into raw experimentalism, “Thank U” is polished and introspective, yet both songs explore themes of transformation and gratitude. The song’s nomination for Best Female Pop Vocal Performance at the 2000 Grammy Awards further highlights its impact as a defining track in Morissette’s career, blending personal reflection with universal resonance.

Read More: Top 10 Alanis Morissette Songs

# 8 – Thanks For The Memories – Bob Hope

Yeah, Yeah, I know it’s not Classic Rock. I’m sure there will be a lot of grumpy people who will complain about us adding this one. Nonetheless, we are a music history site, and this was a big part of musical history and pop culture. Many covered it, but Bob Hope recorded the definite version.

“Thanks for the Memories,” became an iconic standard after its debut in the 1938 film The Big Broadcast of 1938. Written by Ralph Rainger and Leo Robin, the song is a duet performed in the film by Bob Hope and Shirley Ross, capturing a bittersweet farewell between two characters reminiscing about their time together.  Its orchestration featured lush, big-band arrangements that underscored its melancholic yet charming tone.

The song’s enduring legacy is evident in its recognition as Hope’s signature tune and its frequent re-recordings and performances throughout his career. It won the Academy Award for Best Original Song in 1939.

# 7 – HELLYEAH – Thank You

“Thank You,” a poignant track from HELLYEAH’s 2007 self-titled debut album, showcases the band’s ability to weave deeply personal themes into their signature heavy metal sound. Written as a tribute to loved ones lost by various members of the band, the song reflects raw emotions tied to grief, gratitude, and remembrance. Produced by drummer Vinnie Paul alongside Sterling Winfield, the song was recorded in 2007 with additional guitar tracks handled by Drew Mazurek. This heartfelt offering reached number 37 on the Billboard Hot Mainstream Rock Tracks chart, resonating with fans who connected with its universal themes.

Lyrically, “Thank You” delves into feelings of regret and longing for one more moment with those who have passed, as Chad Gray’s powerful vocals deliver lines like, “Just one more talk, just one more touch.” The song also acknowledges gratitude, with the repeated refrain “Thank you for everything you’ve ever done for me” serving as both an homage and a cathartic release. Musically, the track blends melodic passages with heavy riffs and pounding rhythms, creating an emotional ebb and flow that mirrors the lyrics’ reflective tone. The interplay between Greg Tribbett and Tom Maxwell’s guitars, combined with Vinnie Paul’s thunderous drumming, enhances the song’s intensity and sincerity.

When compared to other songs on this list, such as Alanis Morissette’s “Thank U,” which focuses on spiritual growth and gratitude for life’s lessons, “Thank You” is more personal and rooted in loss. The track’s combination of heavy instrumentation and heartfelt lyrics creates a compelling contrast, encapsulating HELLYEAH’s ability to balance vulnerability with their trademark intensity. The song remains a standout moment on HELLYEAH, emphasizing the band’s capacity to channel personal experiences into a universally resonant anthem.

# 6 – Thank You (Falettinme Be Mice Elf Agin) – Sly & The Family Stone

A funk anthem that revolutionized bass-playing and reshaped popular music, “Thank You (Falettinme Be Mice Elf Agin)” by Sly & The Family Stone is a masterclass in groove and lyrical depth. Recorded in late 1969 and released as a double A-side single alongside “Everybody Is a Star,” the track reflects the band’s innovative spirit and unparalleled ability to blend social commentary with infectious rhythms. Produced by Sly Stone, the track features the band’s signature lineup, with Larry Graham’s revolutionary slap bass technique leading the charge. This groundbreaking approach to bass, paired with the communal vocal contributions of the band, created a dynamic and cohesive sound that became an enduring hallmark of funk. The song topped the Billboard Hot 100 in early 1970 and remained a cultural touchstone, later appearing on the 1970 compilation Greatest Hits.

The lyrics cleverly revisit themes from Sly & The Family Stone’s earlier work, referencing songs like “Dance to the Music” and “Everyday People” while embedding a deeper commentary on authenticity, perseverance, and self-expression. The tongue-in-cheek spelling of the title—”Falettinme Be Mice Elf Agin”—is a playful yet poignant statement about rejecting societal conformity to embrace individuality. This concept resonates with Alanis Morissette’s reflective gratitude in “Thank U,” but while Morissette’s track is introspective and spiritual, Sly’s song radiates a communal energy, celebrating resilience through music and unity. Its powerful bassline mirrors the emotional weight found in “Thank You” by HELLYEAH, where gratitude is expressed amid personal and collective struggles, though Sly’s approach is far more uplifting in tone.

In comparison to “Thanks for the Memories” by Bob Hope, “Thank You (Falettinme Be Mice Elf Agin)” is less nostalgic and more forward-looking, using its infectious groove to drive home a message of empowerment rather than reminiscence. Similarly, the song contrasts with “Thanks to You” by The Flaming Lips, which offers a more introspective, dreamy soundscape. Both tracks acknowledge gratitude, but where the Lips’ approach feels deeply personal and meditative, Sly & The Family Stone deliver an anthem for collective celebration, rooted in the exuberance of live performance and cultural solidarity.

Musically, the interplay between horns, rhythm guitar, and the unrelenting bassline creates a soundscape that remains timeless, bridging the gap between funk, rock, and soul. Its legacy is unmatched, influencing countless artists across genres and earning its place as a defining piece of the band’s repertoire. With its danceable rhythm and socially conscious message, “Thank You (Falettinme Be Mice Elf Agin)” stands tall among the songs in this list, offering a jubilant yet profound take on gratitude that speaks to both personal and universal experiences.

Read More: Top 10 Sly And The Family Stone Songs

# 5 – Thank God I’m A Country Boy – John Denver

A spirited celebration of rural life and simple pleasures, “Thank God I’m a Country Boy” stands as one of John Denver’s most iconic hits. Written by John Martin Sommers, a member of Denver’s backup band, the song was originally recorded for the 1974 album Back Home Again and later immortalized in a live performance included on Denver’s 1975 album An Evening with John Denver. Recorded at the Universal Amphitheatre in Los Angeles on August 26, 1974, the live version captured the communal energy of Denver’s performances and propelled the song to number one on both the Billboard Hot 100 and Hot Country Singles charts in 1975, cementing its status as a cross-genre classic. Produced by Milt Okun, the live track features Denver’s warm vocals alongside vibrant instrumentation, including fiddle contributions by Sommers himself.

The lyrics of “Thank God I’m a Country Boy” weave a joyful narrative about the values of a simple, fulfilling life. Denver’s exuberant delivery highlights themes of family, tradition, and gratitude, with lines like “Well, I got me a fine wife, I got me old fiddle” emphasizing contentment over material wealth. This heartfelt expression of thanks mirrors the reflective tone of Alanis Morissette’s “Thank U”, though where Morissette’s track focuses on personal introspection, Denver’s celebrates communal and familial bonds. Similarly, the upbeat tempo and fiddle-driven arrangement contrast sharply with the melancholic intensity of HELLYEAH’s “Thank You”, showcasing how gratitude can be expressed across vastly different musical landscapes.

In comparison to Bob Hope’s nostalgic “Thanks for the Memories”, Denver’s song opts for a more boisterous and celebratory tone, reveling in the immediacy of rural life rather than reflecting on past experiences. Both tracks, however, share a deep appreciation for life’s simpler joys, whether through Denver’s vivid imagery of “cakes on the griddle” or Hope’s wistful recollections of cherished moments. The communal spirit of “Thank God I’m a Country Boy” also aligns with the energetic optimism of Sly & The Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)”, as both tracks use their infectious grooves to inspire connection and celebration.

Musically, the live recording captures the essence of Denver’s charismatic stage presence, with the audience’s clapping and cheering enhancing the song’s vibrant energy. Sommers’ fiddle playing adds an authentic touch that underscores the song’s country roots, making it a quintessential anthem of rural pride. “Thank God I’m a Country Boy” remains a timeless ode to simplicity and gratitude, a theme that resonates throughout this list in various forms, whether through introspection, celebration, or nostalgic reflection.

Read More: Top 10 John Denver Songs

# 4 – I Thank You – ZZ Top

ZZ Top’s bluesy cover of “I Thank You” brought a fresh energy to the David Porter and Isaac Hayes classic, which had originally been a hit for Sam & Dave in 1968. ZZ Top included the track on their sixth studio album, Degüello, released in 1979, marking a significant stylistic shift as the band began incorporating elements of New Wave and funk into their established blues-rock foundation. Recorded at Robin Hood Studios in Tyler, Texas, the album was produced by Bill Ham, a longtime collaborator with the band. Billy Gibbons (guitar, vocals), Dusty Hill (bass, vocals), and Frank Beard (drums) infused the track with their signature Texas grit, turning the soulful original into a gritty, swaggering anthem.

The track reached No. 34 on the Billboard Hot 100 in 1980, making it the band’s second top 40 hit after “Tush” in 1975. ZZ Top’s interpretation stays true to the song’s core message of gratitude but amplifies its intensity with a driving guitar riff, Hill’s pulsating bassline, and Gibbons’ distinctive growling vocal delivery. The production also adds a sharp edge, with the use of distortion and tight rhythms creating a dynamic contrast to the smoother, horn-driven arrangement of the original. This transformation exemplifies ZZ Top’s ability to reinterpret classic material while maintaining their unique identity.

Lyrically, the song expresses heartfelt appreciation, with lines like “You didn’t have to love me like you did, but you did, and I thank you,” highlighting themes of love and gratitude. Compared to the reflective tones of John Denver’s “Thank God I’m a Country Boy,” ZZ Top’s version exudes more playful and flirtatious energy, aligning closer to the exuberance of Sly & The Family Stone’s “Thank You (Falettinme Be Mice Elf Agin).” While Denver’s track celebrates rural simplicity and familial bonds, “I Thank You” channels a more personal and intimate kind of thanks, driven by fiery passion and soulful charisma.

The inclusion of “I Thank You” on Degüello exemplifies the band’s knack for blending tradition with innovation. By taking a revered soul classic and electrifying it with their distinct style, ZZ Top not only honored the legacy of Sam & Dave but also carved out their own place in the evolution of the song. This synergy between past and present mirrors the thematic diversity of this list, where expressions of gratitude range from introspective ballads to upbeat celebrations of life’s joys.

Read More: Complete List Of ZZ Top Albums And Discography

# 3 – Thank You Girl – The Beatles

The Beatles’ “Thank You Girl” serves as a charming homage to their devoted fanbase, written during their formative years of Beatlemania. Initially conceived as a potential A-side single, the song ultimately became the B-side to “From Me to You,” and was recorded on March 5, 1963, at Abbey Road Studios in London. Produced by George Martin, the track features John Lennon on double-tracked vocals and rhythm guitar, Paul McCartney on harmony vocals and bass, George Harrison on lead guitar, and Ringo Starr on drums. Lennon later added the harmonica parts in an overdub session while battling a cold, adding a playful, melodic layer to the song’s upbeat energy.

Musically, the track captures the early Beatles’ signature blend of rock and roll with a touch of Merseybeat charm. The harmonica’s presence links it to the sound of other early tracks like “Love Me Do,” while its driving rhythm and vocal interplay set the stage for the band’s later, more polished harmonies. Although Lennon later dismissed the song as “just a silly song we knocked off,” it reveals the Lennon–McCartney duo’s ability to craft a catchy tune with universal appeal. The recording process, requiring 13 takes, highlights the group’s evolving commitment to precision in the studio, a trait that would define their career.

Lyrically, “Thank You Girl” is a direct expression of gratitude, making it thematically comparable to other songs on this list, such as John Denver’s “Thank God I’m a Country Boy,” which also celebrates a simple yet profound appreciation. However, while Denver’s song focuses on a lifestyle, The Beatles’ gratitude here is intensely personal and addressed directly to their fans, as McCartney explained, ensuring a connection that fueled their meteoric rise. The heartfelt lines, “You made me glad when I was blue, and eternally I’ll always be in love with you,” encapsulate the sincerity of their message, echoing themes of gratitude and love found in Alanis Morissette’s “Thank U,” though the latter takes a more introspective tone.

Read More: Complete List Of Beatles Band Members

# 2 – Thank You For Being A Friend – Andrew Gold

Andrew Gold’s “Thank You for Being a Friend” is a timeless expression of gratitude, resonating as both a personal reflection and a universal sentiment. Written and recorded in 1978 for his third studio album, All This and Heaven Too, the song showcases Gold’s effortless ability to combine heartfelt lyrics with a polished, melodic composition. The track was produced by Andrew Gold alongside Peter Asher, with an impressive lineup of musicians including Waddy Wachtel on guitars, Jeff Porcaro on drums, and Kenny Edwards on bass. The song reached number 25 on the US Billboard Hot 100 and number 7 in Canada, solidifying its place as one of Gold’s most beloved works.

Musically, the song blends soft rock elements with a singalong-friendly structure, anchored by Gold’s warm piano arrangement and the layered harmonies that complement the uplifting message. Its lyrical core—“Thank you for being a friend / Traveled down a road and back again”—captures a spirit of loyalty and appreciation, making it an enduring anthem for relationships. While it stands apart from other entries on this list, such as Alanis Morissette’s “Thank U”, which explores self-reflection, Gold’s song focuses squarely on external connections, providing a sense of communal joy.

The song’s cultural impact was amplified when it was reimagined by Cynthia Fee as the theme for The Golden Girls, bringing its message to a multigenerational audience. This cross-media reach mirrors the adaptability seen in other tracks on the list, like “I Thank You” by ZZ Top, which transitioned from its soul origins to a rock staple.

Read More: Top 10 Andrew Gold Songs

# 1 – Thank You – Led Zeppelin

Led Zeppelin’s “Thank You” is the fourth track on Led Zeppelin II and one of the band’s earliest forays into heartfelt balladry. Written by Robert Plant and Jimmy Page, the song marks a pivotal moment in their songwriting collaboration, showcasing a more introspective and poetic side. Recorded in 1969 across multiple studios in England and the United States, the track was produced by Page and reflects the band’s growing versatility as they blended powerful rock with emotional sincerity.

Musically, “Thank You” features John Paul Jones’s Hammond organ prominently, creating a warm and soulful foundation that complements Page’s shimmering acoustic and electric guitars. John Bonham’s restrained drumming adds a subtle rhythmic texture, while Plant’s vocals soar with raw emotion. The song’s gentle dynamics and lyrical focus on love and devotion set it apart from heavier tracks like “Whole Lotta Love” and “Heartbreaker,” both of which showcase the band’s hard rock edge. The false ending and crescendo at the conclusion add a dramatic touch, making the song feel both intimate and grand.

Lyrically, “Thank You” is a deeply personal expression of gratitude and love, with Plant writing lines like, “If the sun refused to shine, I would still be loving you.” This sentiment resonates thematically with other songs on this list, such as Andrew Gold’s “Thank You for Being a Friend” and HELLYEAH’s “Thank You,” though Led Zeppelin’s delivery feels timeless and poetic. In contrast to the energetic groove of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” or the humorous warmth of Bob Hope’s “Thanks for the Memories,” Led Zeppelin brings a sense of enduring devotion and universal love to the theme of gratitude.

Read More: Looking Back At Led Zeppelin’s Masterpiece Led Zeppelin II

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

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

Legendary Black Sabbath guitarist Tony Iommi is featured in a massive career-spanning interiew with Guitar World, where he discusses everything from his formative years and his time with Jethro Tull, to breaking down some of Black Sabbath’s iconic songs. An excerpt is available below.

Guitar World: The “Iron Man” riff uses power chords built off the natural minor scale. But perhaps the real magic lies in the drag of the tempo you chose to play it in. Maybe it wouldn’t have had the same effect sped up.

Iommi: “Funnily enough, when we used to play live, we’d slow it down even more. When we went into the studio to do that album, we were so hyped up we were actually playing it a little faster. Then you end up sticking to that tempo because that’s what everyone hears on the album.”

“But as we carried on playing it live over the years, it got slower and slower, just to give it more depth and power. That’s what you do as a live band. And other songs would end up being faster when we played live. Bill (Ward / drums) would get carried away with the tempo – or I would.”

Guitar World: How’s the next solo album shaping up?

Iommi: “There’s definitely something coming. When it will be here, I do not know (laughs). The tracks I’m working on right now are a mixture of styles from acoustic to heavy stuff. There’s a variety. I haven’t picked out exactly what I’m going to do with the songs or who I’m going to use or whatever yet, but I’ve recorded quite a few ideas. A lot of them have been done at home. The next thing we’re going to do is put some drums on, so it’s coming along.”

“I’m just taking my time with it. I can only work on the new music on certain days because I’ve got other stuff on. I tend to work on a Monday and Tuesday with Mike Exeter. We’ll go in and focus on a particular track while also fiddling around with sounds and whatnot for other stuff.”

“It’s been an interesting process, juggling lots of different ideas. My studio is at the house in (West Midlands village) Broadway. Here in Poole, I don’t have a studio. We’re not down here enough to use one, really. We just come down for a few days and go back. Then I will pick things up at the beginning of the next week with Mike.”

Read the complete interview here.

Guitar.com recently reported that when Tony Iommi sold his iconic Gibson “Monkey” SG to the Hard Rock Cafe, he did so under the condition that he could buy it back whenever he wanted for the same price, he reveals in a new interview with Guitar World.

However, when he did try to get it back some years ago, the Hard Rock “knew nothing about the deal”, because the man responsible for procuring memorabilia for the company, and with whom Iommi dealt to finalise the sale, had passed away.

“The guy who used to buy memorabilia for the Hard Rock came to England and visited me,” he says. “He wanted to buy some stuff and I said it should be fine. I’d retired the Monkey SG because it was too valuable to me; I didn’t want to take it on the road and risk it getting damaged.

“He offered to buy it and it seemed like a good idea because the guitar could be displayed for people to see and kept safe, instead of sitting in a case somewhere in my storage. But the deal was if I ever wanted it back, I could let him know and buy it back for the same price. It seemed fair enough, a good deal.”

Read more at Guitar.com.

November 28, 2024, an hour ago

news devin townsend heavy metal

Devin Townsend is currently on the road in the UK supporting Myled Kennedy with an acoustic show. The tour kicked off on November 25th at Galvanizers in Glasgow, Scortland, and fan-filmed video of Townsend’s solo set can be viewed below.

Setlist

“Let It Roll”
“Love?” (Strapping Young Lad )
“Bring Him Home” (Claude‐Michel Schönberg – Les Miserables)
“Lightworker”
“Ih-Ah!” (Devin Townsend Project song)
“Hyperdrive” (audience request)
“Deadhead”
“Why?” (intro only, audience request)

Tour dates:
Dates:

November
29 – Nottingham, England – Rock City
30 – Birmingham, England – O2 Academy

December
2 – Cardiff, Wales – Great Hall
3 – London, England – O2 Forum Kentish Town

November 27, 2024, 17 hours ago

news heavy metal savatage

The legendary Savatage (Johnny Lee Middleton – bass, Chris Caffery – guitars, Al Pitrelli – guitars, Jeff Plate – drums, and Zak Stevens – vocals) have confirmed three more festival appearances for 2025.

The band are now confirmed for Into The Grave 2025, taking place June 13 – 15 in Leeuwarden, Netherlands (tickets and info here), Graspop Metal Meeting, set for June 19 – 22 in Dessel, Belgium (tickets and info here), and Barcelona Rock Fest in Barcelona, Spain on June 26 (tickets and info here).

Ticket links for each of the above performances can also be found at Savatage.com.

Savatage previously confirmed their appearance at the 2025 edition of Brazil’s Monsters Of Rock festival, scheduled for April 19 in São Paulo.

Check out a video trailer below, and find more information at MercuryConcerts.com.

Swedish heavy metal legion, Enforcer, has been a household name in the genre for 20 years, and now, Napalm Records is thrilled to be a part of that legacy – announcing their signing of the band that has transported the metallic sonic profile of the 80s into modernity. With Napalm Records, Enforcer are ready to take their unstoppable strength to new stratospheres.

Formed in 2004, Enforcer quickly gained recognition for their explosive blend of thrash and traditional heavy metal. Since then, they have published six studio albums showcasing their evolving sound while staying true to their roots.

Known for their electrifying live shows, Enforcer have performed on massive tours for thousands of devoted fans around the globe, including major European festivals like Hellfest, Sweden Rock and Copenhell, as well as more genre-focused festivals such as the legendary Keep It True and Bang Your Head festivals in Germany. Their high-energy performances and commitment to metal have made them fan favorites.

The band is now working on new material, promising an exciting future for metal fans worldwide. Stay tuned for more updates from Enforcer as they continue to dominate the scene.

Enforcer state about signing with Napalm Records: “We’re super excited to finally announce that we’re partnering with Napalm Records. Super stoked for a new release we’ve been working on to get out soon! Metal above all!”

Senior A&R Sebastian Münch says about Enforcer: “Since their debut album Into The Night, Enforcer, together with Ambush, have been the most important traditional heavy metal bands in recent years! With the new album release, I look forward to the task of further increasing Enforcer’s cult status.”

Enforcer live:

January
10 – Koenji High – Tokyo, Japan
11 – Koenji High – Tokyo, Japan
18 – Rosemount Hotel – Perth, Australia
22 – Stranded Bar – Brisbane, Australia
23 – The Newy – Newcastle, Australia
24 – Marrickville Bowlo – Sydney, Australia
25 – The Baso – Canberra, Australia
26 – The Leadbea – Melbourne, Australia

March
20-22 – Hells Heroes – Houston, TX

April
12 – Hyperspace Metal Fest – Vancouver, BC

October
31 – Nov 3 – Mediterrana Metal Cruise – Greece

Enforcer are:

Olof Wikstrand – Vocals, Guitar
Jonathan Nordwall – Guitar
Tobias Lindkvist – Bass
Jonas Wikstrand – Drums

(Photo credit – Enforcer)

Motörhead unveils signature hot sauces that are “Born to Raise Hell!” Heat up your holidays with five “Over The Top” sauces from Jade City Foods, which can be ordered here.

The flavors and pairings are as follows:

Iron Horse – Mango Habanero Sauce
Heat scale rating: 5/10 🌶️🌶️🌶️🌶️🌶️

This sauce has a blend of Habanero peppers, mangos, yellow bell pepper, onion, garlic, ginger, turmeric, vinegar, lime, and salt. It is recommended to pair with seafood, grilled chicken, pork and vinaigrette salads.

100 Percent Heat – Aged Red Pepper Sauce
Heat Scale Rating: 6/10 🌶️🌶️🌶️🌶️🌶️🌶️

100 Percent Heat is a tasty blend of aged red peppers, distilled vinegar, salt, and spices. This boasts as an excellent breakfast pairing as it goes well with scrambled eggs, omelets, taco salad, burrito and for those looking to spike their Hot Chocolate with something other than booze, this is the way to go!

Iron Fist – Reaper Pepper Sauce
Heat Scale Rating: 8/10 🌶️🌶️🌶️🌶️🌶️🌶️🌶️🌶️

For those who dare to turn up the heat, the Iron Fist Reaper Sauce has an extra spicy blend of habanero, ghost, and cayenne peppers with notes of paprika, garlic, distilled white vinegar, and salt. This pairs best with seafood, Brussel sprouts (great way to turn up your Thanksgiving sides this year!), tacos and poultry.

Bomber – Carolina Reaper Sauce
Heat Scale Rating: 8/10 🌶️🌶️🌶️🌶️🌶️🌶️🌶️🌶️

Ranked among the hotter blends, the Bomber sauce prominently features the hardcore Carolina reaper pepper along with piquillo and peri peri peppers, red wine vinegar, tomato, onion, garlic, distilled white wine vinegar and salt. This is a fantastic seasoning for salsa, chili, sautéed vegetables and tacos.

Killed by Death – Chili Extract Sauce
Heat Scale Rating: 11/10 🌶️🌶️🌶️🌶️🌶️🌶️🌶️🌶️🌶️🌶️🌶️

This one goes all the way to 11! The aptly named Killed by Death sauce is a concentrated and bold blend of aged red peppers, vinegar, chili extract and salt. You can really pair this with anything, if you dare! But best to start with very small doses as it can easily overpower a dish with its hardcore heat.

Etsy is a great place to get gift ideas beyond the high-street shelves, particularly if your loved ones are fans of personalised portraits and other hand-made products – and right now, the site are holding their Cyber Savings sale with up to 30% off a whole range of items.

Starting out strong with a bold slice of homeware, I found this printed vinyl music record carpet with 50% off by Esra Karas Rugs – down from £53.14 to £26.57. If you’ve been building up your record collection, and would like somewhere soft to stand while riffling through your records, there are few better rugs to place before your hi-fi stack than this.

A favourite ‘pick’ of mine takes the form of this miniature amp-shaped plectrum holder by Booths 3D. This Marshall-combo-styled pick-holder can carry up to eight of your plectrums, ensuring you never lose one to the aether again. Even better, you can customise the wording on the front – whether you opt for a first name, band name or suitably-embarrassing nickname. Oh, and for the next month or so you can pick one up for a nifty little 8% discount.

Another item for your hi-fi corner is rock’n’roll-themed canvas wall art by Wall Art Inspiration, which is down 25% from 135.83 to £101.87. These multi-panelled statement pieces take iconic posters from alternative music history and splay them out across your wall. You can choose the size and up to five personal-fave posters to include in the collage.

And finally, I come to this: a t-shirt design by Silver Lake T-Shirts that’ll speak to practically every GAS (Gear Acquisition Syndrome)-prone musician in your life – a tee that reads: “It’s not hoarding… if it’s guitars.” There’s 15% off taking it down to £15.09. I think we all know someone this applies to, and it would make a neat Christmas gift.

If you’re after more bargains, then don’t forget to check out our Black Friday music deals page which is being updated regularly with all our favourite Cyber Week discounts.

More Black Friday content

• Black Friday vinyl deals: Prepare to spin a box set bargain
• Black Friday CD deals: Classics, remasters & more
• Black Friday record player deals: Spin a top bargain
• Black Friday Marshall deals: Headphones & speakers on sale
• Black Friday streaming deals: Discounts on TV, film & music services
• Black Friday CD player deals: Top bargains on CD players
• Black Friday Lego deals: Build a great deal right now

The latest news, features and interviews direct to your inbox, from the global home of alternative music.