Author: wamdiness

Unity has always been a powerful force in rock and roll, woven into anthems of resistance, celebration, and hope. Whether through calls for peace, defiance against division, or simple invitations to come together, musicians have used their craft to break barriers and bring people closer. The ten songs in this article capture different facets of unity—some with bold declarations, others with quiet optimism—but all with the belief that music can transcend borders, beliefs, and backgrounds.

The Doobie Brothers infused Listen to the Music with an infectious groove, suggesting that shared joy in sound can erase differences. The Who’s Join Together leaned into their signature bombast, turning unity into an unstoppable march forward. War delivered Why Can’t We Be Friends? with humor and an easygoing charm, proving that even the deepest divides can be softened with a smile. Robert Palmer’s Every Kinda People took a soulful approach, making a heartfelt plea for acceptance through diversity. John Lennon’s Imagine challenged the world to picture a society free of the barriers that divide us. Jackson Browne’s For Everyman provided a philosophical reflection on perseverance, countering isolation with the idea that no one moves forward alone. Brotherhood of Man’s United We Stand captured the communal power of standing together through hardship. The Youngbloods’ Get Together tapped into the 1960s counterculture, offering a folk-based rallying cry for unity. Doro’s Raise Your Fist turned solidarity into an act of rebellion, rallying listeners to fight for change. Rush’s Different Strings took a more introspective approach, acknowledging that unity is as much about understanding differences as it is about finding common ground.

Each of these songs approaches unity from a different angle—some through defiance, others through harmony—but all reinforce the idea that people are stronger together. In a world that often feels divided, these tracks remind us that music remains one of the most unifying forces of all.

# 10 – Different Strings – Rush

Read More: Alex Lifeson of Rush: The ClassicRockHistory.com Interview

# 9 -Raise Your Fist – Doro

“Raise Your Fist” was recorded by Doro for her twelfth studio album, Raise Your Fist, which was released on October 19, 2012, in Europe and November 6, 2012, in the United States. The song was recorded at multiple locations, including Eardrum Studios in Hamburg, Studio 102 in Bochum, Mastersound Studios in Steinheim, and Intermedia Post in New Jersey. The album was produced by Doro Pesch, Andreas Bruhn, and Torsten Sickert. Musicians featured on the album included Doro Pesch on vocals, Bas Maas and Luca Princiotta on guitars, Nick Douglas on bass, and Johnny Dee on drums.

Doro has long been associated with anthemic heavy metal, and “Raise Your Fist” embodies that spirit with a rallying cry for solidarity and defiance. From the pounding rhythm to the soaring chorus, the track taps into the collective energy of fans who see music as both an escape and a source of empowerment. The song’s title and lyrics encourage unity through resistance, urging listeners to stand together against oppression. The commanding refrain, Raise your fist in the air / Raise your hands up higher, is a call to action that transcends music, resonating as a chant of empowerment.

Lyrically, the song embraces themes of fighting for justice and refusing to back down. Lines such as I will fight until I die / Fight this fight to stay alive reinforce the song’s message of resilience. The imagery of raising a fist has historically symbolized protest and unity, making the song particularly relevant in movements that seek to inspire change. By framing this concept within the high-energy realm of heavy metal, Doro channels the power of collective strength into a dynamic musical statement.

Read More: Top 10 Doro Songs

# 8 -United We Stand – Brotherhood of Man

“United We Stand” was recorded by Brotherhood of Man for their debut album, United We Stand, and was released as a single on January 23, 1970. The song was written by Tony Hiller and Peter Simons (a pseudonym for Johnny Goodison) and produced by Hiller. The group’s lineup at the time included Tony Burrows, Johnny Goodison, Roger Greenaway, Sue Glover, and Sunny Leslie. Burrows, known for his involvement in multiple studio projects, provided lead vocals on several hit songs of the era, further cementing his role as a prominent session singer.

The song became Brotherhood of Man’s first major success, reaching No. 13 on the U.S. Billboard Hot 100, No. 10 on the UK Singles Chart, and No. 9 in Canada. It also charted in Australia, Ireland, and several European countries. Despite the group later finding greater fame with their Eurovision-winning lineup, “United We Stand” remained one of their most enduring songs. Billboard predicted the song’s chart success, describing it as a “strong production” with broad appeal.

“United We Stand” is a straightforward and uplifting anthem about solidarity and resilience. The repeated refrain, For united we stand, divided we fall, serves as the song’s core message, reinforcing the belief that strength comes from togetherness. The lyrics emphasize unconditional support, assuring listeners that even in times of hardship, unity will provide a foundation of strength. This theme of collective perseverance made the song particularly resonant during the politically and socially turbulent era of the early 1970s.

Read More: A Deep Look At Those Tony Burrows Songs That Became 1 Hit Wonders

# 7 – Listen To The Music – The Doobie Brothers

Optimism coursed through the veins of Toulouse Street, and “Listen to the Music” embodied that spirit with a message of unity through sound. Recorded at Warner Bros. Studios in North Hollywood, California, and produced by Ted Templeman, the song was released as the lead single from the album on July 19, 1972. Tom Johnston, who wrote the track, delivered the lead vocals and played guitar, with Patrick Simmons providing additional guitar and backing vocals. Tiran Porter handled bass duties, while John Hartman and Michael Hossack supplied the signature dual-drum attack. The song marked The Doobie Brothers’ first major chart success, peaking at No. 11 on the Billboard Hot 100 and No. 3 on Canada’s RPM chart.

Few songs on this list exude joy as effortlessly as “Listen to the Music.” Unlike the rallying cries of “Raise Your Fist,” which encourages unity through defiance, The Doobie Brothers’ approach is rooted in the sheer power of music to dissolve boundaries. The track invites listeners to surrender to the rhythm, embracing connection not through protest but through shared experience. The lyrics suggest that happiness and understanding are within reach, as seen in lines like And if I’m feeling good to you / And you’re feeling good to me / There ain’t nothing we can’t do or say. This perspective aligns with “Get Together,” which also promotes harmony through personal choice, though the Doobies package their message in a more carefree, groove-driven arrangement.

Instrumentally, the song balances Southern rock, folk, and blues influences, creating a feel-good backdrop that reinforces its theme. The interplay between acoustic and electric guitars, particularly the bright chord progressions and signature flanging effect, makes the song instantly recognizable. While “United We Stand” relies on a grandiose vocal arrangement to drive its message of solidarity, “Listen to the Music” achieves a similar goal with its immersive, layered harmonies. Johnston’s warm, slightly raspy vocal delivery provides an inviting quality, making the track both anthemic and intimate.

Beyond its initial chart success, “Listen to the Music” endured as a staple of classic rock radio and live performances. The Doobie Brothers frequently used it as a show closer, reinforcing its status as a unifying crowd-pleaser. Decades later, in 2020, the band released an acoustic version to benefit Feeding America, demonstrating how the song’s message of collective joy remained just as relevant. Like “Get Together,” it continues to be a reminder that unity is often a matter of choice—sometimes, all it takes is listening.

Read More: 10 Most Rocking Doobie Brothers Songs

# 6 – Join Together – The Who

The Who captured the essence of unity with “Join Together,” a song that was released as a non-album single on June 16, 1972. Written by Pete Townshend, the track was recorded on May 22, 1972, at Olympic Studios in London. It was produced by The Who with associate producer Glyn Johns. The lineup featured Roger Daltrey on lead vocals and harmonica, Townshend on guitar and synthesizer, John Entwistle on bass, and Keith Moon on drums. The song became a commercial success, reaching No. 9 on the UK Singles Chart and No. 17 on the Billboard Hot 100 in the United States.

Unlike the anthemic singalongs of “United We Stand” or the peaceful optimism of “Get Together,” “Join Together” takes a more rhythmic and hypnotic approach to unity. Townshend’s use of a synthesizer loop—an element that Daltrey was initially skeptical about—gives the song an almost trance-like drive, setting it apart from other Who singles. The lyrics repeatedly urge listeners to come together, with lines like Everybody join together / Won’t you join together with the band? reinforcing the track’s communal spirit.

Lyrically, the song avoids heavy-handed political messaging and instead focuses on music as a force for unity. The verse We don’t move in any ‘ticular direction / And we don’t make no collections suggests an inclusive gathering without barriers or conditions. This free-spirited approach echoes “Listen to the Music,” where the act of experiencing music becomes a unifying force. The Who’s delivery, however, is more forceful, demanding action rather than merely encouraging it.

The instrumentation is as much a part of the song’s message as the lyrics. Townshend’s jangling guitar chords, combined with Moon’s propulsive drumming, create a rolling momentum that never falters. The harmonica and handclaps add a raw, celebratory energy, making it an ideal track for live performances. This stands in contrast to “Raise Your Fist,” which channels unity through defiance, while “Join Together” encourages gathering through shared purpose.

Despite being a standalone single, the song has remained a staple in The Who’s catalog, appearing on numerous compilations and frequently performed in concert. The band featured it prominently during their The Who Hits 50! tour and played it at charity events, including The Concert for Killing Cancer in 2011. Its continued presence in their setlists highlights its lasting resonance as a song that calls people together, whether in times of celebration or hardship.

By emphasizing collective action without restrictions, “Join Together” presents unity as an open invitation rather than a struggle. It speaks to the same ideals as other tracks on this list, but its rhythmic insistence and musical innovation make it a unique entry among songs that call for togetherness.

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

# 5 – Every Kinda People – Robert Palmer

Robert Palmer introduced “Every Kinda People” as the lead single from his fourth studio album, Double Fun, released in March 1978. Written by Andy Fraser, the song blended elements of reggae rock, calypso, and pop, marking a stylistic shift for Palmer. The track was recorded with producer Tom Moulton, and the personnel included Palmer on vocals and guitar, Paul Barrere and Freddie Harris on guitar, Bob Babbitt on bass, and Allan Schwartzberg on drums. The single reached No. 16 on the Billboard Hot 100, No. 12 in Canada, and No. 53 in the UK, becoming Palmer’s first major U.S. hit.

Unlike the forceful rallying cries of “Raise Your Fist” or “Join Together,” “Every Kinda People” conveys its message of unity with a smooth, melodic groove. The lyrics emphasize inclusivity, stating that it takes every kind of people to make what life’s about, reinforcing the idea that society thrives on diversity. The song acknowledges struggle but ultimately promotes love as the only path to peace, aligning with “Get Together” in its plea for understanding, though Palmer’s delivery is far more polished and soulful.

Musically, the track stands apart with its warm Caribbean-influenced rhythms, setting it apart from the rock-driven arrangements of other songs on this list. The steel drums, played by Robert Greenidge, add a distinct texture, while Palmer’s effortless vocals create an inviting atmosphere. This production choice mirrors the song’s theme, presenting unity as something natural and harmonious rather than something to be fought for. In contrast, “United We Stand” embraces a more declarative, chant-like approach to solidarity.

“Every Kinda People” has remained one of Palmer’s most enduring songs, receiving a successful 1992 remix that charted at No. 8 on Billboard’s Adult Contemporary chart. Over the years, it has been covered by numerous artists, including Amy Grant and Randy Crawford, further cementing its status as a timeless anthem of acceptance. The song’s lasting appeal lies in its universal message—true unity comes from embracing differences, not erasing them.

If you watch the video closely, you will se a young long-haired Ralph Fiennes as one of those Every Kinda People for a split second. It is the 22-second mark.

Read More: Top 10 Robert Palmer Songs

# 4 – Why Can’t We Be Friends – War

War approached the theme of unity with humor and groove on “Why Can’t We Be Friends?,” a song that blurred the lines between social commentary and lighthearted camaraderie. Released in May 1975 as the title track of their album Why Can’t We Be Friends?, the song was recorded at Sound City Studios in Van Nuys, California. It was produced by Jerry Goldstein, Howard Scott, and Lonnie Jordan. The lineup included Scott on guitar and vocals, Jordan on keyboards and vocals, B.B. Dickerson on bass, Harold Brown on drums, Charles Miller on saxophone, Papa Dee Allen on percussion, and Lee Oskar on harmonica. The single climbed to No. 6 on the Billboard Hot 100 and No. 9 on the Canadian RPM chart, further solidifying War’s reputation for blending funk, Latin, jazz, and R&B influences into socially conscious music.

Lyrically, “Why Can’t We Be Friends?” presents unity in a conversational and playful way, addressing racial and economic divides with wit rather than defiance. The line The color of your skin don’t matter to me / As long as we can live in harmony delivers the song’s core message with an unpretentious sincerity. In contrast, “Raise Your Fist” calls for unity through rebellion, while “Get Together” leans on folk idealism. War’s approach, however, is laid-back and inviting, making their message accessible to a wide audience. The repeated chorus, Why can’t we be friends?, acts as both a genuine plea and a humorous nudge, reinforcing the idea that barriers between people are often unnecessary and easily broken down.

Musically, the track’s steady groove and alternating vocalists create an effortless, jam-like atmosphere. The instrumentation avoids bombast, relying on a rolling bassline, handclaps, and a singalong chorus to carry the song’s infectious energy. Unlike “Join Together,” which builds intensity through a marching rhythm, or “United We Stand,” which uses a soaring choral arrangement, War’s composition is stripped down, allowing the rhythm section and saxophone to take center stage. This simplicity enhances its universal appeal, making it a track that feels equally at home at protests, parties, and sporting events.

“Why Can’t We Be Friends?” has remained a cultural touchstone, appearing in films, television shows, and political campaigns. NASA even played it for the Apollo-Soyuz Test Project in 1975, symbolizing U.S.-Soviet cooperation. Decades later, the song’s message of acceptance continues to resonate, much like “Every Kinda People,” which also emphasizes diversity as a strength. However, War’s playful, almost mischievous delivery ensures that their call for unity never feels preachy—it simply invites everyone to join in.

Read More: Top 10 Songs From The Band War

# 3 – For Everyman – Jackson Browne

Jackson Browne captured the tension between escapism and perseverance in “For Everyman,” the title track of his second studio album, For Everyman, released in 1973. The song was recorded at Elektra Sound Recorders in Los Angeles and produced by Browne himself. The lineup featured Browne on vocals and acoustic guitar, David Lindley on electric and acoustic guitars, Leland Sklar on bass, Russ Kunkel on drums, Craig Doerge on piano, and David Crosby contributing harmony vocals. Though not released as a single, the track became a defining statement of Browne’s early songwriting.

Lyrically, “For Everyman” contrasts individualistic escape with the hope of collective perseverance. Inspired by conversations with David Crosby about abandoning society, the song directly responds to “Wooden Ships,” a track written by Crosby, Stephen Stills, and Paul Kantner that envisions an apocalyptic exodus. While Crosby, Stills & Nash imagined leaving behind a collapsing world, Browne instead offered a more grounded outlook, singing Deliverance must come for everyone rather than just an elite few. This philosophical approach aligns with “Get Together” in its call for a broader sense of unity, though Browne’s take is more introspective and cautious.

Musically, the song builds from a subdued acoustic opening into a full-band arrangement, mirroring its lyrical journey from uncertainty to resolve. The subtle interplay between Lindley’s guitars and Doerge’s piano creates an expansive, contemplative soundscape. Unlike the celebratory nature of “Listen to the Music” or the rhythmic insistence of “Join Together,” Browne’s composition unfolds with patience, giving weight to each word and note. This sense of quiet determination reinforces the song’s message that unity is not about escape but about endurance and shared responsibility.

“For Everyman” has remained a staple of Browne’s catalog, frequently performed in his live shows and included on compilations such as The Very Best of Jackson Browne. Over the decades, its themes have only gained resonance, serving as a reminder that true solidarity comes not from running away but from standing firm together.

Read More: 10 Most Rocking Jackson Browne Songs

# 2 – Get Together – The Youngbloods

“Get Together” was recorded by The Youngbloods for their self-titled debut album, The Youngbloods, which was released in 1967. The song was written by Chet Powers (also known as Dino Valenti) and was originally titled “Let’s Get Together.” Felix Pappalardi produced the track, which was recorded under RCA Victor. Jesse Colin Young provided lead vocals and bass, Jerry Corbitt played lead guitar, Lowell “Banana” Levinger handled rhythm guitar and keyboards, and Joe Bauer was on drums. The song initially charted modestly, peaking at No. 62 on the Billboard Hot 100 in 1967. However, after being used in a National Conference of Christians and Jews radio campaign, it was reissued in 1969 and climbed to No. 5 on the Billboard Hot 100, becoming The Youngbloods’ signature hit.

The song’s gentle folk-rock arrangement and earnest delivery enhance its powerful message of unity and compassion. The acoustic-driven melody, coupled with Young’s warm vocals, creates an atmosphere of sincerity that distinguishes it from other anthems of the era. Unlike more confrontational protest songs of the 1960s, “Get Together” delivers its call for peace with a sense of hopeful urgency rather than defiance. The instrumentation remains restrained yet effective, with Levinger’s organ flourishes adding a sense of spiritual uplift to the track’s openhearted message.

Lyrically, “Get Together” embodies the essence of unity, urging listeners to choose love over fear. The opening lines, Love is but a song we sing / Fear’s the way we die, immediately set the song’s philosophical tone. The refrain, Come on, people now / Smile on your brother / Everybody get together / Try to love one another right now, reinforces a communal spirit, making it a defining anthem of the peace movement. The song’s bridge delivers a profound reflection on human choice: You hold the key to love and fear / All in your trembling hand / Just one key unlocks them both / It’s there at your command. This lyrical duality underscores the song’s deeper message—unity is not just an ideal but a conscious decision.

Read More: Top 10 Songs By The Youngbloods

# 1 – Imagine – John Lennon

John Lennon recorded “Imagine” between May 27 and July 4, 1971, at Ascot Sound Studios in England and the Record Plant in New York City. Released on October 11, 1971, as the title track of his second solo album, the song was produced by Lennon, Yoko Ono, and Phil Spector. The instrumentation featured Lennon on piano and vocals, Klaus Voormann on bass, Alan White on drums, and the Flux Fiddlers providing string arrangements. The single became Lennon’s best-selling solo hit, reaching No. 3 on the Billboard Hot 100 and No. 6 on the UK Singles Chart.

The song’s lyrics present a utopian vision of unity, rejecting barriers that divide people, including national borders, materialism, and religion. Lines such as Imagine all the people / Living life in peace offer a direct plea for harmony, making “Imagine” thematically aligned with “Get Together” and “Every Kinda People.” However, where those songs emphasize communal action, Lennon’s approach is more philosophical, challenging listeners to rethink the systems that separate them. The chorus, You may say I’m a dreamer / But I’m not the only one, acknowledges skepticism while reinforcing the song’s message of shared hope.

Musically, “Imagine” contrasts with the more rhythmic and anthemic unity songs on this list. The sparse arrangement, built around Lennon’s piano progression and delicate string backing, creates a meditative atmosphere. Unlike the groove-driven optimism of “Why Can’t We Be Friends?” or the rallying energy of “Join Together,” Lennon’s composition remains gentle and introspective, using minimalism to enhance its emotional weight.

The song’s legacy has only grown over the decades, becoming an international anthem for peace movements. Covered by countless artists and performed at major events, including the Olympic Games, “Imagine” remains a defining statement on unity. While some critics have debated its idealism, its enduring appeal underscores the power of music to inspire collective vision.

Read More: Complete List Of John Lennon Songs From A to Z

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

Last week fans of The Zac Schulze Gang unleashed a torrent of voting so powerful that the rest of the field were completely engulfed, leading to an inevitable and eventual triumph in our Tracks Of The Week contest. So congratulations to them, and to Luke Spiller and Sparks, who didn’t stand a chance, really.

Here’s Zac again. And then it’s full steam ahead with this week’s battle.

Don’t forget to vote for your new favourite below, via the handy form at the foot of the page.

Tyler Bryant & The Shakedown – Bloodshot Baby

Fresh from co-producing his wife’s band’s new album (Larkin Poe’s excellent Bloom) and gearing up for more Shakedown activity, Tyler Bryant and his merry men hit an utterly joyful home-run with this beefed up take on 50s rock’n’roll – like Aerosmith ripping through Lucille. Now who wouldn’t enjoy that? Nothing faintly new, but they make it sound exciting. “Little Richard, Chuck Berry, Jerry Lee…” Tyler says, of the song’s inspirations. “Those guys sounded like they were having the most fun, and we wanted in. We aren’t tryin’ to reinvent the wheel, but we figured we’d at least give it a good spin!”

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The Rattlebacks – How Calm The Silence

A small band with big sonic ambitions, The Rattlebacks turned the whole CR magazine team’s heads with this commanding single (from debut album Sidewinder) that’s part American college rock, part GN’R and full of cool little touches – pace and tone shifts, interesting guitar solo, blissed-out strains, an absolute beast of a riff… Too bad they released it with such a gratingly boneheaded music video, which won’t do them any favours. Do yourself a favour, then, and listen without watching, and give the song the platform in your brain it deserves.

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Joanne Shaw Taylor – Hell Of A Good Time

The good times keep rolling with the Black Country-turned-Nashville guitar star with the Bonnie Raitt purr. Joanne Shaw Taylor’s long been billed as a big fish in the blues rock world (emphasis on the ‘blues’ part), which she absolutely is. On Hell Of A Good Time, though, she just rocks. Grooving and riffing with a rich, classic swing and a warmly rootsy kick, it’s live-in-the-moment stuff that showcases her sizeable vocal and guitar chops in spadefuls.

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Creeping Jean – Spice Rack

Wasting zero time following last year’s first-rate Business Is Dead record (and having picked up a few more fans on the road with Rival Sons last year) Brighton rock’n’roll beatniks Creeping Jean hit a White Stripes-y analogue tone on this fuzzy, psychedelic headbanger. Sumptuous yet cool, and videoed here in their vintage clothing store, Mammoth, in Brighton’s North Laine bazaar. Catch them doing their thing on tour across the UK in April.

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Black Spiders – Never Enough

According to their press release Pete Spiby and his fellow eight-legged sons of the north “tip their beanie hats” to the Beastie Boys’s iconic So What’cha Want video (but, like, in the woods somewhere in England) in this latest single. The beanie hats are pretty much where those Beasties comparisons end, but no matter because Never Enough finds the Spiders rocking, rolling and raging in the way they do so well. “Whatever you do, shit happens,” says Spiby. “Luckily being cursed we expect it, so we’re ready for it!” All together now: ‘FUCK! YOU! BLACK! SPIDERRRRRS!’

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Sweet – Circus

A new video if not a new song (Sweet have been playing it live since 2023’s Full Circle tour, and it’s the opening track on last year’s album of the same name), but Circus is still a minor miracle to behold, not least because it sounds so feisty. More than half a century on from their glam heyday, the lyrics find Paul Manzi angrily pleading, “Life is a circus surrounded by clowns / Life is a circus let’s tear the big top down” with all the righteous fury of youth. Rock, and indeed, roll.

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The Dead Daisies – Love That’ll Never Be

Sometimes it’s hard to keep up with all the comings and goings of the Dead Daisies, who change lineups with the bewildering regularity of a sports franchise, but they inevitably get things right on the field of play and Love That’ll Never Be is no exception. The words “power” and “ballad” spring to mind, with the epic sweep of the arrangement allowing John Corabi’s vocals to truly soar. “[It’s] a bluesy 70’s Rock ballad reminiscent of The Allman Brothers,” advises Corabi, “about a girl who thought the grass was greener until she realises that what she wanted…. she already had! Now, it’s too late to get it back.”

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Samantha Fish – Sweet Southern Sounds 

The title Sweet Southern Sounds is pretty apt here, as Samatha Fish drops a blues that conjures up a sultry New Orleans vibe. The first single to emerge from Fish’s new album Paper Doll, which will arrive in April, it starts in a relaxed mood before the tempo and urgency pick up at the climax. “It’s an anthem about being on the road and feeling guilty about not prioritizing the people in your life,” says Fish. “It’s hard to find that balance between taking care of your relationships and dedicating yourself to your music, and there’s definitely a tinge of heartache to that song.”

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Tool, Guns N’ Roses and Rival Sons have been added to Black Sabbath’s final show line-up.

Back To The Beginning – which sold out last week in under 16 minutes – will see the original Brummie metal Gods – Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward – take to the stage one final time on July 5 at Villa Park.

Also performing alongside Sabbath on the day will be Metallica, Slayer, Pantera, Gojira, Alice In Chains, Halestorm, Lamb Of God, Anthrax and Mastodon, among others.

As well as many rock legends, the all-day festival will feature a supergroup of musicians, formed of Andrew Watt, Red Hot Chili Peppers’ Chad Smith, Dave Ellefson, Living Colour’s Vernon Reid, Ugly Kid Joe’s Whitfield Crane, The Smashing Pumpkins’ Billy Corgan, Disturbed’s David Draiman, Anthrax’s Frank Bello, Limp Bizkit’s Fred Durst, Jake E Lee, Korn’s Jonathan Davis, KK Downing, Halestorm’s Lzzy Hale, Faith No More’s Mike Bordin, Rudy Sarzo, Sammy Hagar, Anthrax’s Scott Ian, Sleep Token’s Sleep Token ii, Ghost’s Papa V Perpetua, Rage Against The Machine’s Tom Morello and Wolfgang Van Halen.

All profits from the show will benefit multiple charities, including Cure Parkinson’s, Birmingham Children’s Hospital and Acorn Children’s Hospice, a Children’s Hospice supported by Aston Villa.

“It’s my time to go Back to the Beginning….time for me to give back to the place where I was born,” Osbourne says. “How blessed am I to do it with the help of people whom I love. Birmingham is the true home of metal. Birmingham Forever.”

See the full line-up below:

In February 1974 Emerson, Lake and Palmer found themselves in trouble with Salt Lake City Police Department. The trio were arrested for swimming naked in their hotel pool, and subsequently fined $75. But as the separate incidents below prove – picked from many others – when prog fights the law, the law doesn’t always win.

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While prog artists have come up against the cops countless times, some of them prefer to extend their musical attitudes into their legal activities – so while drink and drug offences are rife, there are several more proggy approaches to breaking the law.

Arthur Brown could never be accused of sounding like ELP, but as he told Prog in 2014, he used to behave a bit like them. “I have appeared onstage in the nude before. Regularly,” he said. “I once got arrested in Palermo, Italy, for doing it. I tried to argue that the witnesses for the prosecution who believed I’d been naked didn’t have good eyesight, and I was actually wearing flesh‐coloured underpants.

“The judge told me that he might have believed me – except for all the photos taken which proved I was wearing nothing!” He admitted such antics were in his past, noting: “The sight of my body wouldn’t exactly excite anyone!”

But he reflected: “I love Italian justice. The facts don’t matter. Whoever has the better story wins!”

Without resorting to unkind references to the police, Pink Floyd and pigs did end up in a dalliance with cops in 1976 when Algie, their giant inflatable porker, broke its mooring ropes above Battersea Power Station. The incident took place while Hipgnosis design bigwig Aubrey Powell was trying to capture a photograph for the cover of Animals.

“There was a crew of riggers, inflaters and everything else,” drummer Nick Mason recalled. “And also a highly paid marksman whose job was to deflate the pig with a well-placed shot in the event of it escaping.”

That was day one, and the pig literally didn’t fly as a result of its failure to fully inflate with helium. On day two, everyone was back on site – except the marksman. Which is why Algie managed to fly off on his own little adventure.

“All flights from Heathrow were cancelled,” Powell remembered in 2020, “and I was arrested. We put out a radio announcement telling people to look out for a 40-foot long, pink inflatable pig.”

Mason observed that (being unkind now) pigs had flown. “A police helicopter did give chase for a while,”Mason said, “but the pig was climbing like an F-14 at the time. Some time later, the safety valves opened and it began a gentle descent and landed in a field in Kent.”

With the prop recovered from an angry farmer’s field, day three went like clockwork with two marksmen on site. But Powell admitted: “The we finally shot it, the sky wasn’t as impressive as it had been, so I added the pig to the photo from the first day. It’s actually a completely faked photograph.”

Genesis’ late tour manager and right-hand man Richard Macphail credited the band’s manager, Tony Stratton-Smith, for getting him out of jail after he’d been arrested for carrying an offensive weapon in the form of an axe handle stored in the back of his van.

“Strat phoned up the police station and told them they had to let me go as I was the son of an admiral,” Macphail told Prog in 2018. “It was Mike Rutherford’s dad who was the navy man – but it worked.”

He added: “And when it went to court it got thrown out because a pick axe handle is not, per se, an offensive weapon. But that was very indicative of the times, and people not being able to deal with the shifting culture.”

Questionable cultural attitudes appear to have behind the treatment of Osibisa’s Dell Richardson when he was arrested for driving at 55mph in a 45 zone as he tried to catch a flight for a show in the US. “They were really nasty,” he told Prog in 2020. “When they took me to prison, all I saw was black people. The only white people were the two policemen who arrested me.

“They wanted to know where I got my passport from. Then, ‘Do you know Trafalgar Square? Piccadilly Circus?’ They were surprised when they looked inside my passport and very impressed that I was invited by the Metro Corporation of America. What stunned them was when they asked where I was going. I told them New York, where Osibisa were supporting Ike and Tina Turner.”

That changed everything: “They put me in their car and escorted me to the airport with a motorcycle in front. Incredible! First they were gonna arrest me, now they’re taking me to the airport first class.”

Over the years Hawkwind have played a number of shows at the London Palladium. But decades ago, leader Dave Brock used to perform in the street outside – which led to a full-circle experience with the law.

“I used to busk the queue and got arrested there,” he told Prog in 2021. “The police told us to move on and we went around the corner, but as soon as they were gone we went back and carried on. They arrested me for public nuisance.”

He continued: “And next to the Palladium, that’s where the court was; it’s now a hotel. The funny thing is, we played the Palladium and then checked into the hotel. I thought, ‘How strange is this? The place where I was charged for being a public nuisance!’”

Perhaps one of the worst examples of police behaviour to prog musicians was the treatment of Rush’s Alex Lifeson in Miami on New Year’s Eve 2003.One of the nicest guys in the genre stood up to wish everyone a happy new year – and found himself knocked about by a gang of burly cops then accused of having started the scuffle.

“I was determined to fight it to the end because I know what happened that night,” Lifeson told Classic Rock in 2006. “The police in Florida can be brutal. At a dinner at the Ritz-Carlton, some guest in a tuxedo gets up on stage and says, ‘Happy new year everybody’ –there’s no way they should be beaten up and thrown down a flight of stairs.

“My nose was punched in and broken, I was tazered six times. But I was never going to let them get away with that.”

It took 15 months and $300,000 before a plea bargain was reached amid a confidentiality agreement. “It wasn’t about the money, more exposing the things the police so often get away with,” Lifeston explained.

“Had someone spoken politely to us and said, ‘Sir, would you please get down from the stage?’ there would have been no issue. I may be crazy, but I’m not a maniac. Aged 50, and in one of the finest hotels in America – it’s insane to suggest that I would pick some fight with three huge cops.”

Paul Simon gave a rare performance at the SNL50: The Anniversary Special on Sunday night. He and pop star Sabrina Carpenter offered a rendition of Simon & Garfunkel‘s “Homeward Bound.”

“I sang this song with George Harrison on SNL in 1976,” Simon said before they began. “I was not born then,” Carpenter playfully added, “and neither were my parents.”

You can watch the performance below.

READ MORE: How Paul Simon Ended Up Wearing a Turkey Suit on ‘SNL’

Simon, who announced his retirement from touring back in 2018, does not perform live often. He has struggled with hearing loss in recent years, a change that affected his ability to play live, but helped him discover new ways to make music. He released his 15th solo album in 2023, Seven Psalms.

“It was scary, frustrating,” he said last year. “You’re in denial and then you’re overwhelmed by this change in your life because you now have a disability. But even though it wasn’t pleasurable any more, I started to think that this was some new information that I needed to absorb into the piece. I started to focus on sounds, not from computers or synthesizers, but acoustic instruments used in unusual ways.”

Other Rock Acts at ‘SNL50’

Simon was not the only rock artist to appear at SNL50. Paul McCartney performed the famous medley of “Golden Slumbers,” “Carry That Weight” and “The End,” which you can also watch below.

Watch Paul Simon and Sabrina Carpenter Perform ‘Homeward Bound’ on ‘SNL50’

Watch Paul McCartney Perform on ‘SNL50’

Paul Simon and Simon & Garfunkel Albums Ranked

He was always an uneasy folksinger, a role his record company tried to push him into starting with Simon & Garfunkel’s debut.

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

The year 1975 was pivotal for classic rock, as some of the genre’s most important artists ascended to superstar status and then celebrated with massively successful tours.

It wasn’t all flowers and victory laps, as still-rising acts such as Lynyrd Skynyrd and Rush were forced to pay their dues with grueling, creatively draining treks that they nicknamed “the torture tour” or the “down the tubes tour.”

Below you’ll find the stories behind the 18 most important rock tours of 1975, along with the details on how you can best revisit each one via live albums, concert films or fan-shot bootlegs:

Lynyrd Skynyrd: The ‘Torture Tour’

Constant touring and session work made 1975 a very difficult year for Lynyrd Skynyrd. Founding drummer Bob Burns left before the band recorded Nuthin’ Fancy, which they were reportedly forced to complete in less than three weeks due to confirmed tour dates. They played over 120 shows on what they nicknamed “the torture tour,” but guitarist Ed King quit after getting dressed down by Ronnie Van Zant following a less-than-stellar show in Pittsburgh. Despite exhaustion and various substance abuse battles, the remaining group made it to the finish line in mid-November. They then went straight to the studio and were back on the road touring behind Gimme Back My Bullets in less than a month.

READ MORE: 1985’s 15 Hottest Rock Tours
Rush: ‘Fly By Night’ and ‘Caress of Steel’ Tours

With Neil Peart aboard as drummer and lyricist, Rush began 1975 by releasing their second album, Fly By Night, which found them expanding their sound and delving into prog-rock with the nine-minute “By-Tor and the Snow Dog.” After playing 106 shows in support of that album, they went even further into prog with September’s Caress of Steel, which was dominated by two massive song suites. The album wasn’t initially received very warmly, which wound up hurting ticket sales and led to the band nicknaming the trek the “down the tubes” tour. Of course, they stuck to their guns and rebounded strongly with 1976’s 2112.

AC/DC: ‘High Voltage’ and ‘T.N.T.’ Tours

AC/DC played 174 shows in 1975 without leaving their home country of Australia, touring in support of the High Voltage and T.N.T. albums. Some very important puzzle pieces fell into place for the band before the tour. In mid-1974, Malcolm Young switched to full-time rhythm guitar duties, and in October of that same year, Bon Scott took over as their lead singer. The band would conquer the United Kingdom in 1976, and mounted their first American tour in 1977.

Led Zeppelin: 1975 North American Tour

After taking an unprecedented 18 months off the road, Led Zeppelin returned to North America a bit beat up. Guitarist Jimmy Page suffered a broken finger, forcing him to adapt a three-fingered playing style for much of the tour. A few days before the opening date on Jan. 18 in Bloomington, Minnesota, frontman Robert Plant came down with a nasty flu that pestered him for much of the trek. But the band gamely soldiered on – and eventually caught fire.

Eagles: One of These Nights Tour

Eagles shifted further away from country towards a more mainstream rock sound on 1975’s One of These Nights, and the change made them chart-topping superstars. They capitalized with an 84-date that found them headlining arenas and stadiums. The tour also marked the end of an era, as guitarist Bernie Leadon, dissatisfied with the group’s new sound and his reduced role in their songwriting, departed the Eagles at year’s end. Luckily, the band had Joe Walsh’s phone number.

Alice Cooper: Welcome to My Nightmare Tour

With the original Alice Cooper group disbanded, Vincent Furnier became Alice Cooper the solo artist with 1975’s Welcome to My Nightmare. He launched a highly theatrical and choreographed tour of the same name on March 21 of that year, complete with spiders, demons and a giant cyclops. The tour was captured in a concert film, which was released in 1976.

Pink Floyd: Wish You Were Here Tour

Pink Floyd was not confined by traditional album or touring plans. Their 29-date Wish You Were Here tour began April 8, 1975 and concluded July 5, two months before their album of the same name was released. They’d already been playing early versions of songs from Wish You Were Here and 1977’s Animals on their 1974 tour, and did so again on this trek along with a full performance of The Dark Side of the Moon.

Fleetwood Mac: Stevie Nicks and Lindsey Buckingham

Eight years and 10 albums after their formation, Fleetwood Mac assembled the lineup that would make them superstars by adding Stevie Nicks and Lindsey Buckingham for their 1975 self-titled album. They played 120 shows in support of the record over the next year in a half, mixing in Fleetwood Mac hits such as “Rihannon,” “Say You Love Me” and “Landslide” along with songs from their back catalog and a couple of tracks from 1973’s Buckingham Nicks album. In 2017, the group released an expanded edition of the Fleetwood Mac album complete with a disc full of live material from the tour.

Led Zeppelin: Earl’s Court

Two months after the conclusion of their initially snake-bitten but ultimately successful North American tour, Led Zeppelin reached what may have been a career peak in live performances during a five-night stand at Earl’s Court in London. No expense was spared to pack the venue with state-of-the-art audio and visual systems, to present the band in the best setting possible. Led Zeppelin responded with some of their most dynamic and powerful shows, bringing back a mid-show acoustic set and stretching each show out past three hours. Some footage from this show can be seen in the 2003 Led Zeppelin live video compilation.

Genesis: The Lamb Lies Down on Broadway Tour

Peter Gabriel‘s last tour with Genesis found the band throwing audiences straight into the deep end with a full-album performance of their ambitious 1974 concept album The Lamb Lies Down on Broadway, complete with elaborate visual staging and multiple costume changes by the singer. A complete audio recording of the tour’s L.A. stop was included on 2024’s expanded reissue of the album.

Rolling Stones: Tour of the Americas ’75

Ron Wood‘s first tour with the Rolling Stones began on the back of a flatbed truck, as the group performed “Brown Sugar” live on May 1 in New York City to announce their upcoming North American dates. After a pair of warm-up dates at LSU, the tour kicked off in San Antonio on June 3. It featured an upgraded stage show, including the now infamous inflatable penis Mick Jagger would ride around onstage. A few songs from the tour were included on 1977’s Love You Live, and the band’s July 12, 1975 show at the L.A. Forum was released as a live album and home video in 2014.

Bruce Springsteen: Born to Run Tour

After previewing songs from the album in concert as far back as 1974, Bruce Springsteen released his long-gestating masterpiece Born to Run in August of 1975. The proper tour for the album began a month before and found Springsteen quickly ascending to superstardom: this is the year when he appeared on the covers of both Time and Newsweek the same week. Several shows from the tours were heavily bootlegged and a 2005 reissue of the album came complete with a concert film of the group’s Nov. 18, 1975 show at London’s Hammersmith Odeon.

Paul McCartney and Wings: Wings Over the World Tour

Paul McCartney returned to North American stages for the first time since the Beatles‘ 1966 tour in 1975 with the Wings Over the World Tour. Launched that September and continuing until October 1976, the tour was reportedly attended by over one million people at 65 arena and stadium shows across the globe. The tour was captured on the 1976 triple-live album Wings Over America, on the 1979 television documentary Wings Over the World and in the 1980 concert movie Rockshow.

Kiss: Hotter than Hell, Dressed to Kill and Alive! Tour

Kiss was in near-constant motion in 1975, playing 133 dates on tours in support of 1974’s Hotter than Hell, March 1975’s Dressed to Kill and September’s big commercial breakthrough Alive!, a risky double-live album that made them superstars. “After the release of Alive!, things felt different,” Paul Stanley said in his 2014 book Face the Music. “It was like watching water simmer before it boils. It suddenly seemed like just a matter of time before things would explode.” Several shows from this era are included on the Kissology Volume One: 1974-1977 home video collection.

Elton John: Rock of the Westies Tour

Elton John kicked off his 1975 tour by returning to the tiny venue where he first began winning American audiences over in 1970, performing 5 shows in three nights at the Troubadour. The 19-date tour quickly shifted to stadiums, culminating in John’s famous two-night stand at Los Angeles’ Dodger Stadium. He returned to the venue in 2022 for the final American stop of his Farewell Yellow Brick Road tour.

The Who: The Who by Numbers Tour

Keith Moon‘s onstage career with the Who came to a tumultuous end with the 1975-1976 The Who by Numbers tour, which saw the addiction-battling drummer collapse two songs in the band’s March 9, 1976 show at the Boston Garden, nearly bleed to death after kicking a picture frame the next day and spend over a week in the hospital after an August 1976 show in Miami. The band finished the tour, but Moon died shortly after the release of their next studio album, 1978’s Who Are You. A live concert movie from the tour’s Nov. 20, 1975 concert in Houston was released in 2012 as The Who Live in Texas ’75.

Bob Dylan: Rolling Thunder Revue

In an attempt to connect with concert-goers more intimately (while wearing Kiss-inspired makeup), Bob Dylan launched the Rolling Thunder Revue on Oct. 30, 1975, playing smaller venues in secondary markets along with a rotating cast of co-stars that included Joan Baez, Joni Mitchell and Roger McGuinn. The famed 57-date tour was chronicled with the 10-disc The Rolling Thunder Revue: The 1975 Live Recordings box set and in the documentary Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese, which were both released in 2019.

Queen: A Night at the Opera Tour

Like Kiss, Bruce Springsteen and Fleetwood Mac, Queen released their big commercial breakthrough, A Night at the Opera, in 1975. They capitalized with a 77-date tour that spanned from November 1975 to April 1976, and featured the live debut of their classic song “Bohemian Rhapsody.” The tour’s Christmas Eve show at London’s Hammersmith Odeon was released in 2012 as the Queen: A Night at the Odeon – Hammersmith 1975 live DVD.

Ozzy Osbourne says he’ll just be doing “little bits and pieces” with Black Sabbath when the band reunite at their Back To The Beginning show later this year.

The Sabbath frontman, who hasn’t played a full set since his New Year’s Eve Ozzfest show at The Forum, Inglewood, CA in 2018, was speaking during the latest episode of Ozzy Speaks, the Sirius XM show in which Ozzy and Billy Morrison play some of their favourite songs.

“I’m not planning on doing a set with Black Sabbath but I am doing little bits and pieces with them,” says Ozzy. “I am doing what I can, where I feel comfortable.”

“I am trying to get back on my feet,” he continues. “When you get up in the morning, you just jump out of bed. I have to balance myself, but I’m not dead. I’m still actively doing things.”

In 2022, Ozzy revealed that he’d been battling Parkinson’s Disease for nearly two decades, and he gave his acceptance speech at last year’s Rock And Roll Hall Of Fame induction ceremony while seated.

Last month it was announced that Black Sabbath’s founding lineup would reunite for one last show this summer, their first show since The End tour finished in 2017.

The one-day Back To The Beginning event will also feature Ozzy’s final solo performance plus a support bill that includes Metallica, Slayer, Gojira, Anthrax, Lamb Of God, Halestorm, Alice In Chains and Mastodon, as well as appearances from Billy Corgan, Slash, Duff McKagan, Fred Durst, Jonathan Davis, Wolfgang Van Halen, Papa V Perpetua, Sammy Hagar, Zakk Wylde, Jake E Lee and more. Tom Morello will be the musical director of the event.

Last week, Billy Morrison released a video for Gods Of Rock N Roll, which features Ozzy on vocals. The song is a reimagined version of the track Gods, which originally appeared on Morrison’s 2015 solo album God Shaped Hole, and features a new orchestral arrangement.

David Johansen has thanked fans for their support, a week after the Sweet Relief Musicians Fund charity launched a fundraiser to help the last surviving member of the New York Dolls as he faces severe health battles.

Speaking from bed, wife Mara Hennessey sitting at bedside, Johansen says, “I just wanted to thank you all for giving us a big boost here with our fundraising campaign, I guess you would call it. I’ve never asked for help in my life and lately Mara’s been teaching me the beauty of, when your chips are down, asking for help. That’s what I’m doing and it seems to be working out really marvelously.”

Johansen broke his back in two places in a fall last year and is now bed-ridden and requires around-the-clock care. This is in addition to the stage 4 cancer he’s been fighting for the best part of a decade.

“Five years ago at the beginning of the pandemic we discovered that David’s cancer had progressed and he had a brain tumour,” said the singer’s daughter Leah Hennessey, when launching the fundraiser. “There have been complications ever since. He’s never made his diagnosis public, as he and my mother Mara are generally very private people, but we feel compelled to share this now, due to the increasingly severe financial burden our family is facing.”

“We’ve been living with my illness for a long time, still having fun, seeing friends and family, carrying on, but this tumble the day after Thanksgiving really brought us to a whole new level of debilitation,” Johansen said. “This is the worst pain I’ve ever experienced in my entire life. I’ve never been one to ask for help, but this is an emergency. Thank you.”

As part of the fundraising effort, Sweet Relief has created a unique David Johansen T-shirt. All proceeds from sales of the shirt will help with the singer’s medical bills.

Donate to the David Johansen Fund.

The second Nirvana “reunion” of 2025 has taken place.

In January, Dave Grohl, Krist Novolselic and Pat Smear were joined by Joan Jett, St. Vincent, Kim Gordon and Grohl’s daughter Violet at the FireAid show in Inglewood, California, and now they’ve repeated the trick with Post Malone.

This latest collaboration occurred during The Homecoming Concert, a star-studded, three-and-a-half-hour show at New York’s iconic Radio City Music Hall on Friday night that formed part of the 50th-anniversary celebrations for the long-running US comedy show Saturday Night Live.

At the show, the four musicians ripped through Nirvana’s classic Smells Like Teen Spirit after being introduced as “Post Nirvana” by comedian Adam Sandler

Other highlights of the SNL50 show included Miley Cyrus and Alabama Shakes singer Brittany Howard performing Queen‘s Crazy Little Thing Called Love, and Pearl Jam frontman Eddie Vedder playing Tom Petty‘s The Waiting then recreating one of SNL’s most infamous moments – Elvis Costello’s false start from 1977 – before finishing with Pearl Jam’s Corduroy.

“Thanks for the tip of the brim, Eddie,” tweeted Costello. “Always happy to do some unpaid script work for my old pals at SNL.”

Elsewhere, Bonnie Raitt hooked up with Coldplay frontman Chris Martin on a version of her 1991 hit I Can’t Make You Love Me, and Jack White closed the show with Neil Young‘s Rockin’ In The Free World and The White Stripes’ Seven Nation Army.

The 50th-anniversary celebrations of SNL continue this evening (February 17) with SNL50: The Anniversary Celebration, which will include an appearance by Paul McCartney as well as a host of SNL regulars including Eddie Murphy, Tina Fey, Adam Sandler, Amy Poehler, Chris Rock, Fred Armisen, Jason Sudeikis, Jimmy Fallon, Kate McKinnon and Will Ferrell.

SNL50: The Anniversary Celebration is being streamed live on Peacock, and can also be watched on Fubo, Sling and DirecTV. Viewers outside the US may need a VPN.