Author: wamdiness

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.

Florence and the Machine emerged from London’s indie music scene in the late 2000s, blending baroque pop, rock, and soul into a sound that set them apart from their contemporaries. The band was founded by singer-songwriter Florence Welch, whose theatrical vocals and poetic lyrics became their defining elements. Collaborating with keyboardist and producer Isabella Summers, Welch initially performed under the name Florence Robot/Isa Machine before adopting the moniker Florence and the Machine. Their breakthrough came when they signed with Island Records in 2008, setting the stage for their debut album’s release.

Their first album, Lungs (2009), was a commercial and critical triumph, topping the UK Albums Chart and earning multi-platinum status. The album featured hit singles such as “Dog Days Are Over,” “You’ve Got the Love,” and “Cosmic Love,” all of which showcased Welch’s powerful voice and the band’s intricate arrangements. Lungs remained on the UK charts for over a year, solidifying Florence and the Machine as one of the most exciting new acts in alternative music. The success of their debut was followed by extensive touring and festival performances, further establishing their reputation for electrifying live shows.

The band’s second album, Ceremonials (2011), expanded their cinematic sound, incorporating grand orchestral elements and darker lyrical themes. Songs like “Shake It Out” and “Never Let Me Go” resonated with audiences, propelling the album to number one in the UK and into the top 10 of the U.S. Billboard 200. The album’s success led to Grammy nominations and increased their global following, with Welch’s dramatic stage presence and ethereal visuals becoming synonymous with the band’s identity.

Florence and the Machine continued to evolve with How Big, How Blue, How Beautiful (2015), which introduced a more stripped-down, rock-oriented sound. Featuring hit singles like “Ship to Wreck” and “What Kind of Man,” the album debuted at number one in both the UK and the U.S. It was followed by High as Hope (2018), which saw Welch embracing more personal and introspective songwriting, with standout tracks such as “Hunger” and “Sky Full of Song.” Their most recent album, Dance Fever (2022), returned to the grand, mythic storytelling that characterized their early work, receiving widespread acclaim.

The band has received numerous accolades throughout their career, including Brit Awards, Grammy nominations, and an Ivor Novello Award for Welch’s songwriting. Their music has been praised for its emotional depth, genre-blending instrumentation, and Welch’s commanding vocal delivery. With a distinctive sound that defies easy categorization, Florence and the Machine have built a devoted fanbase that appreciates both their intricate studio work and the raw intensity of their live performances.

Outside of music, Welch has been involved in various artistic and humanitarian projects. She has published a book of poetry and lyrics titled Useless Magic, giving fans insight into her creative process. She has also been an advocate for mental health awareness, speaking openly about anxiety and using her platform to promote self-expression and healing through art. Additionally, she has contributed to film soundtracks, including Breath of Life for Snow White and the Huntsman and Call Me Cruella for Cruella (2021).

(#-H)

100 Years – High as Hope (2018)
All This and Heaven Too – Ceremonials (2011)
Back in Town – Dance Fever (2022)
Between Two Lungs – Lungs (2009)
Big God – High as Hope (2018)
Blinding – Lungs (2009)
The Bomb – Dance Fever (2022)
Breaking Down – Ceremonials (2011)
Cassandra – Dance Fever (2022)
Caught – How Big, How Blue, How Beautiful (2015)
Choreomania – Dance Fever (2022)
Cosmic Love – Lungs (2009)
Daffodil – Dance Fever (2022)
Delilah – How Big, How Blue, How Beautiful (2015)
Dog Days Are Over – Lungs (2009)
Dream Girl Evil – Dance Fever (2022)
Drumming Song – Lungs (2009)
The End of Love – High as Hope (2018)
Falling – Lungs
Free – Dance Fever (2022)
Girl with One Eye – Lungs (2009)
Girls Against God – Dance Fever (2022)
Grace – High as Hope (2018)
Heartlines – Ceremonials (2011)
Heaven Is Here – Dance Fever (2022)
How Big, How Blue, How Beautiful – How Big, How Blue, How Beautiful (2015)
Howl – Lungs (2009)
Hunger – High as Hope (2018)
Hurricane Drunk – Lungs (2009)

(I-Q)

I’m Not Calling You a Liar – Lungs (2009)
June – High as Hope (2018)
King – Dance Fever (2022)
Kiss with a Fist – Lungs (2009)
Leave My Body – Ceremonials (2011)
Long & Lost – How Big, How Blue, How Beautiful (2015)
Lover to Lover – Ceremonials (2011)
Morning Elvis – Dance Fever (2022)
Mother – How Big, How Blue, How Beautiful (2015)
My Boy Builds Coffins – Lungs (2009)
My Love – Dance Fever (2022)
Never Let Me Go – Ceremonials (2011)
No Choir – High as Hope (2018)
No Light, No Light – Ceremonials (2011)
Only If for a Night – Ceremonials (2011)
Patricia – High as Hope (2018)
Prayer Factory – Dance Fever (2022)
Queen of Peace – How Big, How Blue, How Beautiful (2015)

(R-Z)

Rabbit Heart (Raise It Up) – Lungs (2009)
Restraint – Dance Fever (2022)
Seven Devils – Ceremonials (2011)
Shake It Out – Ceremonials (2011)
Ship to Wreck – How Big, How Blue, How Beautiful (2015)
Sky Full of Song – High as Hope (2018)
South London Forever – High as Hope (2018)
St. Jude – How Big, How Blue, How Beautiful (2015)
Spectrum – Ceremonials (2011)
Third Eye – How Big, How Blue, How Beautiful (2015)
Various Storms and Saints – How Big, How Blue, How Beautiful (2015)
What Kind of Man – How Big, How Blue, How Beautiful (2015)
What the Water Gave Me – Ceremonials (2011)
You’ve Got the Love – Lungs (2009)

Complete List Of Florence + The Machine Albums And Discography

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

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Complete List of Florence And The Machine Songs From A to Z article published on Classic RockHistory.com© 2025

In 2010 Prog tracked down some of Peter Gabriel’s collaborators on his solo and soundtrack albums, with the intention of offering an inside view of working with the Progfather – as we’d dubbed him, much to his amusement. While we were at it, we also asked some of prog’s biggest names if they had any opinions on the former Genesis frontman’s career. They didn’t disappoint.

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Bob Ezrin – Producer, Peter Gabriel 1 (Car)

If there’s anything that made me work with Peter Gabriel in the first place it was his natural sense of humility. Humility in the Christian sense of the word, in that he’s a humble guy. I was impressed that a person that brilliant can also hold himself on such a realistic level of esteem.

All I know is that Peter played me Here Comes The Flood in my living room on our first meeting. I was in the middle of producing albums for both Kiss and Alice Cooper, working on tight deadlines. In the midst of all that I went to bed singing Here Comes The Flood instead of my own records! There’s not many songs I’ve heard fresh from the writer’s mouth that are that great.

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Robert Fripp – Guitarist / producer, Peter Gabriel 2 (Scratch)

Peter’s second album is a much subtler proposition that tells a lot on the production side. I think it is impossible to judge unless one has listened to it at least a dozen times. Peter was afraid of using me as a producer. He knew that my production would not be “commercial” and he was right. I was not guaranteeing any hit.

What I wanted was to record him faithfully. I could have produced two or three cuts only and let Bob Ezrin do the others. So it was with some reserves on Peter’s commercial interests that I was chosen to produce the album.

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Steve Lillywhite – Producer, Peter Gabriel 3 (Melt)

I think a lot of people have quoted Peter’s third album as being a new departure in sound. I see Peter as a really important artist. He’s extremely talented, but he has to push himself. It doesn’t come easy, unlike Phil Collins. Things probably come easier to Phil than to anyone I’ve ever met. And things come more difficult to Peter than to anyone I’ve ever met. He will put off making a decision until the last possible moment, – but that’s only because he doesn’t con himself into thinking he knows what he’s doing.

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David Lord – co-producer, Peter Gabriel 4 (Security)

I like the way he really perseveres and struggles through things that you might not think would work. I could be sure he wouldn’t get a song out of an idea; sure that he was going round in circles and not getting anywhere – but he always knew at the end of it he would.

He doesn’t like being proved wrong, though he’s not dogmatic. Most of the people I think are interesting musically would regard Peter as being influential, though I don’t know how much effect he has had on the mainstream hit parade stuff.

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Alan Parker – director, Birdy

We got on so well; he’s such a sweet man. It was such a refreshing change from working with megalomaniacs like Roger Waters.

Peter’s record company were very difficult to begin with, and so I phoned them to ask if they’d mind if Peter took a little time to do Birdy. They said as long as it didn’t take more than a couple of months, because he was already a year late or something.

He had strong views and I would never be able to persuade him to do something he didn’t feel comfortable with – but we didn’t have any confrontation as such.

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Tony Levin – bassist, So

On Big Time I asked the drummer, Jerry Marotta, to play on the bass strings while I did the fingering – not a new idea, but what is?! Then, live, I was attempting to play that part with a drumstick in my hand. One day at soundcheck, Peter looked at me and said: “why don’t you attach sticks to your fingers?”

What a great idea! I asked my tech, Andi Moore, to help devise a way to do it, and voila, Funk Fingers! Of course, the first sets broke the bass strings – some adjustments had to be made!.

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Martin Scorsese – director, The Last Temptation Of Christ

I began listening to Peter’s music back in 1982-83 and I especially liked Rhythm Of The Heat with its drums, and then I Go Swimming where the lyrics start quite ordinarily before taking off to reach a spiritual level – especially in the live version.

I said I’d be interested in having him do the music for The Last Temptation Of Christ because, for me, the rhythms he uses reflect the primitive and his vocals reflect the sublime – it’s as if the spirit and the flesh are together right there.

Of course, he had to do it as a labour of love because there was hardly any money in it. Normally, he says, it takes two years to do 40 minutes of music, and this was two hours and 40 minutes, which he did in three months!

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Daniel Lanois – producer, Us

It’s true that Peter likes detail, but he also likes performance a lot. Having watched him for a long time now, I know this is the aspect of recording that he enjoys the most: giving it hell and jamming it out with the band. His attention to detail generally goes into the area of sonic creativity. He likes to break new ground sonically and I encouraged him to spend time on that.

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David Noyce – director, Long Walk Home and Rabbit Proof Fence

I think Peter’s major contribution to the film Rabbit Proof Fence was not only to underscore the drama that is the traditional function of a film composer – but he also gave the film a poetry. Peter was largely responsible for allowing the audience to really participate in the emotions that were at play in the story.

What he said to me at first was: “I want to do a score that comes out of the earth. I want to do a score that expresses the Aboriginal ’oneness’ with their land.” He said he wanted me to provide him with all the real sounds that would be used in the effects and atmosphere track of the film – birds, insects, winds, rain, water, all sorts of animal sounds.

He then sampled, programmed and synthesised these sounds, and made them part of his score.

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Richard Chappell – engineer, Up

I think Peter invited Tchad Blake because he was producing himself and wanted to have a fresh pair of ears towards the end of the project to keep things under control. Tchad is very strong-willed – having someone like him around is a good discipline. We tried out a few songs with him, and Peter liked the results, so we kept going.

Tchad is a genius with what he can do sonically. Peter would be in here recording things with me for the same song that Tchad was mixing, and we’d walk towards the main building to add these things to the mix. Tchad would either agree or disagree, and they’d have to figure out between them what was going to be used.

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Not only… but also:

Ian Anderson, Jethro Tull: “Peter Gabriel’s work has always been admirable and innovative, from the arty, theatrical beginnings of Genesis through to his latest, sans guitar and drums covers. He defies convention and searches out the deeper and more satisfying reaches of rock music without it ever losing all popular and commercial appeal. Clever chap, that Gabriel!”

Doug Pinnick, King’s X: “I’ve been a fan since Genesis – Sledgehammer is one of the funkiest jams there is. And the man has soul.”

Arthur Brown: “Peter’s modesty has not hidden the immensity of his achievements. His generosity and integrity matched his love for worldwide music. He carried out a vision. To do that you need strength and courage.”

Sonja Kristina: “Curved Air and Genesis shared the same bill in 1970. Peter was very shy and silent offstage, yet very extrovert and eccentric in his performance on stage. His first solo album was one of the few albums that really engaged me.”

Tom Morello, Rage Against The Machine: “He’s one of my all-time favourite artists. His song Biko is as moving and inspiring as any song I’ve ever heard. He is a true artist who brings a powerful poetic, musical and humanistic vision to life in his work.”

Taylor Hawkins, Foo Fighters: “He’s a unique character. He’s got the artistic integrity of Neil Young and the constant restiveness to push the envelope of David Bowie. I’d still love him to do some shows with the great Genesis line-up though!”

Carmine Appice: “I love Peter Gabriel’s genius – all his theatrical masks. His approach and voice are unique. He’s a great, innovative talent.”

Steven Wilson: “Peter is one of a small group of innovators that completely deconstructed the blueprint of popular music and reinvented it as something fresh. As a producer and a songwriter he’s been an inspiration to me.”

Mike Portnoy, Dream Theater: “I have a deep appreciation for his Genesis years, obviously. Foxtrot, Selling England and The Lamb are landmark prog albums. But unlike many prog icons who went solo, Peter Gabriel continued to push the envelope with each album. His solo albums are as close to studio perfection as you can get.”

Roye Albrighton, Nektar: “The guy is innovative. My all-time favourite tracks with him are Carpet Crawlers and Don’t Give Up – the latter is a truly moving piece.”

Trevor Rabin: “Peter Gabriel is a true artist. He never ’settles’ – he’s always pushing, from Foxtrot to Sledgehammer. I love him.”

Whether used to challenge perceptions, embrace emotion, or strip an idea down to its rawest form, this small but mighty word has left a significant imprint on the genre. This collection of ten songs highlights just how differently “is” has been wielded, from the bluesy swagger of Roxy Music to the theatrical grandeur of Pink Floyd.

Chicago’s “Does Anybody Really Know What Time It Is?” turned an everyday question into a sly critique of society’s fixation on schedules, wrapped in the band’s signature blend of rock and jazz. Pink Floyd’s “Is There Anybody Out There?” stripped lyrics down to their most essential form, using the phrase to amplify the overwhelming sense of isolation at the heart of The Wall. Frank Zappa took an entirely different approach in “You Are What You Is,” wielding the word as a weapon of satire in a scathing attack on hypocrisy and self-delusion. Roxy Music, ever the architects of artful cool, used “Love Is the Drug” to frame romance as a transaction, setting desire against a pulsing, nightclub-ready groove.

Joe Jackson’s revival of “Is You Is or Is You Ain’t My Baby” leaned into jump blues’ playful ambiguity, capturing the nervous energy of a love teetering on uncertainty. The Doobie Brothers turned “Jesus Is Just Alright” into a full-throttle rock-gospel hybrid, replacing introspection with unwavering conviction. Huey Lewis & The News’ “If This Is It” disguised heartbreak behind sun-soaked harmonies, while Whitesnake’s “Is This Love” took longing and placed it front and center, turning a moment of vulnerability into one of their most enduring ballads. Pat Benatar’s “Love Is a Battlefield” carried defiance in every beat, transforming a simple truth into an anthem of resilience. And with their signature brass section in full swing, Chicago posed a question that had less to do with time and more to do with how little it really mattered.

# 10 – Is This Love – Whitesnake

“Is This Love” was recorded by Whitesnake for their self-titled album, Whitesnake, which was released on April 7, 1987. The song was recorded at Compass Point Studios in Nassau, Bahamas, and later completed at Little Mountain Sound Studios in Vancouver, Canada. Produced by Mike Stone and the band’s frontman, David Coverdale, the track featured Coverdale on lead vocals, John Sykes on guitar, Neil Murray on bass, Aynsley Dunbar on drums, and Don Airey alongside Bill Cuomo on keyboards.

The song was released as a single on October 13, 1987, and became one of Whitesnake’s biggest hits, reaching No. 2 on the Billboard Hot 100 and No. 9 on the UK Singles Chart. It stood out from the band’s hard rock catalog for its power ballad approach, built on a slow, atmospheric arrangement that emphasized Coverdale’s emotional vocal delivery. The song’s success cemented Whitesnake’s place in the mainstream rock scene, and its accompanying music video, featuring actress Tawny Kitaen, played a major role in boosting the song’s popularity during the height of the MTV era.

Read More: David Coverdale: The ClassicRockHistory.com Interview

# 9 – If This Is It – Huey Lewis & The News

“If This Is It” was recorded by Huey Lewis & The News for their third studio album, Sports, which was released on September 15, 1983. The song was recorded at Fantasy Studios in Berkeley, California, with production handled by the band itself. The lineup for the recording featured Huey Lewis on lead vocals and harmonica, Chris Hayes on guitar, Johnny Colla on saxophone and rhythm guitar, Mario Cipollina on bass, Bill Gibson on drums, and Sean Hopper on keyboards.

Released as the fourth single from Sports on July 10, 1984, “If This Is It” became one of the band’s most recognizable tracks, reaching No. 6 on the Billboard Hot 100 and No. 5 on the Adult Contemporary chart. The song’s commercial success further solidified Sports as a defining album of the 1980s, contributing to its status as one of the best-selling rock records of the decade. The accompanying music video, directed by Edd Griles, featured a lighthearted beachside narrative, reinforcing the band’s signature blend of pop-rock sensibilities and humor.

Read More: Complete List Of Huey Lewis And The News Band Members

# 8 – Love Is A Battlefield – Pat Benatar

Pat Benatar recorded “Love Is a Battlefield” for her 1983 live album Live from Earth, marking a departure from her earlier hard rock sound into a more synthesizer-driven pop-rock style. The song was written by Mike Chapman and Holly Knight and produced by Chapman. Unlike most of Benatar’s previous recordings, this track was crafted using a LinnDrum machine for its distinctive percussion, giving it a contemporary edge. The rest of the instrumentation featured Neil Giraldo on guitar and keyboards, Roger Capps on bass, Charlie Giordano on additional keyboards, and Myron Grombacher on drums. The song was recorded in 1983 and released as a single on September 12 of that year.

Commercially, “Love Is a Battlefield” became one of Benatar’s most successful songs, peaking at No. 5 on the Billboard Hot 100 and reaching No. 1 on Billboard’s Rock Tracks chart. It also performed well internationally, topping the charts in the Netherlands and reaching the top 20 in several other countries. The accompanying music video played a crucial role in its success, featuring a rebellious storyline in which Benatar portrays a young woman breaking free from an oppressive home life. The video’s dramatic choreography and narrative elements made it one of the earliest examples of a concept-driven music video, reinforcing its message of defiance and empowerment.

Read More: 10 Most Rocking Pat Benatar Songs

# 7 – Is You Is Or Is You Ain’t My Baby – Joe Jackson

https://en.wikipedia.org/wiki/Is_You_Is_or_Is_You_Ain%27t_My_Baby

Well, we couldn’t leave this one off the list. Joe Jackson’s wonderful swing album album paid extraordinary tribute to this music. A slinky rhythm and a playful sense of uncertainty run through Joe Jackson’s version of “Is You Is or Is You Ain’t My Baby,” a track that found new life on his 1981 album Jumpin’ Jive. By stepping away from his new wave roots and into the rich textures of jump blues, Jackson transformed this Louis Jordan classic into a vibrant revival of 1940s swing. Recorded at Basing Street Studios in London, the track featured Jackson on vocals and piano, backed by a brass-driven ensemble that included Graham Maby on bass, Larry Tolfree on drums, and a horn section comprised of Nick Weldon, Pete Thomas, and Raul Olivera. The production, handled by Jackson himself, leaned into the song’s vintage charm while injecting it with a modern energy that set it apart from his earlier work.

Jackson’s take on “Is You Is or Is You Ain’t My Baby” remained faithful to the original’s themes of romantic ambiguity and frustration, as the lyrics center on a man questioning whether his lover’s affections are true. The repetition of the phrase “Is you is or is you ain’t” amplifies the song’s restless energy, mirroring the way uncertainty lingers in matters of the heart. Lines like “The way you’re actin’ lately makes me doubt” and “Seems my flame in your heart’s done gone out” drive home the internal conflict at play, making it a fitting addition to this list of songs that turn on a moment of questioning and realization.

Read More: Top 10 Joe Jackson Songs

# 6 – Life Is Sweet – Maria Mckee

If a topic works for a Mariah Mckee song, we’re always going to go to the well with her. She is one of the most extraordinary songwriters and musical artists of our time, and for those who have never heard of her or don’t know her music we feel it’s our duty to keep sharing it. That’s what this site has always been about: turning people onto music and celebrating with the ones who know it. This was the title track from her third solo released in 1996.

Read More: 10 Maria McKee Songs That Will Leave You Mesmerized

# 5 – Love Is The Drug – Roxy Music

A pulsing bassline and hypnotic groove propelled Roxy Music’s “Love Is the Drug” into the mainstream, marking a shift toward a more rhythm-driven sound for the band. Recorded at AIR Studios in London and produced by Chris Thomas, the song appeared on Siren, released on October 24, 1975. Bryan Ferry’s suave yet detached vocal delivery combined with Andy Mackay’s saxophone flourishes, John Gustafson’s pulsating bass, and Paul Thompson’s steady drumming created a track that blended art rock with funk influences. The lineup was completed by Phil Manzanera on guitar and Eddie Jobson on keyboards and violin, contributing to the song’s layered and polished production.

Upon its release as a single, “Love Is the Drug” became Roxy Music’s most commercially successful song in the United States, reaching No. 30 on the Billboard Hot 100. In the UK, it climbed to No. 2, cementing the band’s presence on the British charts. The song’s rhythmic precision and sultry atmosphere made it a defining track of mid-’70s rock, influencing later new wave and dance-oriented rock acts. Critics praised the song’s sophisticated yet accessible approach, noting its seamless blend of high-art aesthetics and nightclub-ready energy.

Lyrically, “Love Is the Drug” aligns with this list’s theme through its calculated use of the phrase “is,” particularly in its hook, where love is not just compared to a drug but presented as the ultimate intoxicant. Lines such as “Late that night I parked my car / Staked my place in the singles bar” depict a scene of romantic pursuit framed through the lens of addiction. This exploration of desire and compulsion sets it apart from other songs in this collection, such as “Is You Is or Is You Ain’t My Baby,” which approaches love with uncertainty rather than fixation. Roxy Music’s sleek, almost clinical portrayal of passion in “Love Is the Drug” captures a different dimension of relationships, emphasizing the chase over the emotional stakes.

Read More: Top 10 Roxy Music Songs

# 4 – You Are What You Is – Frank Zappa

Frank Zappa took aim at hypocrisy and societal absurdities with “You Are What You Is,” the title track from his 1981 album You Are What You Is. Recorded at Zappa’s Utility Muffin Research Kitchen studio in California, the song was produced, composed, and arranged entirely by Zappa, reflecting his meticulous approach to both musicianship and satire. The track featured a dense, layered arrangement with Zappa on guitar and vocals, Ike Willis on co-lead vocals, Ray White on rhythm guitar, Scott Thunes on bass, Tommy Mars and Bob Harris on keyboards, and Chad Wackerman on drums, along with additional backing vocals from Moon Zappa and Ed Mann.

“You Are What You Is” took direct aim at social pretension and the absurdities of self-denial, using sharp humor and rapid-fire vocal interplay to highlight its themes. The lyrics criticized people who abandoned their backgrounds in favor of superficial identities, particularly in lines like “Do you know what you are? / You are what you is / And that’s all it is.” The song’s unconventional grammar, emphasized by its title, reinforced Zappa’s irreverent approach, challenging the listener’s expectations while delivering pointed social commentary. Unlike “Love Is the Drug,” which presented love as a literal addiction, Zappa’s track dissected cultural contradictions, making its lyrical focus both biting and comedic.

Read More: A Method in Exploring the Frank Zappa Album’s Catalog

# 3 – Jesus Is Just Alright With Me – The Doobie Brothers

The Doobie Brothers reshaped “Jesus Is Just Alright” into a high-energy rock anthem when they recorded it for their 1972 album Toulouse Street. Originally written by Arthur Reid Reynolds and first recorded by his group The Art Reynolds Singers in 1966, the song had already been covered by The Byrds in 1969 before The Doobie Brothers put their own spin on it. Their version was recorded at Warner Bros. Studios in North Hollywood and produced by Ted Templeman. The band’s lineup for the track featured Tom Johnston on lead vocals and guitar, Patrick Simmons on rhythm guitar and backing vocals, Tiran Porter on bass, and John Hartman and Michael Hossack on drums, reinforcing their signature percussive sound.

Released as a single in 1973, “Jesus Is Just Alright” reached No. 35 on the Billboard Hot 100, gaining traction during the Doobie Brothers’ ascent in the rock world. The song’s gospel roots remained intact, but the band amplified its energy with an urgent vocal performance, layered harmonies, and driving instrumentation. Johnston’s call-and-response delivery, paired with Simmons’ backing vocals, gave the song an almost revival-like intensity, making it a standout among faith-based rock songs of the era. Unlike the laid-back grooves of other Toulouse Street tracks, this song surged forward with an insistence that set it apart.

Lyrically, “Jesus Is Just Alright” is built around its declarative refrain, emphasizing unwavering faith rather than introspection or doubt. The repetition of “Jesus is just alright with me” reinforces the song’s message, relying on rhythm and vocal interplay to drive its impact. Compared to other songs in this list, such as “You Are What You Is,” which takes a critical and ironic stance, The Doobie Brothers’ track is straightforward in its affirmation. Its reliance on repetition and gospel-inspired harmonies also contrasts with the lyrical ambiguity of “Love Is the Drug,” which explores themes of obsession and pursuit. By fusing gospel influence with rock instrumentation, “Jesus Is Just Alright” brought a spiritual message into a mainstream rock context, ensuring its lasting appeal.

Read More: The Doobie Brothers Best Song On Each Studio Album

# 2 – Is There Anybody Out There – Pink Floyd

Few songs capture isolation as effectively as Pink Floyd’s “Is There Anybody Out There?” Recorded as part of The Wall sessions at Super Bear Studios in France and Producers Workshop in Los Angeles, the track was produced by Bob Ezrin, David Gilmour, and Roger Waters. The haunting composition featured Waters on bass and vocals, Gilmour on acoustic guitar, Richard Wright on synthesizers, and Nick Mason on percussion, with additional orchestral elements arranged by Michael Kamen. Unlike many of Pink Floyd’s extended compositions, this track functioned as a brief yet chilling interlude, furthering the narrative of The Wall.

Serving as a pivotal moment in the album’s storyline, “Is There Anybody Out There?” conveyed the protagonist’s increasing emotional detachment. The song opened with a disembodied voice repeatedly asking the titular question, reinforcing the theme of alienation that defined The Wall. A sparse arrangement dominated the track’s first half, with faint sound effects that created an atmosphere of unease. The latter section introduced a classically inspired acoustic guitar solo, providing an unexpected moment of beauty amidst the song’s overwhelming loneliness. This contrast between emptiness and melody heightened the track’s emotional impact, making it one of the most evocative passages on the album.

Lyrically, the song’s title and repeated phrase tied seamlessly into this article’s theme, emphasizing both existential doubt and desperation. Unlike “Jesus Is Just Alright,” which asserted unwavering faith, “Is There Anybody Out There?” questioned whether connection was even possible. Similarly, where “Love Is the Drug” presented desire as an addiction, Pink Floyd’s composition suggested that isolation itself could be equally consuming. The track’s minimalism and atmosphere distinguished it from others on this list, proving that even a few words could carry immense emotional weight.

Read More: 25 Classic Pink Floyd Songs Everyone Should Know

# 1 – Does Anybody Really Know What Time It Is? – Chicago

Chicago established their signature blend of jazz and rock with “Does Anybody Really Know What Time It Is?” a song that captured both the social consciousness and musical ambition of their early years. Written by keyboardist Robert Lamm, the track was recorded for Chicago Transit Authority, the band’s 1969 debut album. The song featured Lamm on lead vocals and keyboards, Terry Kath on guitar, Peter Cetera on bass, and Danny Seraphine on drums, with a dynamic horn section consisting of Lee Loughnane on trumpet, James Pankow on trombone, and Walter Parazaider on saxophone. Produced by James William Guercio, the recording took place at Columbia Recording Studios in New York, reinforcing the band’s polished yet experimental approach to fusing jazz-inflected arrangements with rock instrumentation.

Despite being recorded in the late 1960s, “Does Anybody Really Know What Time It Is?” was not released as a single until October 1970, following the band’s commercial breakthrough. The track became one of Chicago’s earliest hits, reaching No. 7 on the Billboard Hot 100. The song’s upbeat, brass-driven arrangement contrasted with its existential themes, as Lamm’s lyrics questioned society’s obsession with time. The opening spoken-word passage, later omitted from the single release, set the stage for the song’s broader critique, with Lamm recounting an encounter with a stranger who asked him for the time, only to reveal that time itself was irrelevant. This ironic detachment from life’s rigid structures made the song a fitting example of Chicago’s early lyrical depth.

Lyrically, “Does Anybody Really Know What Time It Is?” aligns with this article’s theme by emphasizing the fleeting nature of time and the absurdity of measuring it so rigidly. In contrast to “Is There Anybody Out There?” by Pink Floyd, which evokes isolation and desperation, Chicago’s track takes a more lighthearted yet equally philosophical approach, using a conversational structure to challenge societal norms. Where The Wall depicted emotional detachment, Chicago Transit Authority embraced musical complexity and social commentary without sacrificing accessibility. The song’s recurring refrain—”Does anybody really know what time it is? Does anybody really care?”—reinforced its message, making it a defining moment in Chicago’s catalog and a unique entry in this collection of songs centered around the word “is.”

Read More: Why Jimi Hendrix Called Chicago’s Terry Kath The Best Guitarist In The Universe

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

The new-look Asia line-up featuring keyboard player Geoff Downes, John Mitchell (It Bites, Lonely Robot, Kino, Frost* and more), Planet X drummer Virgil Donati and Harry Whitley, have announced three intimate live shows at Trading Boundaries where they will perform the band’s first three albums over the three nights.

Asia will appear at Trading Boundaries on April 10, 11 and 12 and the shows will subsequently concentrate on Asia (10), Alpha (11) and Astra (12), the latter which celebrates its 40th anniversary this year.

Downes relaunched Asia early last year, following performing with Mitchell and Whitley, along with his Yes colleagues Billy Sherwood and Jay Schellen at the John Wetton tribute show, also at Trading Boundaries, back in 2023 to much acclaim. With Carl Palmer busy with his Return Of Emerson Lake & Palmer live tour drummer Virgil Donati was added to the line-up. The band toured the US last year to much acclaim.

“It was that the John Wetton tribute last August really reminded me how much Asia’s music belongs on the stage,” Downes told Prog recently. “The response to it all was literally… spine-chilling. We were accompanied by some amazing musicians on the night, and I’m delighted that both John Mitchell and Harry Whitley, from the Asia segment, will be joining me with the addition of Virgil Donati.”

Roger Dean, who created the memorable artwork for all three of these Asia albums, will have original paintings and prints available to view and purchase at his gallery, also at the venue.

Get tickets.