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Do you ever seem to have one of those days when everyone’s on your case, from your teacher all the way down to your best girlfriend? Wait a second—I think I have heard that somewhere before. Well, you know what I’m talking about. It’s one of those days when your head is pounding because you’re aggravated by everything the day has brought you. Everywhere you went all day, people were just being annoying—from the dude that works in the pizzeria to the clerk at 7-Eleven, to the people you work with, and especially that person driving 30 miles an hour in front of you on the highway. Well, there are all sorts of things you can do to take away the pain, but we’re not doctors—we can’t give you a prescription or anything else that involves physical contact. But what we can do is recommend some songs—some sweet songs, some mellow songs—to take that headache away, put a smile back on your face, and make you say, “Thank you, classicrockhistory.com, you helped me out today.”
# 10 – Wishing You Were Here – Chicago
We open up this list with a song from one of our favorite bands of all time. Well, many people will turn to music or at least audio recordings of birds, oceans, water running, or any other sound of nature. We are really going to stick with actual songs for this list, but it is cool that this song does actually start with the sound of the ocean. And it’s that ocean that brings aboard The Beach Boys to this phenomenal Chicago song. Bassist Peter Cetera wrote the song. The Beach Boys’ harmonies added a dreamlike quality, reinforcing the song’s theme of longing while also setting up a very trans like like groove to the piece.
Recorded in 1973 at Caribou Ranch in Colorado, “Wishing You Were Here” was a key track on Chicago VII, the band’s ambitious double album released in 1974. Released as the third single from Chicago VII, “Wishing You Were Here” reached No. 11 on the Billboard Hot 100 and topped the Easy Listening chart.
Read More: Why Jimi Hendrix Called Chicago’s Terry Kath The Best Guitarist In The Universe
# 9 – The Look of Love – Diana Krall
If there ever was someone who could take your pain away, it’s Diana. She recorded “The Look of Love” for her sixth studio album of the same name, released on September 18, 2001. The song, originally composed by Burt Bacharach with lyrics by Hal David, was first made famous by Dusty Springfield in 1967. Krall’s rendition reimagined the classic with a slow, intimate arrangement that blended jazz and bossa nova influences. Produced by Tommy LiPuma, the track was recorded at Capitol Studios in Hollywood, a space renowned for its warm, analog acoustics. The album’s personnel included Krall on vocals and piano, Russell Malone on guitar, Christian McBride on bass, and orchestral arrangements by Claus Ogerman, whose lush string sections gave the song a cinematic elegance.
Krall’s version of “The Look of Love” was defined by its languid tempo and hushed delivery, creating an atmosphere of quiet reassurance that fits perfectly within the context of this article. Unlike Springfield’s sultry urgency, Krall’s interpretation was more meditative, stretching the phrasing and letting the song breathe. The opening lines, “The look of love is in your eyes, a look your smile can’t disguise,” captured a sense of tender certainty, making it a song that feels like a deep exhale. The soft bossa nova rhythm, anchored by gentle brushwork on the drums, reinforced the song’s calming effect,
Read More: Top 10 Diana Krall Songs
# 8 – A Case Of You – Joni Mitchell
There’s something very inviting when Joni Mitchell sings “I Can Drink a Case of You.” It just makes you feel good. Joni Mitchell recorded “A Case of You” for her 1971 album Blue, capturing one of the most poignant expressions of love, longing, and emotional resilience ever set to music. The song was recorded at A&M Studios in Hollywood, with Mitchell producing the track herself. She performed vocals and Appalachian dulcimer, while James Taylor provided the delicate acoustic guitar accompaniment that underscored the song’s melancholic yet comforting tone. The sparse instrumentation allowed Mitchell’s voice to take center stage, emphasizing the deeply personal nature of the lyrics.
Read More: Top 10 Joni Mitchell Songs
# 7 – Dog And Butterfly – Heart
While Ann Wilson’s roaring rock and roll Voice may not always be the perfect vehicle to help ease a headache, on this song, she is as tender as she’s ever been. There’s just something really warm and cozy about this one. Heart recorded “Dog and Butterfly” for their fourth studio album, Dog & Butterfly, released on October 7, 1978. Written by Ann and Nancy Wilson alongside their longtime collaborator Sue Ennis, the song was inspired by Ann watching her dog chase a butterfly—an image that became a metaphor for striving toward something just out of reach. The band recorded the track at Sea-West Studios in Seattle, with Mike Flicker producing. Ann Wilson delivered the song’s tender lead vocals, while Nancy Wilson’s acoustic guitar anchored its delicate folk-rock sound. The lineup was rounded out by Howard Leese on electric guitar and backing vocals, Roger Fisher on additional acoustic guitar, Steve Fossen on bass, and Michael Derosier on drums.
The song’s gentle instrumentation and reflective lyrics make it a natural remedy for easing a headache. The acoustic arrangement unfolds slowly, allowing the mind to settle as the soft strumming and measured percussion create a calming atmosphere. Similar to “Wishing You Were Here” by Chicago, “Dog and Butterfly” carries a dreamlike quality that soothes rather than overwhelms. Both songs emphasize space and subtlety, letting the melodies breathe and giving the listener room to relax. Where Chicago incorporated layered harmonies to create an immersive soundscape, Heart relied on the intimacy of Ann Wilson’s vocals and the warmth of Nancy Wilson’s guitar to achieve a similar effect.
Read More: Complete List Of Heart Songs From A to Z
# 6 – Heroes – Peter Gabriel
Peter Gabriel’s version of David Bowie “Heroes” sounds nothing like the original. Peter Gabriel recorded “Heroes” for his 2010 album Scratch My Back, a collection of orchestral reinterpretations of well-known songs. Originally written and recorded by David Bowie and Brian Eno in 1977, Gabriel’s version stripped away the driving rhythm and soaring guitars of the original, replacing them with a slow, melancholic arrangement built around strings and piano. The recording took place at Air Lyndhurst Studios in London, with Bob Ezrin serving as producer. The orchestral backing was arranged by John Metcalfe, emphasizing a minimalist approach that allowed Gabriel’s voice to carry the full emotional weight of the song.
The measured pacing and subdued instrumentation of Gabriel’s “Heroes” make it particularly effective in easing a headache. Unlike the anthemic energy of Bowie’s version, which builds in intensity, Gabriel’s interpretation moves with a deliberate stillness, offering a sonic environment that is both calming and immersive. Similar to “Dog and Butterfly” by Heart, which uses acoustic textures to create a sense of peace, “Heroes” achieves its soothing effect through sustained string arrangements and the absence of percussion. The lack of heavy instrumentation removes any potential for sensory overload, making it an ideal track for moments of rest and recuperation.
Read More: Top 10 Peter Gabriel Songs
# 5 – Onward – Yes
Yes recorded “Onward” for their 1978 album Tormato, offering a rare moment of gentle introspection amid the album’s more complex progressive rock compositions. Written by bassist Chris Squire, the song stood out as one of the band’s most delicate ballads, featuring an orchestral arrangement that softened its impact while maintaining the band’s signature ethereal quality. The track was recorded at RAK Studios and Advision Studios in London, with Yes handling production alongside engineer John Timperley. The lineup for this recording included Jon Anderson on vocals, Steve Howe on guitar, Chris Squire on bass, Rick Wakeman on keyboards, and Alan White on drums.
The song’s serene, flowing melody and lush orchestration make it particularly effective in alleviating headaches. Unlike the more intricate and fast-paced tracks on Tormato, “Onward” unfolds at a relaxed pace, allowing its rich instrumentation to create an atmosphere of calm. Similar to “Heroes” by Peter Gabriel, which takes a stripped-down orchestral approach to a familiar rock anthem, “Onward” uses its minimalist arrangement to let the emotion of the song breathe. Both tracks favor a slow build, creating a meditative space where tension dissipates rather than intensifies.
Musically, the song’s orchestral backing, arranged by Wakeman, enhances its soothing effect. Unlike “A Case of You” by Joni Mitchell, which relies on sparse dulcimer and guitar to create intimacy, “Onward” achieves its sense of tranquility through sustained string arrangements and a soft, floating vocal melody. The absence of abrupt shifts in dynamics allows the song to maintain a consistent, peaceful energy that encourages relaxation. This quality makes it especially useful for relieving headaches, as it avoids any jarring elements that could contribute to tension.
Read More: Complete List Of Yes Studio Albums And Songs
# 4 – Jamie’s Song – Brian Kachejian
Brian Kachejian’s “Jamie’s Song” is a masterclass in musical serenity, an instrumental composition that effortlessly captures the essence of comfort and emotional release. Featured on his 2013 album Beneath an Autumn Moon, this piano-driven piece emerged from Kachejian’s long-standing passion for evocative and deeply personal melodies. “Jamie’s Song” resonates with a timeless quality, evoking the kind of peace and clarity that makes it an ideal remedy for the burdens of the day—including the tension and stress-induced headaches this article aims to alleviate.
Recorded as part of Beneath an Autumn Moon, the track highlights Kachejian’s expertise in blending classical sensibilities with the atmospheric textures of new-age and jazz-infused composition. The song’s delicate phrasing and unhurried tempo allow the listener to fully immerse themselves in its gentle flow. Much like “Onward” by Yes, which employs soft orchestration and lyrical optimism, “Jamie’s Song” exudes a tranquil warmth that offers immediate relief from mental strain. The composition’s melody unfolds gracefully, without sharp tonal shifts or dramatic crescendos, creating a sonic landscape that soothes rather than overwhelms—a crucial element in music that alleviates headaches.
The production of “Jamie’s Song” is notable for its minimalistic yet richly expressive arrangement. Kachejian’s piano work remains the focal point, subtly supported by ambient textures that enhance its cinematic appeal. The absence of abrupt changes or heavy percussive elements ensures a seamless listening experience, making it particularly effective in moments when one needs to decompress. This quality places it alongside other headache-relieving tracks like Peter Gabriel’s interpretation of “Heroes,” which similarly relies on spacious, ethereal instrumentation to create an atmosphere of calm reflection. In both cases, the music allows the listener to disconnect from external pressures, focusing instead on pure, undisturbed melody.
Beyond its role as a piece of music, “Jamie’s Song” has extended its reach into other artistic mediums. The track has been featured in several televised documentaries, further reinforcing its status as a composition that transcends the confines of traditional genre labels. Its universal appeal lies in its ability to evoke deep emotional responses without the need for lyrics, making it a perfect companion for moments of meditation, relaxation, or simple introspection. Like “Dog and Butterfly” by Heart, which conveys an uplifting yet gentle message through its acoustic-driven arrangement, “Jamie’s Song” finds strength in subtlety, offering a moment of reprieve in an increasingly chaotic world.
In a list of songs specifically curated to relieve headaches and promote relaxation, “Jamie’s Song” stands as one of the most effective choices. Its delicate piano lines, uncluttered arrangement, and deeply personal origins make it more than just a beautiful composition—it’s a therapeutic listening experience. Whether paired with other instrumentals on this list or played in solitude, this track remains a testament to the power of music to provide healing, both physically and emotionally.
# 3 – Emily’s Song – The Moody Blues
“Emily’s Song” was recorded by The Moody Blues for their seventh studio album, Every Good Boy Deserves Favour, which was released on July 23, 1971. The song was written by bassist John Lodge as a tribute to his newborn daughter, capturing a deeply personal and sentimental moment in his life. The album was recorded at Wessex Studios in London between November 1970 and March 1971, with production overseen by Tony Clarke, who had worked with the band on previous albums. The lineup for this recording featured Justin Hayward on vocals and guitar, John Lodge on bass and vocals, Mike Pinder on keyboards and vocals, Ray Thomas on flute and vocals, and Graeme Edge on drums.
Musically, “Emily’s Song” embraced a gentle, lullaby-like quality, standing out from the more expansive and orchestral arrangements that defined much of Every Good Boy Deserves Favour. Lodge’s soft vocal delivery, combined with delicate acoustic instrumentation, created an intimate atmosphere that contrasted with the album’s more progressive moments. The composition featured a melodic structure that evoked warmth and reassurance, making it one of the band’s most tender recordings. The Moody Blues were known for their lush, symphonic sound, and while “Emily’s Song” was more restrained in its production, it still retained the band’s signature ethereal harmonies and evocative instrumentation.
Read More: Top 10 Moody Blues Songs
# 2 – Breathe (In The Air) – Pink Floyd
Pink Floyd crafted “Breathe (In the Air)” as an invitation to slow down, let go, and immerse oneself in the present—a message that feels tailor-made for anyone looking to escape the relentless pounding of a headache. Featured on The Dark Side of the Moon, the song was recorded at Abbey Road Studios between May 1972 and January 1973, with Alan Parsons overseeing production. The lineup for this recording included David Gilmour on vocals and guitars, Roger Waters on bass, Richard Wright on keyboards, and Nick Mason on drums. Designed as the first fully realized song on the album, “Breathe (In the Air)” flowed seamlessly out of the instrumental “Speak to Me,” setting the tone for the record’s exploration of time, stress, and human fragility.
Musically, the song drifted along with a dreamlike ease, its slow tempo and reverb-drenched slide guitar creating an almost weightless atmosphere. Gilmour’s fluid playing, combined with Wright’s warm keyboard textures, gave the track an airy, meditative quality that invited deep relaxation. This effect was heightened by the steady rhythm and gentle vocal harmonies, reinforcing the song’s ability to soothe the mind. Compared to other songs on this list, such as “Emily’s Song” by The Moody Blues, which achieves its calming effect through soft acoustic instrumentation, “Breathe (In the Air)” envelops the listener in an ethereal soundscape, making it an ideal choice for alleviating stress-induced headaches.
Read More: 25 Classic Pink Floyd Songs Everyone Should Know
# 1 – September Fifteenth – Pat Metheny & Lyle Mays
Closing this list with “September Fifteenth” feels like the perfect way to encapsulate the essence of music’s ability to bring peace, clarity, and relief. Composed by Pat Metheny and Lyle Mays, this breathtaking instrumental piece was featured on their 1981 album As Falls Wichita, So Falls Wichita Falls. Recorded at Talent Studio in Oslo, Norway, and produced by Manfred Eicher, the track was a deeply personal tribute to pianist Bill Evans, who passed away on the day of the song’s recording, September 15, 1980. Metheny’s signature guitar tone, combined with Mays’ intricate piano work, created an atmosphere that was both intimate and expansive, making it one of the most emotionally profound compositions on this list.
The structure of “September Fifteenth” unfolds gradually, with Mays’ delicate piano phrasing setting the stage for Metheny’s evocative guitar melodies. The duo’s interplay is effortless, weaving through moments of quiet contemplation and expressive flourishes that reflect both sorrow and beauty. Unlike other songs on this list, such as “Breathe (In the Air)” by Pink Floyd, which uses layered production to create a meditative soundscape, Metheny and Mays relied on pure musicianship to convey emotion. The song’s sparse arrangement and dynamic shifts make it an ideal piece for easing tension, its soothing yet intricate melodies offering a kind of solace that few compositions achieve.
As an instrumental, “September Fifteenth” transcends the need for lyrics, speaking directly to the listener through tone and phrasing. Where “Emily’s Song” by The Moody Blues provides a gentle lullaby-like quality with its soft acoustic instrumentation, “September Fifteenth” takes a more introspective route, allowing space for reflection. The sense of longing in Metheny’s guitar lines mirrors the introspective nature of “Onward” by Yes, yet here, the emotional weight is heightened by the real-life context of Evans’ passing. The balance of melancholy and warmth makes it a piece that doesn’t just ease the mind but invites the listener into a space of deep emotional release.
Ending this list with “September Fifteenth” reinforces the idea that music can be more than just sound—it can be a place of refuge. Metheny and Mays, two of the most virtuosic musicians of their time, created a piece that resonates beyond genre, beyond words, and beyond time itself. Where some songs on this list provide comfort through familiarity or lyrical reassurance, “September Fifteenth” achieves the same effect through its sheer beauty. It is a masterful conclusion, a reminder that sometimes the best remedy for a weary mind is a moment of pure, unfiltered musical expression.
Read More: 10 Essential Pat Metheny Albums
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