Author: Logan Rocker

# 10 – I’m Alive – Jackson Browne

“I’m Alive” stands as a testament to the slow, painful, but necessary process of healing. It does not offer easy solutions or revenge-fueled satisfaction but instead speaks to the quiet moments of reckoning that accompany a breakup. Unlike more aggressive anthems of defiance, Browne’s measured delivery ensures that the emotional impact lingers long after the song fades. It is a song for those who have stared heartbreak in the face, felt its full weight, and emerged, perhaps scarred but undeniably still standing.

“I’m Alive” unfolds as a bittersweet declaration of survival after romantic devastation. Lines like “I was dreaming of you / With my heart in your hands” expose his vulnerability, while the repeated refrain of the title phrase serves as both a realization and a resolution. Browne’s weary yet resolute voice captures the contradiction of feeling emotionally shattered yet physically enduring. The imagery of open highways and solitary drives—“Now I’m rolling down this canyon drive / With your laughter in my head”—evokes a sense of aimless motion, where memories remain inescapable despite his attempts to leave them behind.

The song’s placement in this list of breakup anthems is well-earned, given its unflinching honesty and introspective weight. Unlike other songs that may wallow in sorrow or lash out in anger, Browne’s approach is more reflective, acknowledging both his own mistakes and the deceptions of his former lover. The moment when he sings, “If you’d have told me what was in your heart / But, baby, you lied,” encapsulates the sting of betrayal, yet there is no melodrama—only quiet devastation. While some breakup songs thrive on bitterness, “I’m Alive” embraces an emotional complexity that allows sadness and resilience to coexist. This sense of momentum aligns with the song’s ultimate realization—that survival is possible even when it feels unthinkable.

# 9 –  Wild Heart – Stevie Nicks

There’s a reason “Wild Heart” has become a source of comfort and empowerment for so many people navigating heartbreak. Released on Stevie Nicks’ 1983 album The Wild Heart, the song is more than just an expression of loss—it is an anthem of survival. Recorded at Goodnight LA Studios with producer Jimmy Iovine, the track featured a lineup of musicians, including Waddy Wachtel on guitar and Benmont Tench on keyboards, who helped shape its soaring, ethereal sound. But it is Nicks’ voice, raw and untamed, that gives “Wild Heart” its emotional gravity, making it one of the most cathartic breakup songs ever recorded.

What sets this song apart is the way it acknowledges pain without surrendering to it. From the opening line—”Something in my heart died last night”—Nicks lays bare the feeling of devastation that comes when love falls apart. But there is no self-pity here. She does not beg, nor does she look back with regret. Instead, she takes responsibility for her own emotions, singing “Don’t blame it on me / Blame it on my wild heart.” This is where the song finds its strength—it is not about playing the victim but about recognizing that some people love fiercely and unapologetically and that this kind of love comes with risks.

For anyone struggling to move on, “Wild Heart” offers the reassurance that heartbreak does not mean the end. The repeated line—”That’s where I needed you most”—acknowledges the pain of being let down, of realizing that the one person who was supposed to be there wasn’t. And yet, the song refuses to dwell in sorrow. Instead, it embraces the idea that survival means embracing your own nature. The lyrics “Fearlessness is fearlessness / Oh, I will not forget this night” suggest a turning point, a moment where the realization sets in that life continues beyond heartbreak.

By the time the song reaches its climax, Nicks has transformed the pain into something defiant, even triumphant. “There is a reason / Why even the angels don’t give it up at all.” She understands that love is a battle but also knows that giving up is not an option. And in the final repetitions of “Blame it on my wild heart,” she makes it clear—this is not a song about regret. It is a song about accepting who you are, embracing the fire inside you, and refusing to let heartbreak steal your spirit.

For those who need a song that doesn’t just validate their pain but reminds them of their strength, “Wild Heart” is essential. It does not promise that love will never hurt again, but it assures the listener that they will survive, and more importantly, that they will thrive. Nicks’ voice carries that message in every note—haunting, powerful, and filled with the kind of wisdom that only comes from loving without fear.

# 8 – Feelin’ Stronger Every Day – Chicago

Chicago’s “Feelin’ Stronger Every Day” carried an air of resilience that made it an essential addition to this list of songs for surviving a breakup. Released in June 1973 as the second single from the band’s sixth studio album, Chicago VI, the song was recorded at Caribou Ranch in Colorado and produced by James William Guercio. Written by bassist Peter Cetera and trombonist James Pankow, the track reflected a shift in the band’s sound, embracing a more radio-friendly rock approach while still incorporating their signature brass elements. The lineup featured Cetera on lead vocals and bass, Terry Kath on guitar, Robert Lamm on keyboards, and the distinctive horn section consisting of Pankow, Lee Loughnane, and Walter Parazaider. Danny Seraphine provided the driving percussion that propelled the song’s upbeat tempo, reinforcing its theme of personal renewal.

Lyrically, “Feelin’ Stronger Every Day” chronicled the emotional evolution that follows the end of a relationship. The opening lines—“I do believe in you / And I know you believe in me”—hinted at lingering affection, but the song quickly moved toward realization and acceptance. The refrain, “Knowing that you would have wanted it this way / I do believe I’m feeling stronger every day,” marked a turning point, suggesting that both parties recognized the need to move on. Unlike more anguished breakup songs, this track focused on the aftermath—not on heartbreak, but on the steady process of recovery. The repetition of “feeling stronger every day” at the song’s climax underscored its message of renewal, reinforcing the idea that time and distance bring clarity.

The song’s performance on the charts reflected its broad appeal, peaking at No. 10 on the Billboard Hot 100. Its commercial success helped solidify Chicago’s dominance in the 1970s rock landscape, proving that the band could evolve beyond its jazz-rock roots into a more straightforward rock direction. “Feelin’ Stronger Every Day” also became a staple of Chicago’s live performances, often serving as an energizing set-closer that left audiences on an uplifting note. While many breakup anthems dwell in sorrow or anger, this song took a different approach, offering an optimistic perspective on what comes after the pain.

# 7 – I’m So Happy, I Can’t Stop Crying – Sting

Sting’s “I’m So Happy, I Can’t Stop Crying” captures the emotional complexity of a breakup, acknowledging the deep pain of loss while offering a sense of perspective and eventual acceptance. Unlike songs that dwell solely in heartbreak, this one recognizes that healing is a process—one that is messy, nonlinear, and at times, unexpectedly liberating. The song, released on Mercury Falling in 1996 and later re-recorded as a duet with Toby Keith, leans into country influences, giving it a raw, unvarnished quality that makes its message feel even more personal.

This song is for those who are past the initial devastation of a breakup but still grappling with the aftermath. The lyrics unfold like a conversation with oneself, processing pain in real time. The opening lines—”Seven weeks have passed now since she left me / And she shows her face to ask me how I am”—illustrate the lingering presence of an ex, the awkwardness of moving forward while still feeling the weight of what was lost. Yet, the chorus shifts into an ironic, bittersweet realization: “I’m so happy that I can’t stop crying / I’m laughing through my tears.” The juxtaposition of happiness and sorrow speaks to anyone who has ever forced a smile through heartache, recognizing that healing doesn’t happen in a straight line.

What makes “I’m So Happy, I Can’t Stop Crying” particularly powerful is its ability to provide solace in the quiet, reflective moments after a breakup. The protagonist isn’t just grieving the loss of love—he is adjusting to a new reality. He sees his ex, hears about her new partner, signs legal papers, and slowly starts piecing together a life on his own. One of the most poignant moments comes when he takes a walk at night, looking up at the stars: “I chose a star for me, I chose a star for him / I chose two stars for my kids and one star for my wife.” In that simple act, he begins to find meaning beyond his pain, realizing that life continues, even when love ends. For anyone struggling to make sense of a breakup, these lyrics remind them that clarity and peace are possible, even in unexpected ways.

As the song reaches its conclusion, the message becomes clear: survival is not just about moving on—it’s about finding a new version of happiness. “Everybody’s got to leave the darkness sometimes,” he says, and that sentiment is exactly why this song belongs on this list. It acknowledges the weight of heartbreak while offering hope. It understands the feeling of trying to convince yourself you’re fine before you actually are. And ultimately, it reassures listeners that, even when it doesn’t feel like it, they are going to be okay.

# 6 – Silver Springs – Fleetwood Mac

For anyone navigating the aftermath of a painful breakup, this song offers something rare—vindication. Unlike breakup songs that focus on moving on, “Silver Springs” refuses to let go. Nicks wrote it as a direct response to her split from Lindsey Buckingham, and the lyrics carry the sharp sting of lingering heartbreak. “You’ll never get away from the sound of the woman that loves you” is not just a line—it is a curse, a statement of defiance that echoes long after the song ends. Her voice, layered with both sorrow and fury, delivers each word with a conviction that makes it impossible to ignore.

What makes “Silver Springs” such an essential addition to this list is the way it channels unresolved feelings into something powerful. The slow build of the song mirrors the emotional rollercoaster of a breakup, beginning with quiet reflection before surging into something far more intense. By the time Nicks repeats “Time casts a spell on you, but you won’t forget me”, the song transforms from a lament into an anthem of survival. It does not offer the closure that other songs on this list might, but instead provides something just as important—validation. It lets listeners sit with their pain, acknowledge their anger, and recognize that some wounds take time to heal.

# 5 – Don’t Think Twice, It’s All Right – Bob Dylan

Bob Dylan’s “Don’t Think Twice, It’s All Right” provides a breakup song unlike most—it is neither a plea for reconciliation nor an anguished farewell. Instead, it is a quiet acceptance of a love that has run its course, tinged with resignation, regret, and a hint of bitterness. Released in 1963 on The Freewheelin’ Bob Dylan, the song carries the weight of unspoken emotions, delivered with a simple but piercing folk arrangement. Dylan recorded it at Columbia Recording Studios in New York, with production by John Hammond. The track, featuring Dylan’s signature acoustic guitar and harmonica, became one of his most enduring songs, covered by artists ranging from Joan Baez to Johnny Cash.

For anyone enduring heartbreak, “Don’t Think Twice, It’s All Right” offers solace in its straightforward honesty. The lyrics tell the story of someone walking away from a failed relationship, not with anger but with a quiet understanding that there is nothing left to salvage. Lines like “You just kinda wasted my precious time, but don’t think twice, it’s all right” encapsulate the feeling of moving on, not necessarily because it is easy, but because staying would be pointless. It is a song for those who have given everything to someone who never fully reciprocated, for those who realize too late that love alone is not enough.

What makes this song essential for surviving a breakup is its balance between sorrow and liberation. The words carry an undercurrent of hurt—”I gave her my heart but she wanted my soul”—yet there is no begging, no grand declarations of loss. Instead, Dylan’s narrator keeps walking, choosing self-preservation over longing. The imagery of “rooster crows at the break of dawn / Look out your window and I’ll be gone” reinforces the idea of a departure that is both inevitable and necessary. For listeners struggling to let go, these lyrics provide a reminder that sometimes the best thing to do is to keep moving forward.

Unlike other songs on this list that rage against heartbreak or dwell in sorrow, “Don’t Think Twice, It’s All Right” finds peace in acceptance. It speaks to those who have reached the moment where the pain no longer dictates their actions, where the weight of the relationship has finally lifted. By stripping love down to its simplest truths—what worked, what didn’t, and what can’t be changed—Dylan delivers a song that makes heartbreak feel survivable.

# 4 – Go Cry On Somebody Else’s Shoulder – The Mothers Of Invention

“Go Cry on Somebody Else’s Shoulder” delivers a biting farewell wrapped in a doo-wop pastiche, making it one of the most caustic yet oddly entertaining breakup songs ever recorded. Featured on Freak Out!, the 1966 debut album by The Mothers of Invention, the song was recorded at Sunset-Highland Studios in Hollywood and produced by Tom Wilson. While Frank Zappa and his band were known for their experimental, satirical approach to music, this track disguised its sharp lyrical edge beneath the veneer of a 1950s-style ballad, making it both humorous and unexpectedly relatable for anyone recovering from heartbreak.

Unlike songs that mourn lost love or plead for reconciliation, “Go Cry on Somebody Else’s Shoulder” is for those who have moved past the pain and now see their ex with clarity—and a healthy dose of sarcasm. The lyrics waste no time in shutting the door on an old flame: “I sure don’t need you now / And I don’t love you anymore.” There’s no second-guessing, no hesitation—just a blunt dismissal of someone who once meant everything but has since lost their place in the narrator’s life. The song taps into a specific stage of a breakup, where the hurt has faded enough to be replaced by exasperation, even amusement, at the absurdity of the past.

What makes this track particularly satisfying for anyone navigating a breakup is its unfiltered honesty. “You cheated me, baby, and told some dirty lies about me / Fooled around with all those other guys” doesn’t wallow in self-pity but instead calls out betrayal for exactly what it is. And while other breakup songs might spiral into regret, this one delivers the perfect send-off: “Go ahead and cry, go ahead and let the tears fall out of your eye / Let ‘em fall on your dress, who cares if it makes a mess?” It’s a reminder that not every breakup deserves tears—sometimes, the best response is to laugh and move on.

The song’s playful doo-wop harmonies and exaggerated teen-drama aesthetic only add to its effectiveness. While it borrows from the sentimental ballads of the 1950s, it subverts the genre entirely, turning the melodrama on its head. The spoken-word outro, in which the narrator mocks the shallow reasons his ex might have left him—“Maybe it was the sticker on the back of my black Cadillac limousine that says ‘Mary Poppins is a junkie’”—underscores the song’s satirical bite. For listeners who need a breakup song that reminds them not to take things too seriously, “Go Cry on Somebody Else’s Shoulder” offers a sharp, witty alternative to traditional heartache anthems.

# 3 – The Crystal Ship – The Doors

“The Crystal Ship” is often misinterpreted as a surrealist ballad, but at its core, it is a breakup song—one that doesn’t dwell on sorrow but instead embraces the freedom that comes after letting go. Released on The Doors’ 1967 debut album, the song was recorded at Sunset Sound Recorders in Hollywood and produced by Paul A. Rothchild. Jim Morrison, who wrote the song, was reportedly reflecting on his breakup with longtime girlfriend Mary Werbelow, and the lyrics make it clear that this is not a song about longing—it’s a declaration of moving on.

For anyone navigating a breakup, “The Crystal Ship” offers a different perspective from most heartbreak songs. It doesn’t wallow in regret; it acknowledges that the relationship is over and asserts that the future holds far more excitement and possibility. Morrison begins with a moment of bittersweet closure—”Before you slip into unconsciousness / I’d like to have another kiss”—suggesting that while he respects the past, he is not going to cling to it. As the song progresses, he makes it clear that the breakup is not going to define him. The turning point comes in the final verse, where he lays out exactly what the future holds: “The crystal ship is being filled / A thousand girls, a thousand thrills / A million ways to spend your time.” He is not drowning in sorrow; he is stepping into a world of new possibilities.

This is what makes “The Crystal Ship” such a powerful breakup survival song—it refuses to give heartbreak more weight than it deserves. Morrison is not begging for another chance or lamenting lost love. Instead, he is claiming his own freedom, finding excitement in what’s ahead rather than staying trapped in what’s behind. The line “When we get back, I’ll drop a line” is the final stroke of indifference, an acknowledgment that maybe paths will cross again, but he won’t be waiting around for it.

For anyone who needs reassurance that life after a breakup can be better than what came before, “The Crystal Ship” is the perfect anthem. It reminds listeners that heartbreak is not the end—it’s the beginning of something else, something bigger, something limitless. And Morrison, in his signature enigmatic style, delivers that message with a cool detachment that makes it all the more liberating.

# 2 – I’m Free – The Who

“I’m Free” is more than just a declaration of independence—it is an anthem of personal liberation, making it a perfect addition to a list of songs that help people survive a breakup. Released in 1969 on Tommy, The Who’s groundbreaking rock opera, the song was recorded at IBC Studios in London and produced by Kit Lambert. Written by Pete Townshend, it was sung by Roger Daltrey with a sense of triumphant release, backed by Townshend’s ringing guitar and Keith Moon’s explosive drumming. While Tommy follows the journey of a blind, deaf, and mute boy who ultimately finds spiritual enlightenment, “I’m Free” stands on its own as a song about breaking free from the past and stepping into a new reality.

For anyone reeling from a breakup, “I’m Free” offers the kind of energy that shakes off sadness and turns it into something empowering. The chorus—”I’m free, I’m free / And freedom tastes of reality”—captures the rush of realizing that life goes on, even after heartbreak. There is no looking back in this song, no longing for what was lost. Instead, it takes the pain of separation and transforms it into an opportunity: to start over, to rediscover oneself, to embrace the open road ahead. It reminds listeners that while the end of a relationship may feel like losing a part of themselves, it is also a chance to reclaim their own identity.

One of the most striking moments in the song comes when Townshend delivers the lines “If I told you what it takes to reach the highest high / You’d laugh and say, ‘Nothing’s that simple’”—an acknowledgment that moving on can feel impossible at first. But then he offers a challenge: “Messiahs pointed to the door / And no one had the guts to leave the temple!” In other words, the freedom to heal, to move forward, is always there—it just takes the courage to step through that door. This is what makes “I’m Free” such a powerful breakup survival song: it pushes listeners to stop looking back, to stop waiting for answers that may never come, and to take control of their own future.

# 1 – Darkness On The Edge of Town – Bruce Springsteen

Bruce Springsteen’s “Darkness on the Edge of Town” isn’t just a song about heartbreak—it’s a song about losing everything and still refusing to stop. Released as the title track of his 1978 album Darkness on the Edge of Town, the song was recorded at The Record Plant in New York City, produced by Springsteen, Jon Landau, and Steven Van Zandt. At this point in his career, Springsteen was coming off a bitter legal battle that had sidelined him for years, and the songs on Darkness reflected that struggle—none more so than this track. It’s about more than just a lost love; it’s about losing money, losing security, losing faith, and staring into the abyss, only to find the will to keep going.

For anyone suffering through a breakup, “Darkness on the Edge of Town” offers a different kind of comfort. It doesn’t sugarcoat pain, nor does it offer an easy escape. Instead, it tells the truth: loss can take everything from you, but it doesn’t have to break you. Springsteen’s protagonist has watched love slip away—”Now I hear she’s got a house up in Fairview / And a style she’s trying to maintain”—but he doesn’t wallow in self-pity. If she wants to find him, he won’t be hiding; “Tell her there’s a spot out ‘neath Abram’s Bridge / And tell her there’s a darkness on the edge of town.” He has accepted the pain, learned to live with it, and is standing his ground.

But the most powerful moment comes in the final verse, where he lays out exactly why this song belongs on a list of breakup survival anthems. “Well now I lost my money and I lost my wife / Them things don’t seem to matter much to me now.” That line doesn’t mean he doesn’t care—it means he refuses to let loss define him. And then, in the song’s defining moment, he delivers the ultimate statement of resilience: “Tonight I’ll be on that hill ’cause I can’t stop / I’ll be on that hill with everything I got.” He may have lost everything, but he is still standing, still pushing forward. The dreams he once had may be gone, but new ones still exist, waiting to be found.

That is why “Darkness on the Edge of Town” is an essential song for surviving a breakup. It doesn’t pretend the pain isn’t real, but it proves that pain is not the end. It’s about getting knocked down, getting back up, and refusing to quit. Springsteen’s voice, filled with grit and determination, makes it clear: no matter how much has been lost, there is always something left to fight for.

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We went with the classics for this fun ride through the 10 Best Songs With The Word ‘On’ In The Title. Of course, there were so many to pick from as this is one of the most utilized words in song titles. Yet that just makes it all the more fun.

# 10 – On Every Street – Dire Straits

Dire Straits’ “On Every Street” is a song defined by its slow-burning tension and lyrical imagery, serving as the title track to the band’s final studio album, On Every Street, released on September 9, 1991. Written by Mark Knopfler, the song reflects the band’s shift towards a more subdued, narrative-driven style in their later years. It was recorded between November 1990 and May 1991 at AIR Studios in London, with Knopfler handling lead guitar and vocals, John Illsley on bass, Alan Clark and Guy Fletcher on keyboards, Phil Palmer on rhythm guitar, Chris White on saxophone, and Jeff Porcaro on drums. Knopfler produced the track alongside Dire Straits, ensuring that its brooding atmosphere aligned with the rest of the album.

Released as a single on February 17, 1992, “On Every Street” reached number 42 on the UK Singles Chart and number 23 in France. The song was not accompanied by a music video, which was unusual for a band of Dire Straits’ stature at the time, especially considering the visual success of earlier hits like “Money for Nothing.” Despite its moderate commercial performance, the song became a staple of the band’s final tour, often extended into an elongated live arrangement that emphasized Knopfler’s fluid guitar phrasing and atmospheric dynamics.

Lyrically, “On Every Street” is a song of yearning and loss, with the narrator searching for someone who remains just out of reach. The opening line, “There’s gotta be a record of you some place,” suggests a desperate need to hold onto the past, while the refrain, “It’s a dangerous road and a hazardous load,” paints a picture of life as a relentless journey filled with obstacles. The word “on” plays a key role in the song’s theme, reinforcing a sense of pursuit, whether it be of love, closure, or something more abstract. This connection to movement and longing ties “On Every Street” to the broader theme of this article.

# 9 – Down On The Corner – Creedence Clearwater Revival

“Down on the Corner” was recorded by Creedence Clearwater Revival for their fourth studio album, Willy and the Poor Boys, which was released on November 2, 1969. Written by John Fogerty, the song was recorded earlier that year at Wally Heider Studios in San Francisco, California. The lineup for the track included Fogerty on lead vocals and lead guitar, Tom Fogerty on rhythm guitar, Stu Cook on bass, and Doug Clifford on drums. The album, like the rest of the band’s work, was produced by John Fogerty, whose tight production style helped define Creedence Clearwater Revival’s signature swamp rock sound.

Released as a double A-side single with “Fortunate Son” on October 2, 1969, “Down on the Corner” became one of the band’s biggest hits. It peaked at number three on the Billboard Hot 100 and spent multiple weeks in the top ten. The song also performed well internationally, reaching number nine in Canada and charting in several other countries. During this period, Creedence Clearwater Revival was at its commercial peak, with Willy and the Poor Boys achieving multi-platinum certification and cementing their status as one of the era’s most successful rock bands.

# 8 – Roll On Down The Highway – Bachman-Turner Overdrive

In 1974, Bachman-Turner Overdrive recorded “Roll On Down the Highway” at Sound Stage in Toronto, Ontario, for their album Not Fragile. Written by Randy Bachman and produced by the band, the session featured Randy Bachman on lead guitar and vocals, C.F. Turner on bass and vocals, and Robbie Bachman on drums. The recording captured the band’s raw, high-energy rock sound with a punchy guitar riff and a driving rhythm section that exemplified the power and simplicity of early 1970s Canadian rock.

# 7 – Keep On Loving You – REO Speedwagon

REO Speedwagon recorded “Keep On Loving You” in 1979 at the Record Plant in Los Angeles for their breakthrough album Hi Infidelity (1980). Written by lead vocalist Kevin Cronin and produced by Tom Werman, the session featured Cronin on vocals and rhythm guitar, Gary Richrath on lead guitar, Neal Doughty on keyboards, Bruce Hall on bass, and Alan Gratzer on drums. Released as a single in 1980, the song reached number one on the Billboard Hot 100 and secured top chart positions in both the United States and Canada. Its polished production and accessible arrangement helped propel the band into the mainstream, establishing “Keep On Loving You” as one of REO Speedwagon’s signature ballads.

# 6 – Walk On the Wild Side – Lou Reed

Recorded in 1972 at the Record Plant Studios in New York City, “Walk On the Wild Side” was developed as a key track for Lou Reed’s transformative album Transformer. Produced by David Bowie and Mick Ronson, the session saw Reed delivering his distinctive vocals and guitar work while session musician Herbie Flowers provided the iconic bass line that defines the song’s groove. The collaboration of these musicians, along with contributions on keyboards and percussion by other session players, helped craft a sound that captured the essence of New York’s underground life. The use of “on” in the title underscores the song’s central motif of perpetual motion—moving forward through the gritty, often untamed landscapes of urban existence.

Released in 1972, the song quickly resonated with audiences and secured a significant cultural impact, charting well internationally. Its narrative vividly portrays the lives of New York City’s outsiders, with lyrics that introduce characters who navigate the city’s fringes with raw honesty. Lines such as those depicting unconventional lifestyles reflect Reed’s intent to spotlight both the allure and complexity of life beyond mainstream norms. In this respect, “Walk On the Wild Side” employs the word “on” to emphasize a state of ongoing journey and defiance, echoing thematic elements found in other songs on this list like Aerosmith’s “Dream On” and Kansas’s “Carry On Wayward Son,” where “on” similarly conveys perseverance and continuous evolution.

# 5 – Riders On The Storm – The Doors

# 4 – Lean on Me – Bill Withers

# 3 -Hooked On A Feeling – B.J. Thomas

B.J. Thomas recorded “Hooked on a Feeling” in 1968 at American Sound Studio in Memphis, Tennessee, during the sessions for his album On My Way. Written by Mark James, the song featured a distinct electric sitar riff played by Reggie Young, which gave the track its unique texture. The recording lineup included Thomas on vocals, Young on guitar, Tommy Cogbill on bass, and Buddy Emmons on drums. Chips Moman produced the track, continuing his influence over the Memphis music scene during the late 1960s.

Released as a single on October 29, 1968, “Hooked on a Feeling” became one of B.J. Thomas’s biggest early hits, reaching number five on the Billboard Hot 100 in 1969. The song also performed well internationally, peaking at number three in Canada and charting in multiple other countries. While Thomas’s version was widely successful, it was later eclipsed in popularity by the 1974 cover by Blue Swede, which introduced the now-famous “ooga-chaka” chant. Despite the resurgence of interest in the song through that version, Thomas’s recording remained a defining moment in his career and helped establish him as a major crossover artist between pop and country music.

# 2 – Dream On – Aerosmith

Recorded in October 1972 at Intermedia Studio in Boston, Massachusetts, the song became Aerosmith’s first major statement, showcasing their blend of hard rock and introspective lyricism. Written by Steven Tyler, the track featured Tyler on lead vocals and electric harpsichord, Joe Perry on lead guitar, Brad Whitford on rhythm guitar, Tom Hamilton on bass, and Joey Kramer on drums. Tyler also contributed mellotron, adding to the song’s orchestral atmosphere. The track was produced by Adrian Barber, whose experience in rock production helped refine its grandiose sound.

“Dream On” was originally released as a single on June 27, 1973, but only reached number 59 on the Billboard Hot 100. However, after Aerosmith gained more recognition, the song was re-released in January 1976, when it climbed to number six on the Hot 100 and solidified the band’s reputation. Over the years, it became one of the most enduring tracks in their catalog, frequently played in arenas and used in numerous films and television shows. Unlike some of Aerosmith’s later, more blues-based rock songs, “Dream On” stood apart as a piano-driven power ballad, demonstrating the band’s ability to blend rock intensity with deep, introspective emotion.

# 1 – Carry on Wayward Son – Kansas

In 1976, Kansas crafted “Carry On Wayward Son” at Studio in the Country in Bogalusa, Louisiana, for their album Leftoverture. Written by Kerry Livgren and produced by the band alongside Jeff Glixman, the recording featured Steve Walsh on lead vocals and keyboards, Kerry Livgren on guitar and keyboards, Rich Williams on guitar, Robby Steinhardt on violin and backing vocals, Dave Hope on bass, and Phil Ehart on drums. The song reached number 11 on the US Billboard Hot 100 in early 1977, marking a breakthrough that would solidify its status as an enduring rock anthem.

The lyrics of “Carry On Wayward Son” delve into themes of self-discovery, resilience, and the relentless passage of time. The refrain—”Carry on, my wayward son”—serves as a motivational call to persist despite life’s challenges, with the word “on” emphasizing the continual journey forward. This lyrical focus on perseverance aligns with the overarching theme of songs on this list that use “on” to signify movement and progress. Unlike the emotional introspection found in Aerosmith’s “Dream On” or the supportive appeal of Bill Withers’s “Lean on Me,” Kansas’s approach combines philosophical musings with a dynamic, multi-layered rock arrangement.

Critically, “Carry On Wayward Son” was praised for its complex instrumentation and distinctive blend of progressive rock with elements of classical and folk music. Its sophisticated guitar work and harmonized vocals set a precedent for later rock compositions, earning acclaim for both its musical ingenuity and its evocative message. In comparison to other tracks on this list, such as the energetic narrative of “Down on the Corner” by Creedence Clearwater Revival, Kansas’s composition offers a more reflective and intricately structured take on the journey motif. Its lasting influence and continued airplay underscore its importance in the canon of rock music, encapsulating the enduring human spirit to push onward.

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

Alex Skolnick was a timid 16-year-old when he joined Testament in 1985, but his highly skilled melodic guitar playing would prove hugely influential throughout the Bay Area thrash scene and beyond. When he left Testament in the early 90s, he pursued diverse musical projects, including stints in Savatage and the Trans-Siberian Orchestra. He also went back to school to study jazz and formed his own jazz outfit, The Alex Skolnick Trio.

Alex rejoined Testament in 2005, and they’ve since gone from strength to strength. He’s kept his fingers in numerous other pies, too, from teaching to ambitious world music projects. He’s the muso’s thrasher with a list of accomplishments longer than an extendedscale fretboard, but remains as humble and down-to-earth as they come.

PARENTS DON’T KNOW EVERYTHING

“My parents were academics and not thrilled about me joining a thrash metal band. They were older than most of my friends’ parents so didn’t even have that rock’n’roll background. Their wishes for me were to get a PhD, just like them. There were a few points that convinced them I hadn’t made a terrible choice, though. The first was when Testament supported Judas Priest at the Oakland Coliseum [in 1990], which showed that this was more than just a neighbourhood band. They were also happy when I started writing columns for guitar magazines, because they always respected writing.”

YOU CAN OVERCOME FIRST NIGHT NERVES

“I was painfully shy and socially awkward when I was younger and going onstage was a trial. At the first gig, when there was a clean intro or a part where the band wasn’t playing full-on, my hands would shake so much I could barely hit the notes. If you’re lucky enough to get to the point where you’re on tour, playing night after night, there’s nothing like that to help you get over it, but it was still very scary.”

DON’T PARTY FOR THE SAKE OF IT

“That Bay Area scene could be chaos, but because I was so shy and also because I was the youngest member of Testament, I’d sit in the corner practising scales and trying to learn. There’s a place for cutting loose, but even back then for me it always made sense to celebrate when there was something to celebrate. If you’re just letting loose every night, which is what was happening in the band at that point, it’s just drinking for its own sake. I could never keep up anyway so I didn’t try!”

FIFTH PLACE IS FINE BY ME

“People talk about the Big 4 of thrash and I genuinely never had a problem with that, because I was listening to all those bands when I was still in high school. I remember Master Of Puppets coming out right around the time I was doing my first gigs. Megadeth and Anthrax had albums out and I saw Slayer the first time they came through. They still had the facepaint on, like a dark carnival! It was a question of seniority, and it made perfect sense to me that they would be the Big 4.”

THE EARLY YEARS OF THRASH WERE A SPECIAL TIME

“Our early club tours were like a cauldron bubbling up, and then opportunities started coming. I remember our first European festival [Dynamo Open Air in the Netherlands, 1987]. It was the biggest crowd we’d ever played for, then Monsters Of Rock came up in Germany [in 1988] when Megadeth dropped out, and that was massive. Iron Maiden headlined, with Kiss and David Lee Roth – all absolute legends. People look at the Clash Of The Titans tour now [Megadeth, Slayer, Testament and Suicidal Tendencies in 1990] and say it was pretty legendary. At the time it just seemed logical to put these bands together who were all on the faster side of the equation.”

SOMETIMES YOU GOTTA MOVE ON

“The drama within Testament [before I left] was difficult. It was a bit of a toxic environment andno coincidence that the drummer, Louie Clemente, left soon after I did. But I was also expanding my musical horizons. I’d done a tour with [virtuoso bassist] Stu Hamm, had an offer to tour with [virtuoso instrumentalist] Michael Manring. I still loved metal, but I wanted to find a voice outside that and work with other musicians. Either of these things would have caused me to leave Testament eventually, but they came together in a perfect storm.”

WHEN ONE DOOR CLOSES, ANOTHER OPENS

“I don’t know why their separation happened, but I guess Zakk [Wylde] was doing other stuff and there was this search for a new Ozzy Osbourne guitarist. I was just honoured to be in the running because I’d heard about some pretty well-known players that never got past the audition phase. I actually got to the point of doing a show and Ozzy hired me – he said he wanted me to do the gig. It was an unannounced show at Nottingham Rock City and it was great. I didn’t get the role full-time, which I think was a management decision, but it was a great motivation at a time when I didn’t really know what to do next. That was when I enrolled in the university called The New School in New York, and studied with these greats like [jazz musicians] Cecil McBee and Reggie Workman.”

DON’T LISTEN TO THE CRITICS

“There was a bit of resistance, because it was a very odd thing to have somebody from a metal band suddenly enrolling in a music programme and studying with heavyweight jazz players. There was also a lot of support though, and I chose to focus on that. I was used to it anyway, because when I first joined Testament, I’d hear comments saying I sounded more like I’d fit in a glam band and I should move to LA. I took that as a compliment, because I really liked the guitar players from the glam bands. I liked George Lynch [Dokken], Warren DeMartini [Ratt], the whole post-Van Halen period of guitar playing. I wanted to bring that into heavy music, because a lot of it had more of a garage rock aesthetic and I wanted to bring this polish.”

KEEP FINDING INSPIRATION

“I made an appearance on Lamb Of God’s [2004 album] Ashes Of The Wake, because I was very excited about what they were doing. I went to an Ozzfest they played at and I met Slipknot for the first time … Hatebreed were there … all these bands that ’d come after Testament. They were clearly inspired by that period, but they were taking it somewhere new. I think that whole experience made me want to have some metal outlet again , and then I get the call from the Testament guys wanting to do some occasional shows. I thought, ‘Okay , let’s see how it goes.’ It was better because everybody was a little bit older and wiser.”

GRAB YOUR OPPORTUNITIES

“We were only talking about doing the odd show, but then out of the blue we got the offer to do this dream Masters Of Metal tour, which was Heaven & Hell, Judas Priest and Motörhead. They were looking for a fourth band. We were told, ‘OK, you guys can do this, but you have to have a record.’ That was the big incentive and the record we made was [2008’s] The Formation Of Damnation. Suddenly we were off to the races and the offers have been coming in ever since.”

MUSIC BRINGS PEOPLE TOGETHER

“I put together a project called Planetary Coalition that brought together some amazing musicians from around the world. There’s nothing that can compare to the power of music. The last concert I went to before leaving for the Anthrax tour was David Gilmour. I happened to catch it on election night in the United States , and hearing everybody sing Wish You Were Here and Comfortably Numb, you would never know that the US was divided and thereTest was this very high stakes election happening. It was a way for everybody just to gather and focus on something positive.”

EXPERIMENT CREATIVELY

“I’m just as excited as ever to be working on new Testament music, but it helps that it’s not my only outlet. That was something I wrestled with in the early part of the band’s career. It was all I was doing – that adds a lot of pressure because it’s the only thing you’re known for. Now I have my Trio, I have over half a dozen instrumental albums , and I have other metal outlets like [supergroup ] Metal Allegiance where I can work with vocalists like Troy [Sanders] from Mastodon or Johan [Hegg] from Amon Amarth. It’s a great position to be in and I feel very lucky with my life and career.”

Testament play Sonic Temple on May 9 and Welcome To Rockville on May 18.

Pat Benatar and Neil Giraldo have announced a new tour for spring that will run for two months.

Over two dozen dates have been lined up throughout North America from April through June. The concerts follow last summer’s tour by the pair, which included favorites such as “Promises in the Dark,” “Love Is a Battlefield” and “Heartbreaker.”

The new dates begin in California and wind through the continent, with an ending show in Delaware.

READ MORE: Top 50 Hard Rock Songs of the ’70s

The tour arrives before the September publication of Benatar and Giraldo’s children’s book My Grandma and Grandpa Rock!

Benatar and her husband were inducted into the Rock & Roll Hall of Fame in 2022. Sheryl Crow inducted the pair, calling them “totally individual and completely recognizable. How that voice came from her tiny frame was remarkable.”

Where Are Pat Benatar and Neil Giraldo Playing in 2025?

Benatar and Giraldo’s upcoming tour starts on April 11 in Palm Springs, California, and includes dates in Austin, Memphis, Baltimore and Albany before wrapping up on June 1 in Selbyville, Delaware.

You can see the list of dates below.

More information about the concerts and tickets can be found on Benatar and Giraldo’s website.

Pat Benatar and Neil Giraldo 2025 North American Tour
04/11 – Agua Caliente Casino – Palm Springs, CA
04/19 – Smart Financial Centre – Sugar Land, TX
04/22 – Paramount Theatre – Austin, TX
04/23 – Majestic Theatre – San Antonio, TX
04/25 – Beau Rivage Resort & Casino – Biloxi, MS
04/26 – Graceland Soundstage – Memphis, TN
04/29 – Spartanburg Memorial Auditorium – Spartanburg, SC
05/01 – The Saint Augustine Amphitheatre – St. Augustine, FL
05/02 – Barbara B Mann Performing Arts Center – Fort Myers, FL
05/04 – Ovens Auditorium – Charlotte, NC
05/06 – Altria Theater – Richmond, VA
05/07 – Virginia Beach Dome – Virginia Beach, VA
05/09 – Clay Center for Arts & Sciences – Charleston, WV
05/10 – Soaring Eagle Casino & Resort – Mt. Pleasant, MI
05/12 – Warner Theatre – Erie, PA
05/14 – The Lyric Baltimore – Baltimore, MD
05/16 – Turning Stone Resort & Casino – Event Center – Verona, NY
05/17 – Fallsview Casino Resort – Grand Ballroom – Niagara Falls, ON
05/20 – Kirby Center for the Performing Arts – Wilkes Barre, PA
05/21 – Palace Theatre – Albany, NY
05/23 – Mershon Auditorium – Columbus, OH
05/24 – Centennial Terrace – Sylvania, OH
05/27 – Peoples Bank Theatre – Marietta, OH
05/29 – Caesars Windsor – The Colosseum – Windsor, ON
05/30 – Blue Gate Theatre – Shipshewana, IN
06/01 – Freeman Arts Pavillion – Selbyville, DE

Don Henley and Eagles manager Irving Azoff have been sued for millions by one of the men charged in a now-dismissed stolen lyrics case.

Glenn Horowitz, a rare-book dealer, says they knew the handwritten sheets were legally obtained but caused irreparable damage by going forward with the trial anyway. “Glenn is looking forward to his day in court,” attorney Caitlin Robin told The Independent. “He already cleared his name when the charges against him were dismissed but it’s time to hold those responsible who were involved in his malicious prosecution.”

Henley said he’d been trying to buy back a collection of about 100 pages of handwritten lyrics from the Hotel California era, while others were offered for auction. He eventually went to the authorities claiming to be the victim of “extortion.”

READ MORE: Ranking Every Eagles Solo Album

Horowitz, Rock & Roll Hall of Fame curator Craig Inciardi and memorabilia auctioneer Edward Kosinski were charged with conspiring to possess stolen property. Prosecutors said the trio knew the documents were taken from Henley’s home by Ed Sanders, a journalist hired to write a never-published Eagles biography.

Along the way, new information about a scandalous teen sex worker overdose at Henley’s house was also revealed. “I wanted to escape the depression I was in” following the Eagles breakup in 1980, Henley said, “so I made a mistake.”

Then, in a stunning about-face, the proceedings were halted after new evidence cast doubt on the charges. Robin says emails between Henley, Azoff and their attorneys proved they were aware that Sanders had legally obtained the lyric sheets. Yet they “purposefully withheld any disclosure thereof because they knew it would exculpate plaintiff Glenn Horowitz and essentially destroy the fraudulent allegations they made about him.”

How Much Is Don Henley Being Sued For?

In dismissing the original case, the judge agreed. Henley, Azoff and their attorneys were chastised from the bench for attempting to “obfuscate and hide information that they believed would be damaging to their position that the lyric sheets were stolen.” Now, Horowitz is seeking millions in damages.

A new lawsuit claims Horowitz “was deprived of his liberty and suffered humiliation, defamation, media harassment, diminished reputation, loss of business and/or loss of wages amounting in more than ten million dollars ($10,000,000.00), in addition to mental anguish, indignity, frustration and financial loss.” Horowitz’s wife is listed as a co-plaintiff, and the suit says she also “suffered humiliation, defamation, media harassment, diminished reputation, and mental and emotional anguish.”

Dan Petrocelli, attorney for Henley and Azoff, still argues that Henley was the victim. “The indictment highlighted the dark underbelly of the memorabilia business that exploited the brazen, unauthorized taking and selling of Mr. Henley’s handwritten lyrics,” Petrocelli said in an official statement. “The only malicious prosecution involved here is the filing of this case by Mr. Horowitz.”

Henley has also filed his own civil suit in an attempt to regain possession of the original lyric sheets, which remain in the custody of the Manhattan district attorney’s office.

Six Little-Known Eagles ‘Hotel California’ Facts

The Super Bowl halftime show has undergone a dramatic evolution since its inception, growing from a modest showcase of college marching bands into one of the most-watched musical events in the world. In the early years, the halftime performances were largely dominated by university bands, drill teams, and classical musicians, providing a spectacle rooted in tradition rather than star power. However, this all changed in 1993 when Michael Jackson took the stage at Super Bowl XXVII, delivering a performance that redefined what the halftime show could be. His electrifying set not only captivated millions but also set a precedent for the NFL to pursue top-tier musical acts moving forward.

Complete List Of All Super Bowl Halftime Performers

Super Bowl I – January 15, 1967 – University of Arizona Symphonic Marching Band, Grambling State University Marching Band, Al Hirt, Anaheim High School Ana-Hi-Steppers Drill Team and Flag Girls – Los Angeles Memorial Coliseum (Los Angeles, California)

Super Bowl II – January 14, 1968 – Grambling State University Marching Band – Miami Orange Bowl (Miami, Florida)

Super Bowl III – January 12, 1969 – “America Thanks” featuring Florida A&M University band and Miami-area high school bands – Miami Orange Bowl (Miami, Florida)

Super Bowl IV – January 11, 1970 – Carol Channing, Southern University Marching Band – Tulane Stadium (New Orleans, Louisiana)

Super Bowl V – January 17, 1971 – Florida A&M University Marching Band – Miami Orange Bowl (Miami, Florida)

Super Bowl VI – January 16, 1972 – Ella Fitzgerald, Carol Channing, Al Hirt, U.S. Marine Corps Drill Team – Tulane Stadium (New Orleans, Louisiana)

Super Bowl VII – January 14, 1973 – University of Michigan Marching Band with Woody Herman and Andy Williams – Los Angeles Memorial Coliseum (Los Angeles, California)

Super Bowl VIII – January 13, 1974 – University of Texas Longhorn Band – Rice Stadium (Houston, Texas)

Super Bowl IX – January 12, 1975 – Mercer Ellington and Grambling State University Bands – Tulane Stadium (New Orleans, Louisiana)

Super Bowl X – January 18, 1976 – Up with People – Miami Orange Bowl (Miami, Florida)

Super Bowl XI – January 9, 1977 – Disney’s “It’s a Small World” with the Los Angeles Unified All-City Band – Rose Bowl (Pasadena, California)

Super Bowl XII – January 15, 1978 – Tyler Junior College Apache Belles, Pete Fountain, Al Hirt, and the Apache Band – Louisiana Superdome (New Orleans, Louisiana)

Super Bowl XIII – January 21, 1979 – “Super Bowl XIII Carnival” featuring Ken Hamilton and various Caribbean bands – Miami Orange Bowl (Miami, Florida)

Super Bowl XIV – January 20, 1980 – Up with People presents “A Salute to the Big Band Era” – Rose Bowl (Pasadena, California)

Super Bowl XV – January 25, 1981 – Southern University Marching Band and Helen O’Connell – Louisiana Superdome (New Orleans, Louisiana)

Super Bowl XVI – January 24, 1982 – Up with People presents “A Salute to Motown” – Pontiac Silverdome (Pontiac, Michigan)

Super Bowl XVII – January 30, 1983 – Los Angeles Super Drill Team – Rose Bowl (Pasadena, California)

Super Bowl XVIII – January 22, 1984 – “Salute to Superstars of Silver Screen” featuring the University of Florida and Florida State University Marching Bands – Tampa Stadium (Tampa, Florida)

Super Bowl XIX – January 20, 1985 – “World of Children’s Dreams” featuring Tops In Blue – Stanford Stadium (Stanford, California)

Super Bowl XX – January 26, 1986 – Up with People presents “Beat of the Future” – Louisiana Superdome (New Orleans, Louisiana)

Super Bowl XXI – January 25, 1987 – “Salute to Hollywood’s 100th Anniversary” featuring George Burns, Mickey Rooney, Grambling State University and USC Marching Bands – Rose Bowl (Pasadena, California)

Super Bowl XXII – January 31, 1988 – “Something Grand” featuring Chubby Checker, The Rockettes, 88 grand pianos, and the combined San Diego State University and USC Marching Bands – Jack Murphy Stadium (San Diego, California)

Super Bowl XXIII – January 22, 1989 – “Be Bop Bamboozled” featuring Elvis Presto and South Florida-area dancers and performers – Joe Robbie Stadium (Miami, Florida)

Super Bowl XXIV – January 28, 1990 – “Salute to New Orleans” featuring Pete Fountain, Doug Kershaw, Irma Thomas, and the Nicholls State University Marching Band – Louisiana Superdome (New Orleans, Louisiana)

Super Bowl XXV – January 27, 1991 – “A Small World Salute to 25 Years of the Super Bowl” featuring New Kids on the Block – Tampa Stadium (Tampa, Florida)

Super Bowl XXVI – January 26, 1992 – “Winter Magic” featuring Gloria Estefan, Brian Boitano, Dorothy Hamill, and the University of Minnesota Marching Band – Hubert H. Humphrey Metrodome (Minneapolis, Minnesota)

Super Bowl XXVII – January 31, 1993 – “Heal the World” featuring Michael Jackson – Rose Bowl (Pasadena, California)

Super Bowl XXVIII – January 30, 1994 – “Rockin’ Country Sunday” featuring Clint Black, Tanya Tucker, Travis Tritt, and The Judds – Georgia Dome (Atlanta, Georgia)

Super Bowl XXIX – January 29, 1995 – “Indiana Jones and the Temple of the Forbidden Eye” featuring Patti LaBelle, Tony Bennett, Arturo Sandoval, and the Miami Sound Machine – Joe Robbie Stadium (Miami, Florida)

Super Bowl XXX – January 28, 1996 – Diana Ross – Sun Devil Stadium (Tempe, Arizona)

Super Bowl XXXI – January 26, 1997 – “Blues Brothers Bash” featuring Dan Aykroyd, John Goodman, James Belushi, ZZ Top, and James Brown – Louisiana Superdome (New Orleans, Louisiana)

Super Bowl XXXII – January 25, 1998 – “A Tribute to Motown’s 40th Anniversary” featuring Boyz II Men, Smokey Robinson, The Temptations, Martha Reeves, and Queen Latifah – Qualcomm Stadium (San Diego, California)

Super Bowl XXXIII – January 31, 1999 – “Celebration of Soul, Salsa, and Swing” featuring Stevie Wonder, Gloria Estefan, Big Bad Voodoo Daddy, and Savion Glover – Pro Player Stadium (Miami, Florida)

Super Bowl XXXIV – January 30, 2000 – “Tapestry of Nations” featuring Phil Collins, Christina Aguilera, Enrique Iglesias, and Toni Braxton – Georgia Dome (Atlanta, Georgia)

Super Bowl XXXV – January 28, 2001 – The Kings of Rock and Pop featuring Aerosmith, ‘N Sync, Britney Spears, Mary J. Blige, and Nelly – Raymond James Stadium (Tampa, Florida)

Super Bowl XXXVI – February 3, 2002 – Tribute to Those Lost on 9/11 featuring U2 – Louisiana Superdome (New Orleans, Louisiana)

Super Bowl XXXVII – January 26, 2003 – Shania Twain, No Doubt, and Sting – Qualcomm Stadium (San Diego, California)

Super Bowl XXXVIII – February 1, 2004 – Janet Jackson, Justin Timberlake, P. Diddy, Nelly, Kid Rock – Reliant Stadium (Houston, Texas)

Super Bowl XXXIX – February 6, 2005 – Paul McCartney – Alltel Stadium (Jacksonville, Florida)

Super Bowl XL – February 5, 2006 – The Rolling Stones – Ford Field (Detroit, Michigan)

Super Bowl XLI – February 4, 2007 – Prince – Dolphin Stadium (Miami Gardens, Florida)

Super Bowl XLII – February 3, 2008 – Tom Petty and the Heartbreakers – University of Phoenix Stadium (Glendale, Arizona)

Super Bowl XLIII – February 1, 2009 – Bruce Springsteen and the E Street Band – Raymond James Stadium (Tampa, Florida)

Super Bowl XLIV – February 7, 2010 – The Who – Sun Life Stadium (Miami Gardens, Florida)

Super Bowl XLV – February 6, 2011 – The Black Eyed Peas, Usher, Slash – AT&T Stadium (Arlington, Texas)

Super Bowl XLVI – February 5, 2012 – Madonna, LMFAO, Nicki Minaj, M.I.A., CeeLo Green – Lucas Oil Stadium (Indianapolis, Indiana)

Super Bowl XLVII – February 3, 2013 – Beyoncé, Destiny’s Child reunion – Mercedes-Benz Superdome (New Orleans, Louisiana)

Super Bowl XLVIII – February 2, 2014 – Bruno Mars, Red Hot Chili Peppers – MetLife Stadium (East Rutherford, New Jersey)

Super Bowl XLIX – February 1, 2015 – Katy Perry, Lenny Kravitz, Missy Elliott – University of Phoenix Stadium (Glendale, Arizona)

Super Bowl 50 – February 7, 2016 – Coldplay, Beyoncé, Bruno Mars – Levi’s Stadium (Santa Clara, California)

Super Bowl LI – February 5, 2017 – Lady Gaga – NRG Stadium (Houston, Texas)

Super Bowl LII – February 4, 2018 – Justin Timberlake – U.S. Bank Stadium (Minneapolis, Minnesota)

Super Bowl LIII – February 3, 2019 – Maroon 5, Travis Scott, Big Boi – Mercedes-Benz Stadium (Atlanta, Georgia)

Super Bowl LIV – February 2, 2020 – Shakira and Jennifer Lopez – Hard Rock Stadium (Miami Gardens, Florida)

Super Bowl LV – February 7, 2021 – The Weeknd – Raymond James Stadium (Tampa, Florida)

Super Bowl LVI – February 13, 2022 – Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige, Kendrick Lamar, 50 Cent – SoFi Stadium (Inglewood, California)

Super Bowl LVII – February 12, 2023 – Rihanna – State Farm Stadium (Glendale, Arizona)

Super Bowl LVIII – February 11, 2024 – Usher – Allegiant Stadium (Las Vegas, Nevada)

Super Bowl LIX – February 9, 2025 – Kendrick Lamar, SZA – Caesars Superdome (New Orleans, Louisiana)

Check out similar articles on ClassicRockHistory.com Just click on any of the links below……

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Complete List Of All Super Bowl Halftime Performers Since 1967 article published on Classic RockHistory.com© 2025

This week, we congratulate the Philadelphia Eagles, who won the Super Bowl, and we congratulate The Wildhearts, who won rock’n’roll’s equivalent, our Tracks Of The Week contest. And while Ginger & Co.’s victory might not have been as comprehensive as that achieved by Nick Sirianni and his team of 53, it was no less deserved.

This week’s beaten foe included Fortune Teller Blues by Joe Bonamassa and Sammy Hagar and Master by The Last Internationale, as well as five other songs we’re not going to mention because we don’t like to dwell on such ignominy.

So here are the magnificent Wildhearts once more, and then it’s on with a new battle.

Don’t forget to vote for your contest VIP, via the handy form at the foot of the page.

Mother Vulture – Slow Down

Imploring these fiery Bristol rockers to ‘slow down’ is a bit like telling AC/DC to write a prog epic: it just won’t happen. And yet there is a sonorous, almost stoner weight to this new single, which finds them marrying white-hot rage with thunderous, bass-heavy beats and hypnotic guitar judders. “I wanted to use the lyrics to shine a light on the darker side of emotion,” singer Georgi says, “the way we sometimes want to flirt with self-destruction and that temptation to fall from grace. Because the world gets too much sometimes, and you think something has to break.”

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Bob Mould – Neanderthal

A short but sweet ripper from Mould’s excellent new solo album, Here We Go Crazy – smart, spikily lustful and set to a barrelling blast of punkoid rock’n’roll fizz. Over in about two minutes and not wasting a second of it, Neanderthal packs the sort of moody, fast-paced intensity and eloquence that plenty of other songs don’t manage in twice (or even thrice) the airtime. One veteran clearly not content to rest on his laurels, and all the more compelling for it.

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The Zac Schulze Gang – I Won’t Do This Anymore

Armed with upbeat, 70s-ified blues rock with a few enticing twists and a roughened Rory Gallagher-esque edge – inspired by days of menial, nocturnal graft in supermarket aisles – Zac Schulze and chums stick it to The Man with a spring in their step on I Won’t Do This Anymore. “I Won’t Do This Anymore is a song of rebellion against the big bad bosses of today’s world,” explains Zac. “The lyrics relate back to our old lives where we used to mop McDonald’s kitchens and stack shelves during the night shift at Iceland.”

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Sparks – Gonna Do Things My Own Way

Perennially young and excitable at heart, the Mael brothers press on with their roaring latter-day renaissance (oldest brother Ron will be 80 this year, lest we forget) on this brilliantly head-swirling, singular maelstrom (sorry…) of acerbic art rock. By way of sombre commentary on the wittily surreal video, they had this to say: “We hope this video, even in a very small way, finally starts a meaningful dialogue about the dangers of pianos falling out of tall buildings.” Well, don’t we all?

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Luke Spiller – Love Will Probably Kill Me Before Cigarettes And Wine

The Struts’ debonair frontman marks the start of a new, deeply personal chapter with this grandiose but emotionally intimate debut solo statement – all lush theatre and old Hollywood vibes with a cabaret twist. If Jim Steinman and Lana Del Rey clubbed together to write a Bond theme, this would have been it. “I’ve never been this honest in my music before, and it’s definitely been a rollercoaster of emotions,” Spiller says. “I hope people will find their own stories they have experienced within my songs, and in some cases, even find peace in doing so.” More to come…

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Sludge Mother – Pig

Marrying thick, gnarly grunge swagger with a generous dash of contemporary hard rock/metal glamour (think The Pretty Reckless, if Taylor Momsen and co spent more time trading tones, smoking joints and growing beards with Zakk Wylde), Sludge Mother’s latest single is a plaid-shirted, black-eyelinered groover. Yes it’s all verrry familiar territory for anyone with anything even vaguely Chris Cornell-adjacent in their music collection, but slick, spirited and catchy enough to press a lot of the right buttons here.

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Robert Jon & The Wreck – Sittin’ Pretty

The Dave Cobb-produced Sittin’ Pretty is one of those songs inevitably described using the words “high” and “octane”, and it’s little wonder, for this taste of Robert Jon & The Wreck’s upcoming album rattles along like a jet-powered armadillo, with a riff like a striking sidewinder and a solo that whips like a scorpion’s tail. And if you’re where we’re going with all this talk of desert critters, it’s prompted by the video, which finds RJ&TC performing a solar-powered show in California’s High Desert. Lovely.

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Bobbie Dazzle – Lady On Fire

Lady On Fire is the third single to be plucked from Fandabidozi, the debut album by Siân Greenway, a.k.a. excellent West Midlands glam-prog siren Bobbie Dazzle. The glam bit covers the first two minutes and twenty seconds or thereabouts, with a thumping riff and a chorus that soars into the ziggy-o-sphere, before the prog bit arrives as the tempo slows and a fluttering flute whisks the unwary listener off towards transcendence. And then it goes glam again.

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Sharon Osbourne has revealed how Black Sabbath’s original members agreed to come back for their upcoming reunion and farewell gig.

Talking to Birmingham Live, the wife and manager of singer Ozzy Osbourne says that The Prince Of Darkness led the effort to get himself, bassist Geezer Butler, guitarist Tony Iommi and drummer Bill Ward together onstage for one last hurrah.

The swansong show will take place at Birmingham’s Villa Park on July 5, and is set to mark both Sabbath and Ozzy’s last-ever concert. All proceeds from the event will go to the charities Birmingham’s Children’s Hospital, Acorn Children’s Hospice and Cure Parkinson’s.

“I left that to Ozzy,” Sharon says of getting Sabbath back together. “He’s in constant contact with Tony and Geezer. And Bill, too. They talk all the time.

“Ozzy said, ‘I’m going to do my goodnight gig, my farewell, and would you come up and do Sabbath with me?’ He couldn’t do it on his own. And they all said yes. When they heard it was for charity, it was easy.”

In the same interview, Sharon also talks about the array of iconic metal bands set to support Ozzy and Sabbath. They include Metallica, Slayer, Anthrax, Gojira, Halestorm and Alice In Chains.

The day will also feature a “supergroup” including The Smashing Pumpkins’ Billy Corgan, Rage Against The Machine guitarist Tom Morello, Slash and Duff Mckagan of Guns N’ Roses, plus more.

“I think it’s the best metal gig ever,” states Sharon. “It’s easy when you have such good friends and friends that support you. We’ve known these guys for years and years and many of them were passed the torch by Sabbath. It goes down the line. When you need them, they come.”

She adds: “For Ozzy, it’s goodnight to his fans. The other guys in Sabbath will go on to their various projects but for Ozzy, it’s definitely farewell. Our friends want to come, and they know it’s for charity, so it’s brilliant. It’s a win-win for everybody… But especially the fans.”

The build-up to a Sabbath comeback publicly started last year, when Ozzy said on his podcast The Madhouse Chronicles that the band’s career felt “unfinished” because Ward didn’t take part in their 2016–2017 farewell tour The End. Iommi, Butler and Ward all declared their interest in one last show together over the following weeks.

Tickets to the Sabbath farewell, promoted as Back To The Beginning, will go on general sale on February 14 at 10am UK time.

The Doobie Brothers will launch a North American tour in August following the release of their upcoming reunion album with Michael McDonald.

General tickets go on sale Friday, Feb. 14. A complete list of announced dates and cities is below. Special guests on all stops are the Coral Reefer Band, who performed with Jimmy Buffett until his death in 2023.

“We’re so looking forward to the 2025 summer tour!” Patrick Simmons said in an official statement. “We’ll be celebrating the release of our new album, Walk This Road, and we’re excited to be performing new songs from the record.”

READ MORE: Top 10 Doobie Brothers Songs

The reunited Doobie Brothers also feature Tom Johnston and John McFee. Walk This Road, their first album of original material with McDonald since 1980’s One Step Closer, is set for release on June 6. Key stops on the subsequent tour include Boston, Chicago, New York and Toronto, with more dates to be announced.

Presales and VIP package sales begin at 10AM local time on Tuesday, Feb. 11. General sales also begin at 10 AM local time. The Doobie Brothers have already announced European dates that include supporting Jeff Lynne on ELO‘s sold-out final concert in London. The Doobies Brothers’ other U.K. and Ireland dates are also on sale now. For more ticketing information, visit the band’s official site.

Listen to the Doobie Brothers’ ‘Call Me’

When Will the Doobie Brothers Tour Again?

“We’ll warm up with shows in the U.K. and Ireland then hit the road back in the good old U.S.A.,” Simmons added. “Can’t wait to see you all and bring some new music to our fans. Having the Coral Reefer Band on board with us at these shows really makes this a special experience for the audience and all of us.”

John Shanks produced Walk This Road after serving in the same role on the Doobie Brothers’ most recent album, 2021’s Liberte. Since his early-’80s departure from the lineup, McDonald also contributed to 2014’s Southbound, which featured reimagined versions of the Doobie Brothers’ songs.

Doobie Brothers ‘Walk This Road’ 2025 North American Tour:
8/4 – Detroit, MI @ Pine Knob Music Theatre
8/6 – Burgettstown, PA @ The Pavilion at Star Lake
8/7 Holmdel, NJ @ PNC Bank Arts Center
8/9 – Bristow, VA @ Jiffy Lube Live
8/10 – Wantagh, NY @ Northwell at Jones Beach
8/12 – Virginia Beach, VA @ Veterans United Home Loans Amphitheatre
8/13 – Camden, NJ @ Freedom Mortgage Pavilion
8/15 – Boston, MA @ Xfinity Center
8/17 – Gilford, NH @ BankNH Pavilion
8/18 – Saratoga Springs, NY @ Broadview Stage at SPAC
9/4 – St. Louis, MO @ Hollywood Casino Amphitheater
9/5 – Ridgedale, MO @ Thunder Ridge Nature Arena
9/9 – Milwaukee, WI @ American Family Insurance Amphitheatre
9/10 – Tinley Park, IL @ Credit Union 1 Amphitheater
9/12 – Cincinnati, OH @ Riverbend Music Center
9/13 – Noblesville, IN @ Ruoff Music Center
9/15 – Franklin, TN @ FirstBank Amphitheatre
9/17 – Cuyahoga Falls, OH @ Blossom Music Center
9/18 – Toronto, ON @ Budweiser Stage