Author: Logan Rocker

In 2013 tennis hero Pat Cash revealed the gems of his extensive record collection to Prog. Explaining the powerful connection between sport and music, he said he’d been delighted to discover it flowed the other way too – and cited some big-name examples to prove his point.

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“My music taste is unusual in my family… they’re opera singers and concert pianists! My brother had all the classic stuff – the Stones, Floyd – but I gravitated towards The Beatles. Some of the other stuff he had, I wasn’t sure what the hell was going on; I was drawn to keep trying Led Zeppelin’s Physical Graffiti, but I could only do two songs at a time.

Then ELO really did it for me with New World Record. That was probably the classical influence from my parents. But it wasn’t music we could share, oh no! My dad had a good voice and sang old Irish songs like Danny Boy, but he wouldn’t listen to ours!

When I was starting to play tennis and travelling around the world, Cheap Trick were my biggest influence – The Beatles with an edge – and I loved In Color and Heaven Tonight. That’s where I got my checkered headband from: Rick Nielsen and his guitars with the black and white checks. I also got into learning guitar.

Back then in Australia, variety was thin on the ground for music. Radio was crap; music press the same. There was one record store where I lived in Melbourne and it took me 45 minutes to get to. I discovered ZZ Top, Judas Priest and Iron Maiden there. I then met a shop owner called Greta – a legend in Melbourne – who’d recommend so much stuff to me. AC/DC were huge, but I wanted things beyond that. The new wave of British heavy metal was brilliant, but I also listened to Sabbath and Zep, and I got to meet bands like Maiden.

In fact, the reason I got into Saga is because I became good friends with Steve Harris. Steve likes his prog. I went to his place one day – he had a pub in his house where you could play pool and stuff – and he put on Saga’s Heads Or Tails. I thought, ‘Shit, this is good!’ The guitarist is unbelievable and the keyboards inspired me to listen to early Deep Purple.

I was flying around the world, spending three months travelling as a junior player, and a flight to Australia could be 40 hours. I listened so much to 24 Carat Purple – Child In Time is what Deep Purple are all about. Jon Lord and Saga started me thinking that keyboards are pretty cool and could make a song even more epic. We never thought the piano at home was cool!

Rush were my first prog rock band proper. In the US they were played a lot on the radio, so I got into Hemispheres and A Farewell To Kings. Cygnus X1 – I don’t know how many times I’ve played that section when it goes quiet and then it comes back in. It squeals! Rush were huge for me; it’s Geddy’s voice and the time changes.

I’ve spent a lot of money on bands over the years, hoping to hear stuff that would fit. I now get into a lot of bands through reviews – particularly in Classic Rock. I bought three Bigelf albums in a row starting with Hex. I like how the clear melodic solos and great keyboards fit in interestingly arranged songs, with a lot of Sabbath.

Tennis players like John McEnroe and Vitas Gerulaitis were into music and we’d all swap tips. Vitas was the leader ’cos he could really play guitar; he would know and party with these rock bands. In 1991 John and myself made a record for Rock Aid Armenia as The Full Metal Rackets. Many years later, we got invited to Armenia to present some awards.

We jumped on a plane and I was sitting with Tony Iommi. I had my Walkman and I said, ‘Who does this remind you of?’ I played him Bigelf’s Madhatter and Tony said, ‘They sound like a band I know!’ He listened to the whole thing and was really complimentary.

The first I knew of Porcupine Tree and Steven Wilson was when I was invited to the Classic Rock Awards in 2007. They won Album Of The Year for Fear Of A Blank Planet and I thought, ‘I’ll give that a listen.’ I bought that and Deadwing and became a fan. I like the weirdness, the darkness and their time changes.

Flying Colors’ Flying Colors was my favourite album of last year. I got into them by following Steve Morse from Deep Purple and reading that Mike Portnoy was in it too. It’s got The Beatles, Cheap Trick, ELO, a full-on metal song, some nice ballads; and Casey McPherson – wow, what a beautiful voice he’s got! He brings the pop to it. It’s simple enough so someone like me can understand it! But a muso would appreciate all the great playing.

Prog is more and more attractive to me as I get older. I want to hear a bit of everything

Then there’s Neal Morse: he plays and sings like an angel. I bought Momentum and that seemed very in the spirit of the Flying Colors project – go in the studio and see what happens. Paul Gilbert’s guitar playing on the main track is amazing, and the keyboard work brings it all together.

I listen to some music for meditation these days and that got me into Brian Eno. Apollo: Atmospheres And Soundtracks is on my playlist; I like that slightly dark, ambient music. I read about Blackfield having that vibe so I picked their albums up, and it led me to Anathema. We’re Here Because We’re Here is a superb album, and my favourite song is Thin Air. It’s beautiful, but not dark.

I’m a music snob! I find the variety in prog interesting and exciting – there’s only so much you can get out of a 3.15-long song. Take It Bites’ Eat Me In Saint Louis. Holy smoke! Guitar riffs, keyboards, melodies, angst; it was the soundtrack to the summer of 1989. I’m an old friend of Francis Dunnery now. I was in New York last year, flicking through what’s on and he popped up. His gig was cancelled but I went to his rehearsal. He did some classic stuff, and played me songs from Frankenstein Monster, which his brother had written at the age of 21. ‘I just had to do it,’ he said.

One song was classic hard jazzy prog, with more guitar work in that than all his albums combined! I always thought he was a good guitarist, but the shredding on this… It’s lightning fast. Four solos in a song. That’s why prog is more and more attractive to me as I get older. I want to hear a bit of everything – some beautiful ELO stuff, some Priest, some of my dad’s piano playing – that’s prog.

When playing sport, music gets you through; it focuses you. It’s fun to know it goes the other way too. The guys in Maiden are very good tennis players and Adrian Smith has a Wimbledon title for a celebrity tennis event. I’ve played with Ian Gillan and I gave Robert Plant his first hit in Sydney. He now plays two or three times a week!”

Status Quo have confirmed details of the long-awaited expanded edition of their classic 1976 live album Status Quo – Live!. The eight-CD package will arrive via Edsel Records on May 16 and include a newly remastered version of the original release – compiled from recordings taped over three nights at the Glasgow Apollo in Scotland in October 1976 – in addition to the three sets in their entirety.

The set will be released as a 7” box containing the 8CDs, and a 24-page illustrated booklet featuring 4000 words of liner notes from Classic Rock writer and official boogie brother #1 Dave Ling and an article by AVP Studio’s Andy Gamble, who was responsible for the remastering.

In addition, a double vinyl version of the show recorded on October 27, 1976 will be released on April 12, Record Store Day. It’ll be available in two coloured vinyl variants, blue and “ticket stub mint.” Full tracklist below.

The Super Deluxe Edition of Status Quo – Live! is available to pre-order now.

Status Quo – Live!: Super Deluxe Edition tracklist

Disc One: Live!
Junior’s Wailing
Backwater
Just Take Me
Is There A Better Way
In My Chair
Little Lady
Most Of The Time
Rain
Forty-Five Hundred Times

Disc Two: Live!
Roll Over Lay Down
Big Fat Mama
Don’t Waste My Time
Roadhouse Blues
Caroline
Bye Bye Johnny

Disc Three : 27th October 1976
Junior’s Wailing
Backwater
Just Take Me
Is There A Better Way
In My Chair
Little Lady
Most Of The Time
Rain
Forty-Five Hundred Times

Disc Four: 27th October 1976
Roll Over Lay Down
Big Fat Mama
Don’t Waste My Time
Roadhouse Blues
Caroline
Bye Bye Johnny

Disc Five : 28th October 1976
Junior’s Wailing
Backwater
Just Take Me
Is There A Better Way
In My Chair
Little Lady
Most Of The Time
Rain
Forty-Five Hundred Times

Disc Six: 28th October 1976
Roll Over Lay Down
Big Fat Mama
Don’t Waste My Time
Roadhouse Blues
Caroline
Bye Bye Johnny

Disc Seven: 29th October 1976
Junior’s Wailing
Backwater
Just Take Me
Is There A Better Way
In My Chair
Little Lady
Most Of The Time
Rain
Forty-Five Hundred Times

Disc Eight: 29th October 1976
Roll Over Lay Down
Big Fat Mama
Don’t Waste My Time
Roadhouse Blues
Caroline
Bye Bye Johnny

The son of Kiss stars Paul Stanley and Gene Simmons seem to have recorded 10 songs together.

Evan Stanley and Nick Simmons recently shared photos of themselves with recording equipment and the caption “one song turned into 10 real quick.” Their next post, embedded below, featured them performing an unnamed original song with guitarist Jacob Bunton.

Evan’s father Paul was quick to declare the clip “magic!!!,” while Nick’s sister Sophie chimed in: “We want the album.”

Last December the duo shared a video clip featuring their live performance of Simon and Garfunkel‘s “The Sound of Silence” on Instagram, which the elder Simmons labeled “amazing.”

Read More: How Kiss Learned About ‘Gobbing’

Evan Stanley’s band Amber Wild served as the opening act on the final leg of Kiss’ End of the Road farewell tour. Nick Simmons sang on the track “Hand of the King” from former Kiss guitarist Bruce Kulick‘s 2010 album BK3 and on the song “Carnival of Souls” from his father’s 2004 album Asshole.

Just don’t expect them to put on their fathers’ famous makeup and turn into Kiss 2.0. “People keep asking that constantly, and it’s, like, dude, you can look at like a thousand interviews where my dad says it, Gene says it, I say it, Nick says it. It’s, like, no,” the younger Stanley told Misplaced Straws last year.

“That’s my dad’s thing. I’m busy with my thing. I appreciate it. I’m grateful for it. I love it. I’m a fan of the music. I’m a fan of the show. I’ve gotten to have a really unique and very wonderful life as a direct result of it. Do I wanna put the makeup on and be ‘Baby Paul‘? Fuck no. I’ve got my own thing going.”

Kiss Lineup Changes: A Complete Guide

An in-depth guide to all of the personnel changes undergone by the “hottest band in the land,” Kiss.

Gallery Credit: Jeff Giles

More From Ultimate Classic Rock

Revenge has always been a potent force in rock and roll. Whether fueled by betrayal, injustice, or pure rage, vengeance has inspired some of the most searing, unforgettable songs in music history. From anthems of righteous fury to sinister tales of payback, these songs explore the many shades of retribution—some calculated, some explosive, but all relentless. The artists behind them have channeled personal grievances, social unrest, and raw emotion into music that refuses to be ignored. Whether revenge is served cold or with a fiery immediacy, these songs prove that when it comes to rock and roll, payback can be just as powerful as love or loss.

Judas Priest turned defiance into an art form with “You’ve Got Another Thing Coming,” a heavy metal battle cry that made standing tall against adversity feel like an act of revenge in itself. Alice Cooper, never one to shy away from dark theatrics, made vengeance the central theme of “Vengeance Is Mine,” a track soaked in sinister intent. Disturbed delivered a thunderous reckoning with “The Vengeful One,” embodying an avenger taking justice into his own hands. Carly Simon, armed with biting lyricism, tore into her adversaries with “Vengeance,” proving that a well-placed lyrical dagger can cut just as deep as any act of revenge.

Blue Öyster Cult wove a tale of retribution with “Vengeance,” blending their signature mystique with an unrelenting pursuit of justice. Aerosmith’s “Janie’s Got a Gun” painted one of the most harrowing revenge stories in rock history, detailing a survivor’s ultimate retaliation. Waylon Jennings offered a country spin on payback with “Mental Revenge,” where bitterness and cold satisfaction replaced outright violence. The Veronicas took a modern, sharp-edged approach to revenge with “Revenge Is Sweeter (Than You Ever Were),” proving that heartbreak can be the ultimate weapon.

Vengeance has many forms in music, from whispered threats to all-out war cries, but one thing remains constant—it demands to be heard. These songs don’t just dwell on past wrongs; they transform fury into something larger, something cathartic. Whether it’s a tale of justice, betrayal, or unrelenting payback, each track on this list is a testament to the enduring power of vengeance in rock and roll.

# 10 – Revenge Is Sweeter (Than You Ever Were) – The Veronicas

The Veronicas delivered a scathing, no-holds-barred breakup anthem with “Revenge Is Sweeter (Than You Ever Were),” a standout track from their 2007 album Hook Me Up. Recorded at Henson Recording Studios in Los Angeles and produced by Toby Gad, the song abandoned the album’s electro-pop sheen for a more raw, guitar-driven sound that amplified its venomous intent. Lisa and Jessica Origliasso co-wrote the track with Gad, crafting lyrics that drip with unapologetic spite as they dismantle a failed relationship with ruthless precision.

Lines like “I hope you choke on every word you spoke when you were screaming at me” remove any ambiguity—this isn’t about heartbreak, it’s about retribution. The harmonies, usually the sisters’ signature for soaring melodies, take on a sharp, biting edge, reinforcing the song’s theme of emotional reckoning. While Hook Me Up reached No. 2 on the ARIA Albums Chart, “Revenge Is Sweeter (Than You Ever Were)” earned its place as a cult favorite among fans, proving that sometimes, the best closure is a track that hits harder than any apology ever could.

Read More: Top 10 Songs By The Veronicas

# 9 – This Means War – Joan Jett and The Blackhearts

“This Means War” is a track by Joan Jett and the Blackhearts from their fifth studio album, Good Music, released on December 9, 1986. The album was recorded at multiple studios, including Record Plant in New York City; Nino Studios in Baldwin, New York; Broccoli Rabe in Fairfield, New Jersey; and Kingdom Sound Studios in Syosset, New York. Production credits for the album include Kenny Laguna, Thom Panunzio, John Aiosa, Mark S. Berry, Larry Smith, and Reggie Griffin. The Blackhearts’ lineup on this album featured Joan Jett on lead vocals and rhythm guitar, Ricky Byrd on lead guitar and backing vocals, Gary Ryan on bass and backing vocals, and Lee Crystal on drums. “This Means War” was also featured on the soundtrack of the 1987 film Light of Day, in which Joan Jett made her acting debut. While the album did not achieve significant commercial success, the title track “Good Music” peaked at number 83 on the Billboard Hot 100.

Read More: 10 Most Rocking Joan Jett Songs

# 8 – The Book – Sheryl Crow

“The Book” was recorded for Sheryl Crow, the artist’s self-titled second studio album, released on September 24, 1996. The album was produced by Sheryl Crow alongside Tchad Blake and Mitchell Froom, with recording sessions taking place at Kingsway Studios in New Orleans and Sunset Sound Factory in Los Angeles. Crow handled vocals, guitar, bass, and keyboards, while other contributing musicians included Michael Urbano on drums, Dan Schwartz on bass, and Jeff Trott on guitar. The track fit within the album’s darker, more introspective tone, a departure from the polished pop-rock of Tuesday Night Music Club.

Lyrically, “The Book” embodied the theme of betrayal and disillusionment, making it a fitting entry in the category of vengeful songs. Crow’s lyrics painted a picture of a protagonist who has discovered the truth about a deceitful lover, using the metaphor of a book to illustrate the permanence of written memories that expose their lies. Lines such as “I read it all, there’s nothing left to say” and “You left your story on every page” underscored the bitterness and finality of the song’s message. The steady rhythm and atmospheric production gave the track a brooding quality, reinforcing the song’s sense of resignation rather than explosive anger.

While Sheryl Crow produced hits like “If It Makes You Happy” and “Everyday Is a Winding Road,” “The Book” remained an album deep cut, appreciated by fans for its layered production and candid lyrics. The album itself reached No. 6 on the Billboard 200 and earned Crow two Grammy Awards, solidifying her status as one of the most distinct voices in rock during the 1990s. The song’s reflection on deception and consequence cemented its place in the canon of vengeful tracks, offering a more subdued but equally cutting take on the theme.

Read More: Top 10 Sheryl Crow Songs: Deep Tracks

# 7 – The Vengeful One – Disturbed

“The Vengeful One” was recorded for Immortalized, the sixth studio album by Disturbed, released on August 21, 2015. The album marked the band’s return after a four-year hiatus and was produced by Kevin Churko at The Hideout Recording Studio in Las Vegas. The lineup featured David Draiman on vocals, Dan Donegan on guitar, Mike Wengren on drums, and John Moyer on bass, delivering the band’s signature fusion of heavy metal and hard rock. The song was released as the album’s lead single on June 23, 2015, reintroducing Disturbed with an aggressive, anthemic sound that aligned with their previous work while incorporating modern production elements.

Lyrically, “The Vengeful One” embodied a narrative of retribution and justice, presenting an avenger figure who rises to deliver punishment upon a corrupt world. Draiman’s lyrics painted a dystopian vision, condemning a society driven by violence, media manipulation, and moral decay. Lines like “I’m the hand of God / I’m the dark messiah / I’m the vengeful one” depicted the protagonist as a force of reckoning, while “So sleep soundly in your beds tonight / For judgement falls upon you at first light” reinforced the song’s ominous, apocalyptic tone. The music video, directed by Phil Mucci, expanded on these themes with animated sequences depicting a masked vigilante executing his own brand of justice against a corrupt establishment.

Commercially, “The Vengeful One” performed well, reaching No. 1 on the Billboard Mainstream Rock Songs chart, making it Disturbed’s fourth song to achieve that position. The song helped propel Immortalized to No. 1 on the Billboard 200, marking the band’s fifth consecutive album to top the chart. With its thunderous instrumentation, confrontational lyrics, and cinematic visuals, “The Vengeful One” solidified itself as one of the band’s most thematically intense tracks, earning its place among the most vengeful songs in rock and metal.

Read More: Top 10 Disturbed Songs

# 6 – Vengeance is Mine – Alice Cooper

Alice Cooper built a career on dark, theatrical storytelling, and Along Came a Spider took that concept to a sinister extreme. “Vengeance Is Mine” stood out as one of the album’s most menacing moments, capturing the thoughts of a remorseless killer who saw revenge as his right. The song was recorded at Blue Room Studios and Anarchy Studios in Los Angeles, with production by Greg Hampton and Danny Saber. It featured a guest appearance by Slash, whose fiery guitar solo intensified the track’s unrelenting fury. By the time Cooper delivered the chilling refrain, “To forgive is divine, but vengeance is mine,” there was no mistaking the song’s place in his long tradition of macabre rock anthems.

Revenge fueled the song’s relentless momentum, making it a natural fit for this list. While Disturbed’s “The Vengeful One” framed vengeance as a larger-than-life force of reckoning, Cooper’s version was more intimate, portraying a single character reveling in his power. The lyrics painted a grim picture of suffering and payback, echoing the brutality of other songs on this list. In contrast to Sheryl Crow’s “The Book,” which took a more sorrowful and reflective approach to betrayal, “Vengeance Is Mine” abandoned any trace of regret. Instead, it thrived on aggression, mirroring the cold-blooded determination found in Joan Jett and The Blackhearts’ “This Means War.”

Musically, the track carried the weight of its subject matter, with driving riffs and a relentless tempo amplifying the song’s intensity. Unlike Sheryl Crow’s subdued delivery or the layered production of The Veronicas’ “Revenge Is Sweeter (Than You Ever Were),” this track relied on pure, unfiltered rage. The combination of Cooper’s venomous vocals and Slash’s blistering guitar work made “Vengeance Is Mine” one of the album’s heaviest moments, proving that Cooper’s ability to craft sinister revenge tales remained as sharp as ever.

Read More: 10 Most Heavy Rocking Alice Cooper Songs

# 5 – Janie’s Got a Gun – Aerosmith

Aerosmith took a dark, cinematic approach to revenge with “Janie’s Got a Gun,” a harrowing narrative of a young woman retaliating against years of abuse. The song was recorded at Little Mountain Sound Studios in Vancouver and produced by Bruce Fairbairn for Pump, the band’s 1989 album that revitalized their career. Steven Tyler, who conceived the song’s premise after reading about child abuse cases, spent months perfecting the lyrics. Joe Perry’s moody guitar work and Joey Kramer’s ominous drumbeat set the stage for one of the band’s most intense and socially conscious tracks.

Unlike many revenge songs that revel in their aggression, “Janie’s Got a Gun” delivered its fury with a sense of sorrow and inevitability. The lyrics painted a grim picture of justice served at gunpoint, much like the retribution found in Alice Cooper’s “Vengeance Is Mine,” though Cooper’s track embraced its violence with theatrical glee, while Aerosmith’s took a more tragic tone. Where Disturbed’s “The Vengeful One” channeled anger on a grand scale, Aerosmith grounded their story in something far more personal. The song’s chilling refrain—“Run away, run away from the pain”—underscored the desperation behind Janie’s decision, making it more haunting than celebratory.

Musically, the track blended the band’s blues-rock roots with orchestral elements, creating a dramatic atmosphere that separated it from their usual anthemic style. It became one of Aerosmith’s most critically lauded songs, winning a Grammy for Best Rock Performance by a Duo or Group and reaching No. 4 on the Billboard Hot 100. The accompanying video, directed by David Fincher, reinforced its unsettling themes, adding another layer of intensity. Compared to Joan Jett and The Blackhearts’ “This Means War,” which exuded defiant energy, “Janie’s Got a Gun” was slower, moodier, and far more devastating in its depiction of revenge.

Read More: Tom Hamilton of Aerosmith: The ClassicRockHistory.com Interview

Read More: Joe Perry of Aerosmith Interview: 13 Albums That Changed My Life

# 4 – Vengeance – Blue Oyster Cult

Blue Öyster Cult brought their signature blend of hard rock and mysticism to “Vengeance,” a track from their 1981 album Fire of Unknown Origin. The song was recorded at Kingdom Sound in Long Island, New York, with Martin Birch handling production, a role he had perfected on Heaven and Hell for Black Sabbath and Piece of Mind for Iron Maiden. The lineup featured Eric Bloom on vocals and keyboards, Donald “Buck Dharma” Roeser on guitar, Allen Lanier on keyboards, Joe Bouchard on bass, and Albert Bouchard on drums. Lyrically, “Vengeance” was tied to the cult animated film Heavy Metal, specifically referencing the storyline of the warrior Taarna, who seeks retribution for her fallen people.

The lyrics painted a vivid picture of a merciless pursuit of justice, echoing the themes found in Aerosmith’s “Janie’s Got a Gun,” but with a more fantastical, sword-and-sorcery spin. Where Aerosmith’s track delivered a personal, tragic form of revenge, Blue Öyster Cult’s was an operatic battle cry, steeped in myth and spectacle. The chorus, declaring, “To avenge, this is the pact,” reinforced the idea of vengeance as an inescapable duty, much like Alice Cooper’s “Vengeance Is Mine,” though Cooper’s take was more theatrical and driven by a sinister sense of personal retribution.

Musically, “Vengeance” leaned on the band’s signature eerie atmosphere, with Roeser’s guitar work providing a dramatic backdrop for Bloom’s commanding vocals. The song fit seamlessly within Fire of Unknown Origin, which was one of the band’s most critically acclaimed albums, reaching No. 24 on the Billboard 200. Compared to the relentless aggression of Disturbed’s “The Vengeful One,” Blue Öyster Cult’s approach was more cinematic, building tension rather than delivering immediate impact. The song stood as a prime example of the band’s ability to merge literary and cinematic influences with hard rock power, making it a compelling entry in the catalog of vengeance-fueled anthems.

Read More: Eric Bloom of Blue Öyster Cult: The ClassicRockHistory.com Interview

# 3 – Mental Revenge – Waylon Jennings

Waylon Jennings recorded “Mental Revenge” for his 1968 album Jewels, bringing his signature blend of outlaw country grit and honky-tonk swagger to Mel Tillis’s composition. The album was recorded in Nashville, Tennessee, during Jennings’ early years with RCA Victor, produced by Chet Atkins, who helped shape the smooth yet rebellious sound of Jennings’ work at the time. With its biting lyrics and slow-burning intensity, the song exemplified Jennings’ ability to inject raw emotion into traditional country storytelling.

Lyrically, “Mental Revenge” embodied the very essence of vengefulness, not through physical retaliation but through the narrator’s wish for karma to take its course. Lines such as “I hope that the friend that you’ve thrown yourself on / Gets drunk and loses his job” dripped with sarcasm and bitter satisfaction, similar in theme to Sheryl Crow’s “The Book,” though Jennings’ take was more direct and devoid of any pretense of moving on. Compared to the unrelenting fury of Alice Cooper’s “Vengeance Is Mine,” Jennings’ approach was more measured, yet just as cutting, proving that retribution didn’t always require violent action—sometimes, it only needed a sharp tongue and a dose of poetic justice.

Musically, the track relied on Jennings’ rich baritone and a tight, restrained arrangement that underscored the song’s simmering resentment. Unlike the explosive energy of Disturbed’s “The Vengeful One,” “Mental Revenge” operated on an undercurrent of smoldering payback, making it a unique entry in the vengeful songbook. Over the years, the song gained further recognition through covers by artists like Gram Parsons and Linda Ronstadt, solidifying its place as one of country music’s most enduring expressions of heartbreak-fueled retribution.

Read More: Top 10 Waylon Jennings Songs

# 2 – Vengeance – Carly Simon

Carly Simon’s “Vengeance” was recorded for her 1979 album Spy, marking a shift toward a harder, more rock-oriented sound compared to her earlier folk-pop material. Produced by Arif Mardin, the album was recorded at Atlantic Studios in New York City, with Simon working alongside a lineup of skilled session musicians, including guitarists Billy Mernit and Eric Gale, bassist Tony Levin, and drummer Rick Marotta. The song was released as the lead single from Spy and became notable for earning Simon a Grammy nomination for Best Rock Vocal Performance, Female—one of the earliest nods to a woman in that category.

Lyrically, “Vengeance” captured the essence of calculated retribution, weaving a narrative of power struggles and justice meted out in a world where betrayal carries consequences. The interplay between the law and personal revenge played out in verses where authority figures enforce punishment, yet the song’s protagonist refuses to be cowed. The refrain—”That’s vengeance, he said, that’s the law”—underscored the theme of accountability, blurring the line between institutional punishment and personal payback. This concept paralleled the ominous justice-seeker in Disturbed’s “The Vengeful One,” but Simon’s take was grounded in the everyday, turning raw emotion into a statement on control and independence.

Musically, “Vengeance” had a biting intensity, driven by assertive guitar work and Simon’s powerful vocal delivery. While it lacked the full-throttle aggression of Alice Cooper’s “Vengeance Is Mine,” it carried an air of steely resolve, making its case through sharp lyricism rather than sheer sonic force. Among the vengeful songs on this list, Simon’s contribution stood out for its feminist undertones—where many tracks in the genre framed revenge as violent reckoning, “Vengeance” painted it as a battle for agency and self-respect.

Read More: Top 10 Carly Simon Songs

# 1 – You’ve Got Another Thing Coming – Judas Priest

Judas Priest recorded “You’ve Got Another Thing Coming” for their eighth studio album, Screaming for Vengeance, released on July 17, 1982. The song was recorded at Ibiza Sound Studios in Spain and produced by Tom Allom, who had worked with the band on several previous albums. Rob Halford delivered the commanding lead vocals, with K.K. Downing and Glenn Tipton on guitars, Ian Hill on bass, and Dave Holland on drums. Initially not expected to be a breakout hit, the song gained traction in the United States, where it became one of the band’s signature tracks and a staple of their live performances.

Lyrically, “You’ve Got Another Thing Coming” was an anthem of defiance and perseverance, perfectly fitting within the theme of vengeance that runs through this list. Unlike the direct, personal revenge narratives found in “Janie’s Got a Gun” or “Vengeance Is Mine,” Judas Priest framed retaliation as a larger-than-life statement of resilience. The song’s lyrics, with lines like “One life, I’m gonna live it up,” projected a fearless determination to push back against adversity. It shared a similar unbreakable spirit with Blue Öyster Cult’s “Vengeance,” though Priest’s approach was less about avenging wrongs and more about proving one’s strength against opposition.

Musically, the track was built on a steady, chugging guitar riff that reinforced its relentless message. Halford’s soaring vocals added intensity, turning the song into a battle cry for standing tall in the face of resistance. Compared to the ominous, cinematic storytelling of Disturbed’s “The Vengeful One,” “You’ve Got Another Thing Coming” leaned into a classic heavy metal ethos—powerful, confident, and unapologetic. While other songs on this list dealt with dark, vengeful acts of violence or betrayal, Judas Priest took a broader approach, crafting an anthem that turned vengeance into triumph.

Read More: 10 Judas Priest Songs

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20 Most Vengeful Songs Of All Time article published on Classic RockHistory.com© 2025

Talking Heads reshaped the musical landscape of the late 1970s and 1980s, crafting an innovative fusion of new wave, art rock, and funk that remains influential decades later. The band formed in 1975 in New York City, where frontman David Byrne, drummer Chris Frantz, and bassist Tina Weymouth—three students from the Rhode Island School of Design—relocated to the city’s thriving punk scene. With their avant-garde sensibilities and minimalist aesthetic, they became a fixture at CBGB, the legendary Bowery club that also launched acts like The Ramones and Blondie. Their lineup was completed in 1977 with the addition of Jerry Harrison, formerly of The Modern Lovers, on keyboards and guitar. This four-piece configuration would go on to define the band’s signature sound: cerebral, danceable, and constantly evolving.

Between 1977 and 1988, Talking Heads released eight studio albums, each pushing boundaries and exploring new musical directions. Their debut, Talking Heads: 77, introduced them with jittery, angular guitar work and offbeat lyricism, most notably on “Psycho Killer,” which became their first major single. With More Songs About Buildings and Food (1978), they began their long-running collaboration with producer Brian Eno, leading to a richer, more rhythmic sound. Fear of Music (1979) experimented with darker, more textured compositions, while Remain in Light (1980) incorporated African polyrhythms and funk grooves, resulting in one of their most groundbreaking works. Throughout the 1980s, albums like Speaking in Tongues (1983) and Little Creatures (1985) brought them greater commercial success, culminating in their final studio release, Naked (1988).

Talking Heads’ music yielded numerous hit singles that remain staples of rock and new wave playlists. “Burning Down the House,” from Speaking in Tongues, became their biggest Billboard Hot 100 hit, peaking at No. 9 in 1983. “Once in a Lifetime” failed to chart high upon its initial release but later became one of their most iconic songs, thanks to its surreal music video and Byrne’s now-legendary performance. Other notable singles included “Life During Wartime,” “And She Was,” and “Wild Wild Life,” the latter of which won an MTV Video Music Award. While Talking Heads never dominated the singles charts, their influence and critical acclaim far exceeded conventional chart metrics.

The band received significant recognition for their contributions to music. In 2002, they were inducted into the Rock and Roll Hall of Fame, a moment made all the more memorable as they briefly reunited for the occasion. Their concert film Stop Making Sense (1984), directed by Jonathan Demme, is widely regarded as one of the greatest music documentaries of all time, praised for its innovative cinematography and the band’s dynamic stage presence. In addition to their Hall of Fame induction, Talking Heads’ influence has been acknowledged by countless artists and critics, with Remain in Light often cited among the greatest albums in rock history.

Beyond their musical output, Talking Heads are beloved for their artistic fearlessness and their ability to blend the cerebral with the visceral. Byrne’s erratic stage movements and surreal lyrics, Weymouth’s fluid basslines, Frantz’s driving rhythms, and Harrison’s textured synth work made them more than just another rock band; they were sonic architects constructing something entirely new. Their music videos, particularly those from Speaking in Tongues and Little Creatures, helped redefine the medium, utilizing stop-motion animation, conceptual visuals, and performance art elements long before they became industry standards.

Individually, the members of Talking Heads have made significant contributions outside of the band. Byrne has had a prolific solo career, delving into world music, scoring films, and even winning an Academy Award for his work on The Last Emperor soundtrack. Weymouth and Frantz formed Tom Tom Club, which scored a massive hit with “Genius of Love,” a track sampled extensively in hip-hop and pop music. Harrison became a successful producer, working with artists like Live and No Doubt. Their collective contributions extend well beyond their time as a band, influencing multiple generations of musicians and visual artists.

Talking Heads’ legacy is one of reinvention and fearless experimentation. While they disbanded in 1991, their music remains as fresh and relevant as ever, continuously finding new audiences through reissues, documentaries, and samples in contemporary music. Their blend of intelligence, rhythm, and unpredictability ensures that their place in rock history is not merely as a band of their time, but as a band for all time.

David Byrne

David Byrne was the creative force at the heart of Talking Heads, serving as the band’s lead vocalist and primary songwriter from its formation in 1975 until its disbandment in 1991. Byrne’s distinctive voice, angular guitar playing, and enigmatic stage presence defined the band’s sound and image, helping to elevate them from the New York punk scene to international recognition. He played on all eight of the band’s studio albums, beginning with Talking Heads: 77 (1977), which introduced their nervy, minimalist style with songs like “Psycho Killer.” As the band evolved, Byrne’s songwriting became more complex, incorporating influences from funk, African rhythms, and experimental electronic music, particularly on albums such as Remain in Light (1980) and Speaking in Tongues (1983). He was instrumental in crafting the band’s conceptual and visual elements, including the theatrical Stop Making Sense (1984) concert film.

Beyond Talking Heads, Byrne has had a prolific solo career, releasing albums such as Rei Momo (1989) and American Utopia (2018), the latter of which spawned an acclaimed Broadway show. He has collaborated with artists ranging from Brian Eno to St. Vincent and has explored film, theater, and literature, winning an Academy Award for his work on The Last Emperor (1987). His work in world music, multimedia projects, and urban design continues to make him one of the most innovative musicians of his generation.

Chris Frantz

Chris Frantz was the rhythmic backbone of Talking Heads, playing drums and providing backing vocals throughout the band’s career. Co-founding the band with David Byrne in 1975 while both were students at the Rhode Island School of Design, Frantz’s drumming anchored their early, stripped-down sound on Talking Heads: 77 and More Songs About Buildings and Food (1978). As the band’s music expanded, so did his approach to rhythm, particularly on Fear of Music (1979) and Remain in Light, where his collaboration with bassist Tina Weymouth laid the groundwork for some of the most infectious grooves in rock history.

Outside of Talking Heads, Frantz co-founded Tom Tom Club with Weymouth, releasing a self-titled debut in 1981 that included the hit “Genius of Love.” The duo continued to record and tour under the Tom Tom Club banner, blending funk, reggae, and hip-hop influences. Frantz has also worked as a producer, contributing to albums by artists like Happy Mondays. His memoir, Remain in Love (2020), provides an intimate look at his experiences in Talking Heads and his lifelong partnership with Weymouth.

Tina Weymouth

Tina Weymouth’s fluid, melodic bass playing was a defining element of Talking Heads’ sound, providing the foundation for their groove-oriented approach. Joining the band in 1975, she initially had little experience as a bassist but quickly developed a style that blended funk, punk, and dance music. Her work on More Songs About Buildings and Food and Fear of Music helped transform the band’s rhythmic sensibilities, culminating in the groundbreaking Remain in Light, where her basslines propelled tracks like “Once in a Lifetime.” Weymouth’s ability to adapt to different styles continued on Speaking in Tongues and Little Creatures (1985), demonstrating her versatility as a musician.

Her most significant work outside of Talking Heads has been with Tom Tom Club, where she took on a more prominent role as a vocalist and producer. The group’s dance-friendly sound was embraced by hip-hop and electronic artists, leading to frequent sampling of their music. Weymouth has also collaborated with artists such as Gorillaz and has remained active in music, though she has largely stepped away from mainstream commercial projects.

Jerry Harrison

Jerry Harrison joined Talking Heads in 1977, just before the recording of More Songs About Buildings and Food, bringing an essential new dimension to their sound with his keyboard work and additional guitar parts. His background with The Modern Lovers gave him a strong foundation in minimalist rock, but his contributions to Talking Heads expanded as their music became more complex. On Fear of Music and Remain in Light, his synthesizer and organ textures added depth and atmosphere, making the band’s experiments with African polyrhythms and electronic music even more compelling. Harrison also played a key role in shaping Speaking in Tongues and Little Creatures, helping to refine the band’s sound as they moved toward more accessible material.

Following Talking Heads, Harrison pursued a solo career, releasing albums such as The Red and the Black (1981) and Casual Gods (1988). However, his most notable post-Heads work has been as a producer, collaborating with artists like Violent Femmes, Live, and No Doubt. His influence as a producer has helped shape the sound of alternative rock in the decades following Talking Heads’ dissolution.

The Monkees were not just a band but a cultural phenomenon born from a unique intersection of television and music in the 1960s. Conceived in Los Angeles, California, as a made-for-TV group, The Monkees consisted of four charismatic members: Davy Jones, Micky Dolenz, Michael Nesmith, and Peter Tork. Each member brought distinct talents to the table—Jones with his Broadway experience and boyish charm, Dolenz with his comedic acting and vocal range, Nesmith with his songwriting and instrumental prowess, and Tork as a multi-instrumentalist with a folk music background. Though they initially came together as actors for a sitcom, their journey evolved into a genuine musical legacy.

The band’s inception was unconventional. The Monkees were formed in 1965 through a casting call for a television show about a fictional rock band, inspired by the success of A Hard Day’s Night. Producers Bob Rafelson and Bert Schneider envisioned a series that would capture the spirit of the youth counterculture. Out of over 400 applicants, Jones, Dolenz, Nesmith, and Tork were selected for their chemistry and potential. Initially, the group’s music was overseen by session musicians and producers like Don Kirshner, leading to their debut self-titled album in 1966. It featured hits like “Last Train to Clarksville” and “(Theme From) The Monkees,” cementing their immediate success.

The Monkees quickly transitioned from being actors playing a band to becoming legitimate musicians. By their third album, Headquarters (1967), they fought for and gained creative control, writing and performing their own music. This marked a pivotal moment in their career, showcasing their musical capabilities. Albums such as Pisces, Aquarius, Capricorn & Jones Ltd. (1967) further demonstrated their growth, featuring iconic tracks like “Pleasant Valley Sunday” and “Daydream Believer.” These songs became staples of the 1960s pop-rock canon, combining infectious melodies with introspective lyrics that resonated with a wide audience.

Throughout their career, The Monkees released 13 studio albums, including The Birds, The Bees & The Monkees (1968) and Instant Replay (1969). Their experimentation with various styles, from bubblegum pop to psychedelic rock, reflected the era’s evolving music scene. Their 1968 cult classic film Head and its accompanying soundtrack, though initially polarizing, later gained recognition for its avant-garde approach and subversive commentary on fame and commercialism.

Despite disbanding in 1971, The Monkees experienced numerous revivals and reunions, with members reuniting for tours and new recordings. The 1986 MTV resurgence brought them back into the spotlight, leading to the release of the album Pool It! (1987). In 1996, they celebrated their 30th anniversary with Justus, the first album since the 1960s to feature all four original members. Their later work, such as Good Times! (2016), received critical acclaim for seamlessly blending nostalgia with contemporary sounds.

The Monkees’ influence on pop culture is undeniable. They earned numerous accolades, including two Emmy Awards for their groundbreaking television series. Their ability to blend humor, satire, and music set a template for future acts and shows. Beyond their chart-topping singles, The Monkees left a lasting legacy with over 75 million records sold worldwide.

Outside of music, members pursued individual paths that showcased their multifaceted talents. Davy Jones continued to captivate audiences with his stage performances, while Micky Dolenz expanded his career into directing and voice acting. Michael Nesmith became a pioneer in music video production and a respected solo artist, and Peter Tork advocated for music education while exploring folk music.

The Monkees remain beloved not only for their catchy tunes and innovative TV show but also for their enduring ability to connect with fans across generations. Their blend of humor, heart, and harmony has solidified their place as one of the most cherished acts in pop history.

(A-D)

“99 Pounds” – Changes (1967)
“Acapulco Sun” – Changes (1970)
“Admiral Mike” – Justus (1996)
“All Alone in the Dark” – Changes (1970)
“All of Your Toys” – Missing Links (1967)
“All the King’s Horses” – Missing Links Volume Two (1966)
“Angel Band” – Missing Links Volume Three (1969)
“Angels We Have Heard on High” – Christmas Party (2018)
“Anytime, Anyplace, Anywhere” – Then & Now… The Best of The Monkees (1986)
“Apples, Peaches, Bananas and Pears” – Missing Links (1966)
“As We Go Along” – Head (1968)
“Auntie’s Municipal Court” – The Birds, The Bees & The Monkees (1968)
“Band 6” – Headquarters (1967)
“Banjo Jam” – The Headquarters Sessions (1967)
“A Better World” – Good Times! (2016, bonus track)
“Birth of an Accidental Hipster” – Good Times! (2016)
“Black and Blue” – Headquarters (2022 Super Deluxe CD Reissue) (1967)
“Blues” – The Headquarters Sessions (1967)
“Bye Bye Baby Bye Bye” – The Monkees Present (1969)
“California Here I Come” – Head (2010 Rhino Handmade deluxe CD reissue) (1968)
“Can You Dig It?” – Head (1968)
“Cantata and Fugue in C and W (Six-String Improvisation)” – The Headquarters Sessions (1967)
“Carlisle Wheeling” – Missing Links (1967)
“Changes” – Missing Links Volume Two (1968)
“Christmas Is My Time of Year” – Christmas Is My Time of Year (single) (1976)
“Christmas Party” – Christmas Party (2018)
“The Christmas Song” – Christmas Party (2018)
“Circle Sky” – Head (1967)
“Circle Sky” (remake with alternate lyrics) – Justus (1996)
“Come On In” – Missing Links Volume Two (1968)
“Counting on You” – Pool It! (1987)
“Cripple Creek” (live version) – Live 1967 (1967)
“The Crippled Lion” – Missing Links Volume Two (1968)
“Cuddly Toy” – Pisces, Aquarius, Capricorn & Jones Ltd. (1967)
“D. W. Washburn” – Monkee Business (1968)
“Daddy’s Song” – Head (1968)
“Daily Nightly” – Pisces, Aquarius, Capricorn & Jones Ltd. (1967)
“Dandruff?” – Head (1968)
“The Day We Fall in Love” – More of the Monkees (1966)
“Daydream Believer” – The Birds, The Bees & The Monkees (1967)
“Ditty Diego – War Chant” – Head (1968)
“Do It in the Name of Love” – Do It in the Name of Love (single) (1970)
“Do You Feel It Too?” – Changes (1970)
“Don’t Be Cruel” – The Headquarters Sessions (1967)
“Don’t Bring Me Down” – Pool It! (1987)
“Don’t Call on Me” – Pisces, Aquarius, Capricorn & Jones Ltd. (1967)
“Don’t Listen to Linda” – Instant Replay (1967)
“Don’t Wait for Me” – Instant Replay (1968)
“The Door Into Summer” – Pisces, Aquarius, Capricorn & Jones Ltd. (1967)
“Dream World” – The Birds, The Bees & The Monkees (1968)
“Dyin’ of a Broken Heart” – Justus (1996)

(E-I)

“Early Morning Blues and Greens” – Headquarters (1967)
“Eve of My Sorrow” – Headquarters (2022 Super Deluxe CD Reissue) (1967)
“Every Step of the Way” – Pool It! (1987)
“Fever” – The Headquarters Sessions (1967)
“For Pete’s Sake” – Headquarters (1967)
“Forget that Girl” – Headquarters (1967)
“French Song” – The Monkees Present (1969)
“Gettin’ In” – Pool It! (1987)
“Girl” (live version) – Together Again (1995)
“The Girl I Knew Somewhere” – More Greatest Hits of The Monkees (1967)
“The Girl I Left Behind Me” – Instant Replay (1968)
“Goin’ Down” – Monkee Business (1967)
“Goldilocks Sometime” – Instant Replay (2011 Rhino Handmade deluxe CD reissue) (1968)
“Gonna Build a Mountain” (live version) – Live 1967 (1967)
“Gonna Buy Me a Dog” – The Monkees (1966)
“Good Clean Fun” – The Monkees Present (1968)
“The Good Earth” – The Monkees Present (1994 Rhino CD reissue, bonus track) (1969)
“Good Times!” – Good Times! (1968)
“Gotta Give It Time” – Good Times! (1967)
“Gravy” – Head (1968)
“Happy Birthday to You” – Head (1994 Rhino CD reissue, bonus track) (1968)
“Hard to Believe” – Pisces, Aquarius, Capricorn & Jones Ltd. (1967)
“Head Radio Spot” – Head (1994 Rhino CD reissue, bonus track) (1968)
“Heart and Soul” – Pool It! (1987)
“Hold on Girl (Help is on its Way)” – More of the Monkees (1966)
“Hollywood” – Missing Links Volume Three (1968)
“House of Broken Gingerbread” – Christmas Party (2018)
“How Insensitive” – Missing Links Volume Three (1968)
“I Believe You” – Justus (1996)
“I Can’t Get Her off My Mind” – Headquarters (1967)
“I Didn’t Know You Had It in You Sally (You’re a Real Ball of Fire)” – “Daydream Believer” (alternate mix, single) (1967)
“I Don’t Think You Know Me” (first recorded version) – Missing Links (1966)
“I Go Ape” – Instant Replay (2011 Rhino Handmade deluxe CD reissue) (1968)
“I Got a Woman” (live version) – Live 1967 (1967)
“I Love You Better” – Changes (1970)
“I Never Thought It Peculiar” – Changes (1966)
“(I Prithee) Do Not Ask for Love” – Missing Links Volume Two (1966)
“I Wanna Be Free” – The Monkees (1966)
“I Wanna Be Your Puppy Dog” – Headquarters (2022 Super Deluxe CD Reissue) (1967)
“I Was Born in East Virginia” – The Headquarters Sessions (1967)
“I Was There (And I’m Told I Had a Good Time)” – Good Times! (2016)
“I Wish It Could Be Christmas Every Day” – Christmas Party (2018)
“I Won’t Be the Same Without Her” – Instant Replay (1966)
“(I’d Go the) Whole Wide World” – Pool It! (1987)
“I’ll Be Back Up on My Feet” – The Birds, The Bees & The Monkees (1968)
“I’ll Be True to You” – The Monkees (1966)
“(I’ll) Love You Forever” – Pool It! (1987)
“I’ll Spend My Life with You” – Headquarters (1967)
“I’m a Believer” – More of the Monkees (1966)
“I’m Gonna Try” – The Birds, The Bees & The Monkees (1994 Rhino CD reissue, bonus track) (1968)
“(I’m Not Your) Steppin’ Stone” – More of the Monkees (1966)
“If I Ever Get to Saginaw Again” – Missing Links Volume Two (1968)
“If I Knew” – The Monkees Present (1969)
“If I Learned to Play the Violin” – Headquarters (2007 Deluxe CD Reissue) (1967)
“If You Have the Time” – Missing Links (1969)
“It’s Got to Be Love” – Changes (1970)
“It’s My Life” – Justus (1996)
“It’s Nice to Be with You” – Monkee Business (1968)
“It’s Not Too Late” – Justus (1996)

(J-O)

“Jesus Christ” – Christmas Party (2018)
“Joshua Fit the Battle of Jericho” – Headquarters (1995 Rhino CD reissue, bonus track) (1967)
“Just a Game” – Instant Replay (1968)
“Kellogg’s Jingle” – Missing Links Volume Three (1966)
“Kicks” – Then & Now… The Best of The Monkees (1986)
“The Kind of Girl I Could Love” – More of the Monkees (1966)
“I Know What I Know” – Good Times! (2016)
“Ladies Aid Society” – The Monkees Present (1966)
“Lady Jane” – “Do It in the Name of Love” (single) (1970)
“Lady’s Baby” – Missing Links (1967)
“Last Train to Clarksville” – The Monkees (1966)
“Laugh” – More of the Monkees (1966)
“Laurel and Hardy” – The Birds, The Bees & The Monkees (2010 Rhino Handmade Deluxe CD reissue) (1968)
“Let’s Dance On” – The Monkees (1966)
“Listen to the Band” – The Monkees Present (1968)
“A Little Bit Me, A Little Bit You” – “A Little Bit Me, A Little Bit You” (single) (1967)
“Little Girl” – The Monkees Present (1969)
“Little Girl (Sunny Side Up)” – Good Times! (2016)
“Little Red Rider” – Missing Links Volume Three (1969)
“Long Title: Do I Have to Do This All Over Again” – Head (1968)
“Long Way Home” – Pool It! (1987)
“Look Down” – Missing Links Volume Three (1968)
“Look Out (Here Comes Tomorrow)” – More of the Monkees (1966)
“Looking for the Good Times” – The Monkees Present (1966)
“Love is on the Way” – Headquarters (2022 Super Deluxe CD Reissue) (1967)
“Love is only Sleeping” – Pisces, Aquarius, Capricorn & Jones Ltd. (1967)
“Love to Love” – Monkee Business (also overdubbed and re-released on Good Times!) (1967)
“The Love You Got Inside” – Headquarters (2022 Super Deluxe CD Reissue) (1967)
“Love’s What I Want” – Good Times! (bonus track) (2016)
“MGBGT” (live version) – Live! (1986)
“Magnolia Simms” – The Birds, The Bees & The Monkees (1967)
“A Man Without a Dream” – Instant Replay (1968)
“Mary, Mary” – More of the Monkees (1966)
“Masking Tape” – The Headquarters Sessions (1967)
“Me & Magdelena” – Good Times! (2016)
“Me Without You” – Instant Replay (1968)
“Mele Kalikimaka” – Christmas Party (1991)
“Memphis, Tennessee” – The Headquarters Sessions (1967)
“Merry Christmas, Baby” – Christmas Party (2018)
“Merry Go Round” – Missing Links Volume Three (1968)
“Michigan Blackhawk” (a.k.a. “Down the Highway”) – Missing Links Volume Two (1969)
“Midnight (When It All Comes Down)” – Pool It! (1987)
“Midnight Train” – Changes (1969)
“Mommy and Daddy” – The Monkees Present (1968)
“The Monkees Present – Radio Promo” – The Monkees Present (1994 Rhino CD reissue, bonus track) (1969)
“Mr. Webster” – Headquarters (1967)
“My Share of the Sidewalk” – Missing Links (1968)
“Naked Persimmon” – Instant Replay (2011 Rhino Handmade deluxe CD reissue) (1968)
“Never Enough” – Justus (1996)
“Never Tell a Woman Yes” – The Monkees Present (1969)
“Nine Times Blue” – Missing Links (1968)
“No Time” – Headquarters (1967)
“Of You” – Missing Links (1966)
“Oh My My” – Changes (1970)
“Oh, What a Night” – Justus (1996)
“Oklahoma Backroom Dancer” – The Monkees Present (1969)
“Oliver Medley” (Consider Yourself, I’d Do Anything, Who Will Buy?) (live version) – 2001: Live in Las Vegas (2001)
“Opening Ceremony” – Head (1968)
“Our Own World” – Good Times! (2016)

(P-S)

(T-Z)

Check out our fantastic and entertaining The Monkees articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Complete List Of The Monkees Band Members

Top 10 Songs From The Monkees

Complete List Of The Monkees Albums And Discography

The Monkees Headquarters: Album Review

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of The Monkees Songs From A to Z article published on Classic RockHistory.com© 2025

(A)

“88 Degrees” – Black Rose (1980)
“After All” – Heart of Stone (1989)
“Again” – Cherished (1977)
“Alfie” – Chér (1966)
“Alive Again” – Living Proof (2001)
“All Because of You” – Heart of Stone (1989)
“All I Really Want to Do” – All I Really Want to Do (1965)
“All or Nothing” – Believe (1998)
“Am I Blue?” – Bittersweet White Light (1973)
“Angels in the Snow” – Christmas (2023)
“Angels Running” – It’s a Man’s World (1995)
“Apples Don’t Fall Far from the Tree” – Half-Breed (1974)

(B)

“Baby I’m Yours” – Mermaids (1990)
“Baby, I Love You” – B-side to “A Woman’s Story” (1974)
“Back on the Street Again” – I Paralyze (1982)
“Bad Love” – Foxes (1980)
“Bambini Miei” – Non-album single (1968)
“Bang Bang (My Baby Shot Me Down)” – The Sonny Side of Chér (1966)
“Bang-Bang” – Cher (1987)
“Behind the Door” – With Love, Chér (1966)
“Believe” – Believe (1998)
“Bell Bottom Blues” – Stars (1975)
“The Bells of Rhymney” – All I Really Want to Do (1965)
“Bewitched, Bothered and Bewildered” – As Time Goes By: The Great American Songbook, Volume II (2003)
“The Bigger They Come, The Harder They Fall” – Stars (1975)
“Blowin’ in the Wind” – All I Really Want to Do (1965)
“Body to Body, Heart to Heart” – Living Proof (2001)
“Book of Love” – I Paralyze (1982)
“Born with the Hunger” – Not Commercial (1994)
“Borrowed Time” – I’d Rather Believe in You (1976)
“Boys and Girls” – Prisoner (1979)
“But I Can’t Love You More” – With Love, Chér (1967)
“By Myself” – Bittersweet White Light (1973)

(C)

“Can You Fool” – Two the Hard Way (1977)
“Carnival” – Backstage (1968)
“Carousel Man” – Half-Breed (1973)
“Catch the Wind” – Chér (1966)
“Chastity’s Song (Band of Thieves)” – Chastity (1969)
“Chastity Sun” – Half-Breed (1973)
“Chiquitita” – Dancing Queen (2018)
“Chiquitita” (Spanish version) – Non-album single (2020)
“Christmas Ain’t Christmas Without You” – Christmas (2023)
“Christmas (Baby Please Come Home)” – A Rosie Christmas (1999)
“Christmas (Baby Please Come Home)” – Christmas (2023)
“Classified 1A” – Chér (UK edition) (1971)
“Classified 1A” (re-recording) – Not Commercial (1994)
“Click Song” – Backstage (1968)
“Come and Stay with Me” – All I Really Want to Do (1965)
“Come to Your Window” – The Sonny Side of Chér (1965)
“Could’ve Been You” – Love Hurts (1991)
“Crimson and Clover” – A Walk on the Moon (1999)
“Cruel War” – Chér (1966)
“Cry Like a Baby” – 3614 Jackson Highway (1969)
“Cry Myself to Sleep” – All I Really Want to Do (1965)

(D)

“Dancing Queen” – Dancing Queen (2018)
“Dangerous Times” – Cher (1987)
“Danny Boy” – Non-album single (1969)
“Dark Lady” – Dark Lady (1974)
“David’s Song” – Half-Breed (1973)
“Dead Ringer for Love” – Dead Ringer (1981)
“A Different Kind of Love Song” – Living Proof (2001)
“Disaster Cake” – Not Commercial (1994)
“Dixie” – Cherished (1977)
“Dixie Girl” – Half-Breed (1974)
“DJ Play a Christmas Song” – Christmas (2023)
“Do I Ever Cross Your Mind” – I Paralyze (1982)
“Do Right Woman, Do Right Man” – 3614 Jackson Highway (1969)
“Do You Believe in Magic” – Backstage (1968)
“Do What You Gotta Do” – Two the Hard Way (1977)
“Does Anybody Really Fall in Love Anymore?” – Heart of Stone (1989)
“Don’t Come Around Tonite” – It’s a Man’s World (1995)
“Don’t Come Cryin’ to Me” – If I Could Turn Back Time: Cher’s Greatest Hits (1989)
“Don’t Ever Try to Close a Rose” – Foxy Lady (1972)
“Don’t Hide Your Love” – Foxy Lady (1972)
“Don’t Put It on Me” – Chér (UK edition) (1971)
“Don’t Think Twice, It’s All Right” – All I Really Want to Do (1965)
“Dov’è l’amore” – Believe (1998)
“Down, Down, Down” – Foxy Lady (1972)
“Dream Baby” – All I Really Want to Do (1965)
“A Dream Is a Wish Your Heart Makes” – For Our Children Too! (1996)
“Dressed to Kill” – Closer to the Truth (2013)
“Drop Top Sleigh Ride” – Christmas (2023)

(E)

“Easy to Be Hard” – Non-album single (1969)
“Elusive Butterfly” – The Sonny Side of Chér (1965)
“Emotional Fire” – Heart of Stone (1989)

(F)

“(The Fall) Kurt’s Blues” – Not Commercial (1994)
“Fast Company” – Black Rose (1980)
“Favorite Scars” – Closer to the Truth (2013)
“Fernando” – Mamma Mia! Here We Go Again: The Movie Soundtrack (2018)
“Fire and Rain” – Chér (1971)
“Fire Down Below” – B-side to “I Got You Babe” (1993)
“Fires of Eden” – Love Hurts (1991)
“The First Time” – Non-album single (1969)
“The First Time” (re-recording) – Foxy Lady (1972)
“Fit to Fly” – Not Commercial (1994)
“Flashback” – I’d Rather Believe in You (1976)
“For What It’s Worth” – 3614 Jackson Highway (1969)
“Found Someone” – NSFW (2025)

(G)

“Games” – I Paralyze (1982)
“Gentle Foe” – Once Upon a Wheel (1971)
“Geronimo’s Cadillac” – Stars (1975)
“Gimme! Gimme! Gimme! (A Man After Midnight)” – Dancing Queen (2018)
“Girl Don’t Come” – All I Really Want to Do (1965)
“The Girl from Ipanema” – The Sonny Side of Chér (1965)
“Git Down (Guitar Groupie)” – Take Me Home (1979)
“Give Our Love a Fightin’ Chance” – Cher (1987)
“Go Now” – Backstage (1968)
“The Greatest Song I Ever Heard” – Half-Breed (1973)
“The Gunman” – It’s a Man’s World (1995)
“Gypsys, Tramps & Thieves” – Chér (1971)

(H)

“Half-Breed” – Half-Breed (1973)
“Happiness Is Just a Thing Called Joe” – Non-album single (2020)
“Happy Was the Day We Met” – Take Me Home (1979)
“Hard Enough Getting Over You” – Cher (1987)
“He Ain’t Heavy, He’s My Brother” – Chér (1971)
“He Thinks I Still Care” – All I Really Want to Do (1965)
“He Was Beautiful” – Cherished (1977)
“He’ll Never Know” – Chér (1971)
“Heart of Stone” – Heart of Stone (1989)
“Heartbreak Hotel” (Live) – Divas Las Vegas (2002)
“Hell on Wheels” – Prisoner (1979)
“Hey Joe” – With Love, Chér (1967)
“Holdin’ Out for Love” – Prisoner (1979)
“Holy Smoke!” – Prisoner (1979)
“Home” – Christmas (2023)
“Homeward Bound” – Chér (1966)
“A House Is Not a Home” – Backstage (1968)
“How Can You Mend a Broken Heart?” – Half-Breed (1973)
“How Long Has This Been Going On” – Bittersweet White Light (1973)
“Human” – Non-album single (2003)

(I)

“I’d Rather Believe in You” – I’d Rather Believe in You (1976)
“I’ll Never Stop Loving You” – Love Hurts (1991)
“I’m Blowin’ Away” – It’s a Man’s World (1995)
“I’m Gonna Love You” – B-side to “All I Really Want to Do” (1965)
“I’m in the Middle” – Chér (1971)
“I’m Just Your Yesterday” – Honky Tonk Woman (2013)
“I Believe” – Non-album single (1969)
“I Don’t Have to Sleep to Dream” – Closer to the Truth (2013)
“I Feel Something in the Air (Magic in the Air)” – Chér (1966)
“I Found Someone” – Cher (1987)
“I Found You Love” – Two the Hard Way (1977)
“I Go to Sleep” – All I Really Want to Do (1965)
“I Got It Bad and That Ain’t Good” – Bittersweet White Light (1973)
“I Got You Babe” – The Beavis and Butt-Head Experience (1993)
“I Hate to Sleep Alone” – Chér (1971)
“I Hope You Find It” – Closer to the Truth (2013)
“I Know (You Don’t Love Me No More)” – I’d Rather Believe in You (1976)
“I Like Christmas” – Christmas (2023)
“I Love Makin’ Love to You” – Two the Hard Way (1977)
“I Paralyze” – I Paralyze (1982)
“I Saw a Man and He Danced with His Wife” – Dark Lady (1974)
“I Still Haven’t Found What I’m Looking For” (Live) – Live! The Farewell Tour (2003)
“I Threw It All Away” – 3614 Jackson Highway (1969)
“I Walk Alone” – Closer to the Truth (2013)
“I Walk on Guilded Splinters” – 3614 Jackson Highway (1969)
“I Want You” – Chér (1966)
“I Wasn’t Ready” – Backstage (1968)
“I Will Wait for You” – With Love, Chér (1967)
“I Wouldn’t Treat a Dog (The Way You Treated Me)” – It’s a Man’s World (1995)
“If I Could Turn Back Time” – Heart of Stone (1989)
“If I Knew Then” – Foxy Lady (1972)
“Island” – Two the Hard Way (1977)
“It All Adds Up Now” – Backstage (1968)
“The Impossible Dream” – Backstage (1968)
“In For the Night” – Two the Hard Way (1977)
“It’s a Cryin’ Shame” – I’d Rather Believe in You (1976)
“It’s a Man’s Man’s Man’s World” – It’s a Man’s World (1995)
“It’s Not Unusual” – The Sonny Side of Chér (1965)
“It’s Too Late to Love Me Now” – Take Me Home (1979)
“It Ain’t Necessarily So” – The Glory of Gershwin (1994)
“It Gets Me Where I Want to Go” – Non-album single (1969)
“It Might as Well Stay Monday (From Now On)” – Foxy Lady (1972)

(J)

“Julie” – Black Rose (1980)
“Just Begin Again” – Break Like the Wind (1992)
“(Just Enough to Keep Me) Hangin’ On” – 3614 Jackson Highway (1969)
“Just Like Jesse James” – Heart of Stone (1989)
“Just This One Time” – Stars (1975)
“Just What I’ve Been Lookin’ For” – Dark Lady (1974)

(K)

“Kareem” – Once Upon a Time in Shaolin (2015)
“Kiss to Kiss” – Heart of Stone (1989)
“Knock on Wood” – I’d Rather Believe in You (1976)

(L)

“L.A. Plane” – Cherished (1977)
“Lay, Baby, Lay” – 3614 Jackson Highway (1969)
“Let Me Down Easy” – Foxy Lady (1972)
“Let This Be a Lesson to You” – Take Me Home (1979)
“Lie to Me” – Closer to the Truth (2013)
“Like a Rolling Stone” – The Sonny Side of Chér (1965)
“Living in a House Divided” – Foxy Lady (1972)
“The Look” – Living Proof (Japanese edition) (2001)
“The Long and Winding Road” – Half-Breed (1973)
“Long Distance Love Affair” – I’d Rather Believe in You (1976)
“Look at Me” – With Love, Chér (1967)
“Love & Pain (Pain in My Heart)” – Take Me Home (1979)
“Love and Understanding” – Love Hurts (1991)
“Love Can Build a Bridge” – Non-album single (1995)
“A Love Like Yours (Don’t Come Knocking Everyday)” – All Meat (1975)
“Love So High” – Living Proof (2001)
“Love One Another” – Living Proof (2001)
“Love the Devil Out of Ya” – Cherished (1977)
“Love Enough” – Stars (1975)
“Love Hurts” – Stars (1975)
“Love Hurts” (Re-recording) – Love Hurts (1991)
“Love Is the Groove” – Believe (1998)
“Love Is a Lonely Place Without You” – Living Proof (2001)
“Love Me” – Two the Hard Way (1977)
“Love on a Rooftop” – Heart of Stone (1989)
“Lovers Forever” – Closer to the Truth (2013)

(M)

“Ma Piano (Per Non Svegliarmi)” – Non-album single (1967)
“Main Man” – Cher (1987)
“Make the Man Love Me” – Dark Lady (1974)
“Mamma Mia” – Dancing Queen (2018)
“The Man I Love” – Bittersweet White Light (1973)
“The Man That Got Away” – Bittersweet White Light (1973)
“Mama (When My Dollies Have Babies)” – With Love, Chér (1966)
“Mama” – Non-album single (1967)
“Many Rivers to Cross” (Live) – Greatest Hits: 1965–1992 (1992)
“Masters of War” – Backstage (1968)
“Melody” – Half-Breed (1973)
“Milord” – The Sonny Side of Chér (1965)
“Mirror Image” – Prisoner (1979)
“Miss Subway of 1952” – Dark Lady (1974)
“Momma Look Sharp” – Non-album single (1969)
“More Than You Know” – Bittersweet White Light (1973)
“Move Me” – Two the Hard Way (1977)
“Mr. Soul” – Stars (1975)
“The Music’s No Good Without You” – Living Proof (2001)
“My Love” – Closer to the Truth (2013)
“My Song (Too Far Gone)” – Take Me Home (1979)
“My Love” – Half-Breed (1973)

(N)

“The Name of the Game” – Dancing Queen (2018)
“Needles and Pins” – All I Really Want to Do (1965)
“Never Been to Spain” – Foxy Lady (1972)
“Nel Mio Cielo Ci Sei Tu” – B-side to “Ma Piano (Per Non Svegliarmi)” (1967)
“Never Should’ve Started” – Black Rose (1980)
“Not Enough Love in the World” – It’s a Man’s World (1995)

(O)

“Oh No Not My Baby” – Greatest Hits: 1965–1992 (1992)
“Ol’ Man River” – The Sonny Side of Chér (1965)
“One by One” – It’s a Man’s World (1995)
“One Honest Man” – Chér (1971)
“One of Us” – Dancing Queen (2018)
“One Small Step” – Love Hurts (1991)
“Ooga Boo” – Non-album single (2017)
“Our Day Will Come” – The Sonny Side of Chér (1965)
“Our Lady of San Francisco” – Not Commercial (1994)
“Outrageous” – Prisoner (1979)

(N)

“Paradise Is Here” – It’s a Man’s World (1995)
“Perfection” – Cher (1987)
“The Pied Piper” – Chér (1966)
“Pirate” – Cherished (1976)
“Più che puoi” – Stilelibero (2000)
“Please Come Home for Christmas” – Christmas (2023)
“Please Don’t Tell Me” – 3614 Jackson Highway (1969)
“The Power” – Believe (1998)
“Pride” – Closer to the Truth (2013)
“Prisoner” – Prisoner (1979)
“Proud Mary” (Live) – Divas Live ’99 (1999)
“Put a Little Holiday in Your Heart” – Christmas (2023)

(Q-R)

“Rain, Rain” – Living Proof (2001)
“Real Love” – Living Proof (2001)
“Reason to Believe” – Backstage (1968)
“Red” – Closer to the Truth (2013)
“Rescue Me” – Half-Breed (1974)
“Ringo, I Love You” – Non-album single (1964)
“Rock and Roll Doctor” – Stars (1975)
“Rudy” – I Paralyze (1982)
“Run Rudolph Run” – Christmas (2023)
“Runaway” – Believe (1998)
“Runnin’” – Not Commercial (1994)

(S)

“The Same Mistake” – It’s a Man’s World (1995)
“Santa Baby” – Christmas (2023)
“Save Up All Your Tears” – Love Hurts (1991)
“Save the Children” – 3614 Jackson Highway (1969)
“Say What’s on Your Mind” – I Paralyze (1982)
“Say the Word” – Take Me Home (1979)
“See See Rider” – All I Really Want to Do (1965)
“Send the Man Over” – Cherished (1977)
“Shadow Dream Song” – Two the Hard Way (1977)
“Shape of Things to Come” – It’s a Man’s World (1995)
“She’s No Better Than Me” – B-side to “Alfie” (1966)
“She Loves to Hear the Music” – Cherished (1977)
“The Shoop Shoop Song (It’s in His Kiss)” – Mermaids (1990)
“Shoppin’” – Prisoner (1979)
“Silver Wings & Golden Rings” – I’d Rather Believe in You (1976)
“Sing for Your Supper” – With Love, Chér (1967)
“Sirens” – Closer to the Truth (2013)
“Sisters of Mercy” – Not Commercial (1994)
“(Sittin’ On) The Dock of the Bay” – 3614 Jackson Highway (1969)
“Skin Deep” – Cher (1987)
“Some Guys” – B-side to “If I Could Turn Back Time” (1989)
“Song Called Children” – Backstage (1968)
“Song for the Lonely” – Living Proof (2001)
“Song for You” – Foxy Lady (1972)
“Sonny Boy”/”My Mammy”/”Rock-a-Bye Your Baby with a Dixie Melody” (medley) – Bittersweet White Light (1973)
“SOS” – Dancing Queen (2018)
“Spring” – I’d Rather Believe in You (1976)
“The Star-Spangled Banner” (Live at Super Bowl XXXIII) – Non-album single (1999)
“Stars” – Stars (1975)
“Starting Over” – Heart of Stone (1989)
“Still” – Not Commercial (1994)
“Still in Love with You” – Heart of Stone (1989)
“Stone Finger” – Once Upon a Time in Shaolin (2015)
“Stop Crying Your Heart Out” – Non-album single (2020)
“Strong Enough” – Believe (1998)
“The Sun Ain’t Gonna Shine Anymore” – It’s a Man’s World (1995)
“Sunny” – Chér (1966)
“Super Trouper” – Mamma Mia! Here We Go Again: The Movie Soundtrack (2018)
“Superstar” – Non-album single

(T)

“Take It From the Boys” – Black Rose (1980)
“Take Me for a Little While” – Backstage (1968)
“Take Me Home” – Take Me Home (1979)
“Take It Like a Man” – Closer to the Truth (2013)
“Takin’ Back My Heart” – Believe (1998)
“Taxi Taxi” – Believe (1998)
“These Days” – Stars (1975)
“This God-Forsaken Day” – Half-Breed (1973)
“This Will Be Our Year” – Christmas (2023)
“Time” – The Sonny Side of Chér (1965)
“Twelfth of Never” – Chér (1966)
“There but for Fortune” – With Love, Chér (1967)
“The Thought of Loving You” – B-side to “Yours Until Tomorrow” (1969)
“Thunderstorm” – Cherished (1977)
“The Times They Are a-Changin’” – With Love, Chér (1967)
“Tonight I’ll Be Staying Here with You” – 3614 Jackson Highway (1969)
“Touch and Go” – Chér (1971)
“Trail of Broken Hearts” – Days of Thunder (1990)
“Train of Thought” – Dark Lady (1974)
“Two People Clinging to a Thread” – Half-Breed (1973)

(U-W)

“Until It’s Time for You to Go” – Chér (1966)
“Walk with Me” – I Paralyze (1982)
“Walking in Memphis” – It’s a Man’s World (1995)
“Walls” – Non-album single (2021)
“War Paint and Soft Feathers” – Cherished (1977)
“Wasn’t It Good” – Take Me Home (1979)
“Waterloo” – Dancing Queen (2018)
“The Way of Love” – Chér (1971)
“We All Fly Home” – Black Rose (1980)
“We All Sleep Alone” – Cher (1987)
“We All Sleep Alone” (Re-recording) – Believe (1998)
“We’re Gonna Make It” – Two the Hard Way (1977)
“Welcome to Burlesque” – Burlesque (2010)
“What’ll I Do” – Half-Breed (1974)
“What About the Moonlight” – It’s a Man’s World (1995)
“What Christmas Means to Me” – Christmas (2023)
“When Love Calls Your Name” – Love Hurts (1991)
“When Lovers Become Strangers” – Love Hurts (1991)
“When the Love Is Gone” – I Paralyze (1982)
“When the Money’s Gone” – Living Proof (2001)
“When You Find Out Where You’re Goin’ Let Me Know” – Chér (1971)
“When You Walk Away” – Living Proof (2001)
“Whenever You’re Near” – Greatest Hits: 1965–1992 (1992)
“Where Do You Go” – The Sonny Side of Chér (1965)
“Who You Gonna Believe” – Love Hurts (1991)
“Why Was I Born” – Bittersweet White Light (1973)
“Will You Love Me Tomorrow” – Chér (1966)
“Will You Wait for Me” – Closer to the Truth (Deluxe Edition) (2013)
“The Winner Takes It All” – Dancing Queen (2018)
“With or Without You” – Not Commercial (1994)
“A Woman’s Story” – Non-album single (1974)
“Woman’s World” – Closer to the Truth (2013)
“Working Girl” – Cher (1987)
“A World Without Heroes” – Love Hurts (1991)

(Y-Z)

“You’ve Made Me So Very Happy” – B-side to “The First Time” (1969)
“You’ve Really Got a Hold on Me” – Two the Hard Way (1977)
“You Better Sit Down Kids” – With Love, Chér (1967)
“You Don’t Have to Say You Love Me” – Chér (1966)
“You Do You Boov” – Non-album single (2017)
“You Haven’t Seen the Last of Me” – Burlesque (2010)
“You Know It” – Black Rose (1980)
“You Take It All” – Living Proof (2001)
“You Wouldn’t Know Love” – Heart of Stone (1989)
“Young and Pretty” – Black Rose (1980)
“A Young Girl (Une enfante)” – The Sonny Side of Chér (1966)
“Yours Until Tomorrow” – Non-album single (1969)

Read more on Cher….

Top 10 Cher Songs Of All Time

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Complete List Of Cher Songs From A to Z article published on Classic RockHistory.com© 2025

Nothing ignites a rock fan’s imagination quite like the words “original lineup reunion.” While death, drama, and decades of separation have made many classic reunions impossible, a surprising number of influential bands still have all their key members walking the planet—even if they’re no longer sharing stages. This article celebrates those legendary groups whose defining lineups remain intact in the biological sense, contemplating what it might mean for each to recapture their chemistry in today’s world.

The Police could once again blend punk energy with reggae rhythms and jazz sophistication if Sting, Andy Summers, and Stewart Copeland decided to reunite their power trio. Talking Heads might bring their art-school funk back to life if David Byrne, Tina Weymouth, Chris Frantz, and Jerry Harrison could overcome decades of creative differences. R.E.M.’s jangly guitar rock could fill arenas once more if Michael Stipe, Peter Buck, Mike Mills, and Bill Berry decided to step back into the spotlight together. The prog-rock innovation of Genesis could be revisited if Peter Gabriel, Tony Banks, Mike Rutherford, Steve Hackett, and Phil Collins managed to align their busy schedules.

The quintessentially British storytelling of The Kinks might find new relevance if the Davies brothers could set aside their legendary tensions and reunite with Mick Avory and John Dalton. Supertramp’s jazz-tinged progressive pop could soar again if Roger Hodgson and Rick Davies found common ground alongside John Helliwell, Bob Siebenberg, and Dougie Thomson. Journey’s arena rock anthems could reach new emotional heights if Steve Perry’s unmistakable voice joined Neal Schon, Jonathan Cain, Ross Valory, and Steve Smith once more.

While time marches on and the likelihood of these reunions diminishes with each passing year, the magic these musicians created remains timeless. Their records continue to inspire new generations, and the chemistry they shared can never truly be replicated. Perhaps that’s why the prospect of these reunions remains so tantalizing—a chance to experience, even briefly, the recapturing of lightning in a bottle. Though many of these musicians have moved on to different creative pursuits or simply enjoy their well-earned retirement, rock fans worldwide continue to hold onto the possibility, however remote, of seeing these classic lineups take the stage one more time. After all, in rock and roll, you should never say never.

# 10 – KISS

Few bands defined spectacle quite like KISS. From their explosive stage shows to their larger-than-life personas, they set the gold standard for rock and roll theatrics. While the band has undergone numerous lineup changes over the decades, the four original members—Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss—are all still alive, making a reunion not just possible but a dream scenario for longtime fans.

Formed in New York City in 1973, KISS quickly became one of the most recognizable bands in rock history. Their early lineup solidified when Paul Stanley (rhythm guitar, vocals) and Gene Simmons (bass, vocals) joined forces with Ace Frehley (lead guitar, vocals) and Peter Criss (drums, vocals). By combining hard rock anthems with outrageous makeup, fire-breathing, and platform boots, they built an empire that went far beyond music. Their 1975 album Alive! turned them into superstars, and hits like Rock and Roll All Nite, Detroit Rock City, and Beth made them household names.

Despite their success, internal conflicts and creative differences led to Criss departing in 1980 and Frehley following in 1982. While both rejoined for the massively successful 1996-2000 reunion tour, tensions eventually resurfaced, and they exited once again. Over the years, KISS continued with different lineups, but Stanley and Simmons remained the driving force behind the band.

The idea of a full reunion with the original four members is something fans have speculated about for years. The recent End of the Road farewell tour, which wrapped in 2023, seemed to signal the band’s final bow, but given KISS’s history, anything is possible.

Read More: Complete List Of Kiss Band Members

# 9 – Black Sabbath

Black Sabbath’s original lineup—Ozzy Osbourne (vocals), Tony Iommi (guitar), Geezer Butler (bass), and Bill Ward (drums)—formed in Birmingham, England in 1968. They pioneered heavy metal with their dark, thunderous sound and remain one of the most influential bands in rock history.

The classic lineup last performed together at their hometown of Birmingham in 2017 as part of their farewell tour, minus Bill Ward who had departed over contractual disputes in 2012. However, all four original members are still alive in 2024, with Ozzy at 75, Iommi at 76, Butler at 74, and Ward at 75.

While Ozzy has faced some health challenges in recent years due to Parkinson’s disease and various injuries, he’s expressed interest in performing again. A reunion of these metal pioneers would be particularly meaningful now, as it would give fans one last chance to see the complete original lineup together. The chemistry between Ozzy’s haunting vocals, Iommi’s legendary riffs, Butler’s thundering bass, and Ward’s powerful drumming created metal magic that newer generations of fans have never witnessed firsthand.

Read More: Complete List Of Black Sabbath Band Members

# 8 – Grand Funk

Grand Funk Railroad, formed in Flint, Michigan in 1969, was one of the most commercially successful American rock bands of the 1970s. Their classic lineup featured Mark Farner (vocals/guitar), Don Brewer (drums/vocals), and Mel Schacher (bass), who created their signature energetic blend of blues rock and hard rock that earned them the nickname “The American Band.”

This power trio last performed together in 1998 during a reunion tour. Encouragingly, all three original members are still alive and active in music: Farner (75), Brewer (75), and Schacher (73). While Brewer continues to tour with a different version of Grand Funk Railroad (alongside longtime member Bruce Kulick), and Farner performs as a solo artist, the original trio hasn’t shared a stage in over two decades.

A reunion would be particularly exciting because their raw, high-energy sound defined American arena rock in the early ’70s. The combination of Farner’s soulful vocals and guitar work, Brewer’s powerful drumming (and lead vocals on hits like “We’re an American Band”), and Schacher’s distinctive bass lines created some of rock’s most memorable anthems. Their return would give younger fans a chance to experience classics like “I’m Your Captain (Closer to Home)” and “Some Kind of Wonderful” performed by the lineup that made them famous.

Read More: Complete List Of Grand Funk Railroad Band Members

# 7 – Talking Heads

Talking Heads emerged from the New York punk scene in 1975, founded by the core trio of David Byrne (vocals/guitar), Chris Frantz (drums), and Tina Weymouth (bass). Jerry Harrison (keyboards/guitar) joined in 1977, completing the classic lineup that would pioneer art-punk and new wave music. A Talking Heads reunion would be a momentous cultural event. Their innovative blend of punk, funk, world music, and avant-garde pop created landmarks like “Psycho Killer,” “Once in a Lifetime,” and “Burning Down the House.” The band’s evolution from nervy minimalists to expansive funk-rock pioneers showcased their remarkable musical versatility.

All four members remain active and creative. David Byrne (72) continues his eclectic solo career and Broadway success with “American Utopia.” Tina Weymouth (74) and Chris Frantz (73), still married, performed with Tom Tom Club and various projects. Jerry Harrison (75) works as a respected producer and occasional performer. Though they haven’t performed together since their 2002 Rock & Roll Hall of Fame induction, the creative tension between Byrne’s distinctive vision and the rhythm section’s funkier instincts could still produce fascinating results. Their influence on alternative music remains immeasurable, and audiences would eagerly welcome these art-rock innovators back to the stage.

Read More:

# 6 – R.E.M

R.E.M. formed in Athens, Georgia in 1980 when University of Georgia students Michael Stipe (vocals), Peter Buck (guitar), Mike Mills (bass/keyboards), and Bill Berry (drums) began making music together. This lineup remained intact until Berry’s departure in 1997, producing some of alternative rock’s most influential albums.

An R.E.M. reunion would be particularly meaningful since the classic lineup hasn’t performed together since Berry left the band due to health concerns. Their distinctive sound—jangly guitars, cryptic lyrics, and vocal harmonies—created timeless songs like “Losing My Religion,” “Man on the Moon,” and “Everybody Hurts.” The chemistry between these four musicians defined college rock and helped alternative music cross into the mainstream.

All four members are still active in various capacities. Michael Stipe (64) pursues photography and occasional solo work. Peter Buck (67) plays with various bands including The Baseball Project and Filthy Friends. Mike Mills (65) collaborates on classical projects and session work. Bill Berry (66) returned to farming after leaving the band but has made rare appearances with his former bandmates.

Though R.E.M. officially disbanded in 2011, the respect and friendship among all four members suggests a reunion remains possible. The prospect of hearing Berry’s distinctive drumming on classics like “The One I Love” or “Orange Crush” again would make this one of rock’s most anticipated reunions.

Read More: Complete List Of R.E.M. Band Members

# 5 – Genesis

Genesis began in 1967 as a group of students at Charterhouse School in England. The classic progressive rock lineup solidified by 1971 with Peter Gabriel (vocals), Tony Banks (keyboards), Mike Rutherford (guitar/bass), Steve Hackett (guitar), and Phil Collins (drums). This configuration created the band’s most ambitious and theatrical work before Gabriel’s departure in 1975.

A reunion of the Gabriel-era Genesis would be extraordinary for progressive rock enthusiasts. Their elaborate compositions, imaginative lyrics, and theatrical performances yielded masterpieces like “Supper’s Ready,” “The Musical Box,” and “Firth of Fifth.” Gabriel’s flamboyant costumes and Collins’ intricate drumming defined this era, while Banks’ orchestral keyboards, Rutherford’s versatility, and Hackett’s atmospheric guitar work created their distinctive sound.

All five musicians remain active and respected. Peter Gabriel (74) continues his solo career and humanitarian work. Phil Collins (73), despite health challenges limiting his drumming, toured until recently. Tony Banks (74) composes classical pieces and film scores. Mike Rutherford (73) still performs with Mike + The Mechanics. Steve Hackett (74) actively tours, performing classic Genesis material.

The lineup briefly reunited for a 1982 one-off concert, and various partial reunions have occurred, but the full classic lineup hasn’t performed a complete show in nearly 50 years. Given Collins’ health issues and Gabriel’s selective performing schedule, a full reunion seems challenging but would represent an unparalleled opportunity to experience one of progressive rock’s most innovative bands in their original formation.

Read More: Complete List Of Genesis Band Members

# 4 – Supertramp

Supertramp formed in London in 1969, but it was the classic lineup that solidified in 1973 that created their most successful and enduring work. This configuration featured Roger Hodgson (vocals/keyboards/guitar), Rick Davies (vocals/keyboards), John Helliwell (saxophones/keyboards), Bob Siebenberg (drums), and Dougie Thomson (bass).

A reunion of this classic Supertramp lineup would be particularly significant given their decades-long separation. Their distinctive blend of progressive rock, pop sensibilities, and jazz influences created timeless albums like “Crime of the Century,” “Crisis? What Crisis?” and the blockbuster “Breakfast in America.” The complementary songwriting styles of Hodgson and Davies gave Supertramp a unique dual personality, with Hodgson’s ethereal compositions like “Dreamer” and “The Logical Song” balancing Davies’ more grounded approach on songs like “Bloody Well Right.”

All five members are indeed still alive and active to varying degrees. Roger Hodgson (74) continues to tour as a solo artist performing Supertramp classics. Rick Davies (79) has led various incarnations of Supertramp without Hodgson since their 1983 split. John Helliwell (79) still occasionally performs with Davies’ version of the band. Bob Siebenberg (75) has also remained with Davies’ Supertramp lineup. Dougie Thomson (73) has largely stayed out of the spotlight since leaving the band in 1982.

The prospects for a reunion have been complicated by the sometimes tense relationship between Hodgson and Davies. However, the musical magic this lineup created—characterized by distinctive keyboard sounds, Helliwell’s melodic saxophone, and the rock-solid rhythm section of Siebenberg and Thomson—remains beloved by fans worldwide. A reunion would allow audiences to experience the full spectrum of Supertramp’s catalog performed by the musicians who defined their classic sound.

Read More: Complete List Of Supertramp Band Members

# 3 – Journey

Journey formed in San Francisco in 1973, but the band’s commercial peak came after Steve Perry joined as lead vocalist in 1977. The classic lineup that created their most successful albums solidified in 1981 with Perry (vocals), Neal Schon (guitar), Jonathan Cain (keyboards), Ross Valory (bass), and Steve Smith (drums).

A reunion of this specific Journey lineup would be momentous for rock fans worldwide. Their distinctive arena rock sound—characterized by Perry’s soaring tenor vocals, Schon’s melodic guitar work, and Cain’s keyboard arrangements—created some of rock’s most enduring anthems, including “Don’t Stop Believin’,” “Open Arms,” and “Separate Ways (Worlds Apart).” This lineup crafted the perfect blend of hard rock muscle and pop sensibility.

All five members remain alive and musically active, though on separate paths. Steve Perry (75) emerged from decades of near-seclusion with a 2018 solo album. Neal Schon (70) continues to lead the current version of Journey. Jonathan Cain (74) performs with Journey and as a solo artist. Ross Valory (75) was with Journey until 2020. Steve Smith (70), a respected jazz drummer, has played with various acts including occasional Journey reunions without Perry.

Relations between Perry and his former bandmates have been complicated since his 1998 departure. Perry’s health concerns and reluctance to tour have made a reunion seem unlikely, despite the unmistakable chemistry these five musicians shared. Yet the continuing popularity of Journey’s catalog with new generations of fans suggests that should these five musicians ever share a stage again, the response would be nothing short of phenomenal.

Read More: Complete List of All Current and Former Journey Band Members

# 2 –  The Police

Formed in London in 1977, The Police quickly established themselves as one of the most innovative bands of the new wave era. The classic lineup of Sting (bass/vocals), Andy Summers (guitar), and Stewart Copeland (drums) created a distinctive sound blending punk, reggae, and jazz influences. A reunion of The Police would be electrifying for music fans worldwide. Their remarkable chemistry produced timeless hits like “Roxanne,” “Message in a Bottle,” and “Every Breath You Take.” Each member brings extraordinary talent: Sting’s unmistakable vocals and melodic basslines, Summers’ textured guitar work, and Copeland’s dynamic, jazz-influenced drumming.

All three members remain active musicians. Sting (Gordon Sumner, 72) continues his successful solo career, Andy Summers (81) pursues photography and jazz projects, and Stewart Copeland (72) composes for film and orchestras. Their brief 2007-2008 reunion tour demonstrated they can still deliver their catalog with precision and energy. The tension that fueled their creativity—and eventually led to their 1986 breakup—might actually make a new reunion even more compelling. These three musicians who changed rock history still have the capability to recapture the magic that made them legends.

Read More: Complete List Of The Police Band Members

# 1 – The Kinks

The Kinks formed in North London in 1963, with brothers Ray Davies (vocals/rhythm guitar) and Dave Davies (lead guitar) as the creative core. Drummer Mick Avory joined shortly after, and while Pete Quaife was the original bassist, John Dalton became the longtime bassist in 1969, completing the classic lineup that created some of the band’s most beloved albums.

A reunion of The Kinks would be particularly meaningful given the legendary tension between the Davies brothers. Their distinctively British sound—combining hard-edged guitar riffs, music hall influences, and Ray’s observational storytelling—produced timeless classics like “You Really Got Me,” “Waterloo Sunset,” and “Lola.” The band’s influence spans multiple genres, from garage rock to Britpop to power pop.

All four members are still active to varying degrees. Ray Davies (80) continues occasional solo work and writing. Dave Davies (77) performs solo and has expressed openness to reuniting. Mick Avory (80) has participated in Kinks-related projects over the years. John Dalton (81) has played with various Kinks tribute bands featuring former members.

The fractious relationship between the Davies brothers has prevented a full reunion since the band’s dissolution in 1996, though they’ve occasionally appeared together. Recent years have shown warming relations between Ray and Dave, raising hopes among fans. A reunion of these British Invasion pioneers would be a triumphant capstone to one of rock’s most distinctive catalogs.

Read More: Complete List Of The Kinks Band Members

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10 Iconic Rock Bands Whose Classic Lineups Could Still Reunite article published on Classic RockHistory.com© 2025

presents an in-depth history of these songs from various bands across all musical genres

Welcome to this week’s Tracks Of The Week. Six brand-new and diverse slices of progressively inclined music for you to enjoy.

So perhaps unsurprisingly the band of the moment, Solstice, won last week’s Tracks Of The Week with their new single Firefly, but the folk proggers were pushed all the way by John Lodge’s reflective Whispering Angels with Dim Gray in third.

The premise for Tracks Of The Week is simple – we’ve collated a batch of new releases by bands falling under the progressive umbrella, and collated them together in one post for you – makes it so much easier than having to dip in and out of various individual posts, doesn’t it?

The idea is to watch the videos (or listen if it’s a stream), enjoy (or not) and also to vote for your favourite in the voting form at the bottom of this post. Couldn’t be easier, could it?

We’ll be bringing you Tracks Of The Week, as the title implies, each week. Next week we’ll update you with this week’s winner, and present a host of new prog music for you to enjoy.

If you’re a band and you want to be featured in Prog‘s Tracks Of The Week, send your video (as a YouTube link) or track embed, band photo and biog to us here.

KARMAKANIC – COSMIC LOVE

Swedish prog outfit Karmakanic return with their first new album for nine years when they release Transmutation, through Jonas Reingold’s own label, Reingold Records on March 7. The melodic prog of Cosmic Love is the first music from the new album, featuring the unmistakable strains of John Mitchell on vocals and Randy McStine on guitar. The star-studded album also features guest spots from Steve Hackett, Simon Phillips, Craig Blundell and more…

“How do you choose a single for a prog album,” laughs Rengold. “You don’t. Some things aren’t meant to be overthought – just felt. I love writing uplifting tracks celebrating the forces that truly unite us. So get on board, get started – join me in the Cosmic Love.”

“It was an absolute pleasure to work with Jonas,” adds Mirchell. “We’ve discussed collaborating a few times over the years and we’ve become good friends. So it was great to finally fly to Vienna and make it happen. I’m so happy with how it’s all turned out.”

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ANDRE DRAGE – IN BETWEEN IS ALWAYS FORWARD

You may know drummer Andre Drage from Norwegian metal trio Draken, but he’s creating a far different sound on his new solo album Journeyman, which is released through his own Drage Records on March 14. Here he draws inspiration from prog, ambient music, Norwegian folk and the music of Malawi, creating a sound that will delight fans of Frank Zappa, Mahavishnu Orchestra, Soft Machine and Gong.

“I wrote In Between Is Always Forward at a time where I had to make many compromises in my life to reach new musical goals and personally develop,” says Drage. “The song itself is a prog, jazz, and funk hybrid about finding a way to balance life’s obligations with the pursuit of music and art.”

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EARTHSIDE – FROZEN HEART – BURNING WORLD

US prog quartet Earthside celebrate the start of their very first US headline tour with a standalone release of Frozen Heart – Burning World. Typically epic and cinematic in scope, the track is the only one from sessions for their recent acclaimed second album Let The Truth Speak, accompanied, as ever, with atypically eye-catching video.

“Not for any lack of quality—if anything, it may even be among our individual favourites from the full batch of material,” the band explain. “We really wanted a Closest I’ve Come – vibe track on LTTS, but nothing we were generating like that was gripping us—at least until Frank’s entrancing, icy intro came out of the ether one day in practice, and the rest of the song just poured from it. Unfortunately, the track just came together too late in the writing process for us to feel ready to record it with the others—and on a record that didn’t have much room for another odyssey track. But in celebration of Earthside’s long-awaited headline tour, we wanted to give the song the proper recording it deserved.”

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DAVE FRANCIS – KITTENS & RAINBOWS

You may know prog bassist Dave Francis by his other name and other band – Dave Rowe from The Mighty Ra! Francis released his debut solo album Beautiful Insanity back in 2023 and will be releasing a second later this year. The playful Kittens & Rainbows is the first taster form that album.

“This tongue-in-cheek prog anthem, and its accompanying video, makes an affectionate but humorous dig at some of the genre’s more pompous traits, whilst retaining musical respect for the classic prog rock format,” says Francis. “Fans of The Mighty Ra should enjoy this tasteful teaser, which serves as a suitable appetiser for things to come!”

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BJØRN RIIS – GONE

Prolific Airbag guitarist Bjørn Riis will release his latest solo album, his fifth, through Karisma Records on April 11. It’s called Fimbulvinter, a title that refers to Norse mythology and the tale of the long winter that leads up to Ragnarok – the end of the world and a new beginning. Riis plays all instruments and sings the vocals, although the album also features contributions from Airbag’s Henrik Bergan Fossum (drums), Arild Brøter from Pymlico (drums) and Kai Christoffersen. New single Gone is the first music to be taken from the album.

“Gone was the first track I wrote for the album,” says Riis. “It’s one of those songs you just want to play loud in your car going fast on the highway! I wanted it to have that pop and monumental feel to it, while dealing with a somewhat serious matter. It’s about the fear of not being enough, of being rejected and dealing with that by wanting to escape and flee. I’m playing all of the instruments, with Kai Christoffersen on drums and my long-time collaborator, Vegard Kleftås Sleipnes, mixing and co-producing.”

DEREV – CYCLONE

Toronto prog quintet Derev will release their debut full-length album, Troubled Mind, on March 26. The yearning, epic tones of Cyclone is the second single to be taken from the upcoming album, and Derev will be touring throughout Ontario and Quebec over the coming months to support the new album.

“Building on the narrative, this song revolves around the negative thoughts that plague our minds, constantly reminding us of our perceived unworthiness and shortcomings,” the band state. “This mental state, “Imposter Syndrome” makes us doubt our skills and successes, leaving us feeling unworthy, ashamed, and fearful of being exposed.”

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