Author: Logan Rocker

From brooding confessions to triumphant anthems, this list of the 10 best songs with the word “All” in the title explores the vast emotional terrain of rock music—where each track doesn’t just share a word, but also a sense of intensity, purpose, or defiance. Radiohead’s “All I Need” opens the list with a murky, slow-burning plea for emotional connection that spirals into obsession. Free’s “All Right Now” remains one of the most celebrated riffs in classic rock history, written in the aftermath of a lifeless gig and destined for radio immortality.

Mike + The Mechanics lightened the tone with “All I Need Is a Miracle,” a sleek pop-rock hit that brought the band chart success and a Grammy nomination. Steeleye Span’s “All Around My Hat” brought British folk into the mainstream with a traditional melody transformed into a rock radio favorite. Grand Funk Railroad’s “All the Girls in the World Beware” pulsed with confident swagger and helped define the band’s mid-70s commercial run. The Everly Brothers’ “All I Have to Do Is Dream” fused longing and harmony into a timeless pop ballad that resonated across genres.

The Beatles delivered melodic urgency with “All My Loving,” a track that became one of their early transatlantic breakthroughs, bolstered by a legendary Ed Sullivan Show performance. Mott the Hoople’s “All the Young Dudes” turned a near-breakup into glam rock mythology, with David Bowie stepping in to produce the song that would become their defining statement. And closing the list is Elton John’s “All the Young Girls Love Alice,” a fearless, layered character study set to glam-infused rock, addressing themes of sexuality and social marginalization with lyrical precision and musical intensity.

Together, these ten songs reveal how one small word—“all”—can carry the weight of celebration, sorrow, romance, rebellion, and self-discovery across decades of rock history.

# 10 – All I Need – Radiohead

Read More: Complete List Of Radiohead Songs From A to Z

# 9 – All I Want To Do – Sheryl Crow

“All I Wanna Do” was recorded by Sheryl Crow for her debut album Tuesday Night Music Club, which was released on August 3, 1993. The song was produced by Bill Bottrell and recorded at Toad Hall Studio in Pasadena, California. Its writing credits include Crow, Bottrell, David Baerwald, Kevin Gilbert, and David Ricketts, who collaborated as part of the ad hoc group also known as the Tuesday Night Music Club. The lyrics were inspired by the poem “Fun” by Wyn Cooper, whose words were adapted to fit the song’s breezy, talk-sung structure. Musicians featured on the track included Crow on vocals, Gilbert on bass and programming, Bottrell on guitar and drum programming, and Baerwald on additional guitar and vocals.

Released as a single in April 1994, “All I Wanna Do” became Crow’s breakthrough hit, reaching number two on the Billboard Hot 100 and topping the charts in Australia and Canada. It later won the Grammy Award for Record of the Year and Best Female Pop Vocal Performance at the 1995 ceremony. The track’s laid-back groove, combined with its observational lyrics about barroom conversations in Los Angeles, offered a sharp contrast to the grunge-dominated rock scene of the early 1990s. Crow’s delivery—nonchalant yet precise—turned the song into an anthem of detached cool, with lyrics like “This ain’t no disco / And it ain’t no country club either / This is L.A.” helping define its cultural footprint. The song’s accompanying music video, directed by David Hogan, further amplified Crow’s profile through heavy rotation on MTV and VH1.

Read More: Complete List Of Sheryl Crow Songs From A to Z

# 8 – All Right Now – Free

“All Right Now” captured the moment when Free shifted from a hard-touring British rock band into mainstream visibility. The track was recorded in January 1970 at Trident and Island Studios in London, with production handled by the band themselves—Paul Rodgers on vocals, Paul Kossoff on guitar, Andy Fraser on bass and piano, and Simon Kirke on drums. The inspiration behind the song came after a particularly dismal gig at Durham University, where the band realized they needed a high-energy anthem to lift their live sets. Fraser and Rodgers responded by writing “All Right Now” in just minutes, building it around a driving guitar riff and an unforgettable chorus.

Released on May 15, 1970 as the lead single from the album Fire and Water, “All Right Now” was an immediate success. It climbed to number two on the UK Singles Chart and number four on the Billboard Hot 100 in the U.S., ultimately becoming Free’s signature song. Its classic opening riff and energetic pacing helped the band cross into international recognition. The song became one of the most played rock tracks of its era, and in 1990, it was honored by ASCAP for achieving over one million radio plays in the United States alone.

Live performances of “All Right Now” helped secure Free’s legacy as a dynamic live act. The song became a centerpiece of their 1970 Isle of Wight Festival appearance, played to an audience estimated at over 600,000. It would continue to be a staple in Paul Rodgers’ later live work, including during his tenure with Bad Company and as a solo artist. Kossoff’s guitar work, especially, gained recognition for its tight rhythm and melodic soloing—elements that have made the track a case study in rock guitar simplicity and impact.

Beyond Free, “All Right Now” found new life in numerous covers and adaptations. Rod Stewart and Mike Oldfield each recorded versions, and the Stanford University marching band adopted it as their unofficial fight song. Its placement in films, commercials, and sporting events has only deepened its cultural reach. Despite the band’s relatively brief initial run, the song endures as one of rock’s most recognizable and widely licensed tracks.

Read More: Top 10 Free Songs

# 7 – All I Need Is A Miracle – Mike & The Mechanics

“All I Need Is a Miracle” was recorded by Mike + The Mechanics in 1985 and released as a single in March 1986 in the United States and on April 28, 1986, in the United Kingdom. It appeared on their self-titled debut album Mike + The Mechanics. Written by Mike Rutherford and producer Christopher Neil, the track featured vocals from Paul Young of Sad Café and was produced by Neil. Other musicians included Paul Carrack on backing vocals and bass in the music video, Adrian Lee on keyboards, and Peter Van Hooke on drums. The recording leaned toward a polished blend of pop rock and soft rock, clocking in at 4 minutes and 12 seconds.

The single marked a commercial breakthrough for the band, reaching No. 5 on the Billboard Hot 100 and climbing into the Top 10 in Canada and Australia. The upbeat tone of the song was a deliberate shift from the band’s typically more introspective material. Rutherford remarked that it stood apart for its positivity, which was a rarity in his writing at the time. The song earned a nomination for Best Pop Performance by a Duo or Group at the 1987 Grammy Awards. Its accompanying music video, which linked narratively with the band’s earlier single “Silent Running,” offered a humorous and cinematic take on the song’s title, further boosting its visibility on MTV and other music channels. The track was later re-recorded for their Hits compilation album in 1996.

Read More: Top 10 Mike + The Mechanics Songs

# 6 – All Around My Hat – Steeleye Span

Read More: Top 10 Steeleye Span Songs

# 5 – All The Girls In The World Beware – Grand Funk Railroad

Read More: Complete List Of Grand Funk Railroad Songs From A to Z

# 4 – All I Have to Do Is Dream – The Everly Brothers

Read More: Top 10 Everly Brothers Songs Decade By Decade

# 3 – All My Loving – The Beatles

The Beatles recorded “All My Loving” on July 30, 1963, during a full-day session at EMI Studios in London, with George Martin producing. It was tracked in 11 takes, with the group focused on capturing a clean vocal take from Paul McCartney, who wrote the lyrics before composing the melody—a reversal of his usual process. Paul handled the lead vocal and played bass, while John Lennon performed a propulsive triplet rhythm guitar part, George Harrison contributed backing vocals and played a country-influenced lead guitar solo, and Ringo Starr played drums. The completed track was selected for the band’s second UK album, With the Beatles, released on November 22, 1963.

“All My Loving” was never released as a single in the United Kingdom, but its popularity helped establish The Beatles’ early momentum. In Canada, it was issued as a single and became a hit, prompting its release in the United States on Meet the Beatles! in early 1964. The song also gained massive exposure when The Beatles opened their first performance on The Ed Sullivan Show with it on February 9, 1964. That performance introduced the song—and the band—to over 70 million American viewers. Lyrically, McCartney’s message of devotion to a long-distance partner struck a chord with fans, reflecting a sincere optimism that contrasted with the band’s later, more introspective work.

The arrangement itself was deceptively simple, but technically sharp. Lennon’s driving rhythm guitar evokes early American rock and roll influences, while Harrison’s solo pays tribute to Chet Atkins with its rockabilly flair. McCartney’s vocal delivery is smooth yet urgent, reinforcing the theme of fidelity and longing. Though not officially released as a UK single, the song was considered by some to be single-worthy and remains a concert staple and fan favorite.

“All My Loving” serves as an early indication of McCartney’s melodic instincts and the band’s evolving maturity as songwriters. While it doesn’t share the psychological complexity of later Beatles songs, it helped solidify their formula for success: emotionally accessible lyrics, vocal harmony, and pop production that elevated their reputation beyond the confines of Beatlemania.

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

# 2 – All The Young Dudes – Mott The Hoople

Mott the Hoople were on the verge of disbanding in 1972 when David Bowie offered them a lifeline in the form of a song that would become one of glam rock’s defining anthems. “All the Young Dudes” was recorded on May 14, 1972, at Olympic Studios in London, with Bowie producing the session. The track featured Ian Hunter on lead vocals, Mick Ralphs on lead guitar, Pete Overend Watts on bass, Dale Griffin on drums, and Verden Allen on organ. Additional contributions included handclaps from Nicky Graham and the band’s bodyguard, Stuey George.

Released as a single on July 28, 1972, “All the Young Dudes” reached No. 3 on the UK Singles Chart and broke into the U.S. Billboard Hot 100 at No. 37. Its success marked a turning point in Mott the Hoople’s career, transforming them from cult favorites into glam rock standard-bearers. The lyrics referenced a generation steeped in pop culture and disillusionment, namechecking “the television man,” “the Beatles and the Rolling Stones,” and other touchstones of youth identity. Bowie later clarified that the song was not meant to be celebratory—it was intended as a warning of societal collapse, delivered through the lens of alienated youth.

The single’s success led to the release of the full-length All the Young Dudes album, also produced by Bowie and released later that year. The album further solidified the band’s commercial appeal, while the title track remained the centerpiece. Though Mott the Hoople had released four albums prior to this point, “All the Young Dudes” gave them their first lasting hit and a new sense of purpose. The song would go on to define their legacy, even as their subsequent albums explored a variety of directions within rock.

The song’s production captured a deliberate looseness that mirrored the lyrics’ sense of generational unrest. Bowie’s involvement extended beyond production; his backing vocals and arrangement touches helped shape the final mix into something more layered than the band’s earlier material. This collaboration showcased the power of artistic reinvention, and for Mott the Hoople, it represented a rebirth.

“All the Young Dudes” has remained a permanent fixture in the band’s history and a key example of how a single song can completely rewrite a group’s trajectory. Unlike the emotionally urgent romantic narratives found in other songs on this list such as “All I Need Is a Miracle” or the blues-driven swagger of “All Right Now,” this track served a broader cultural purpose. It became a banner for a disenchanted youth culture, giving voice to those outside the mainstream and providing a sonic symbol of resistance and identity.

The lasting influence of “All the Young Dudes” is not just in its chart position or airplay longevity—it’s in its cultural permanence. The song continues to be performed live and is consistently associated with both the band and the glam rock movement that followed it. It remains one of the most important songs Mott the Hoople ever recorded, and one of the few tracks from the early ’70s rock era that captured both its sound and its social undercurrents in equal measure.

Read More: Top 10 Mott The Hoople Songs

# 1 – All The Young Girls Love Alice – Elton John

Recorded during May 1973 at Château d’Hérouville in Hérouville, France, “All the Young Girls Love Alice” appeared on Elton John’s Goodbye Yellow Brick Road, a sprawling double album that showcased the collaborative peak between John and lyricist Bernie Taupin. Gus Dudgeon produced the record, with John on piano and vocals, Davey Johnstone on guitar, Dee Murray on bass, Nigel Olsson on drums, and Del Newman providing orchestral arrangements. Though never released as a single, the song became one of the album’s most talked-about deep cuts due to its provocative lyrics and bold subject matter.

Musically, the track fused glam rock with gritty electric blues, anchored by Johnstone’s sharp guitar lines and John’s driving piano riff. But it’s Taupin’s narrative that gives the song its lasting impact. Telling the story of a 16-year-old girl navigating rejection, sexuality, and eventual tragedy, the lyrics deal candidly with themes of lesbian desire and urban isolation, placing it decades ahead of its time in terms of LGBTQ representation in mainstream rock. The chorus—“All the young girls love Alice”—takes on a haunting tone by the final verse, which reveals that Alice was found dead in the subway. The contrast between the vibrant instrumentation and the dark narrative turns the song into a blistering social critique wrapped in glam aesthetics.

The track’s inclusion on Goodbye Yellow Brick Road—an album that reached No. 1 on the Billboard Top LPs & Tape chart and sold over 20 million copies worldwide—helped solidify Elton John’s reputation for pushing the envelope both musically and lyrically. While the album boasted several hits like “Bennie and the Jets” and “Candle in the Wind,” “All the Young Girls Love Alice” carved out a legacy of its own as one of John’s boldest and most thematically complex songs. Its fearless approach to taboo subjects offered a darker counterpoint to the theatrical grandeur found elsewhere on the record.

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

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10 Best Songs That Start With The Word “All” article published on ClassicRockHistory.com© 2025

Did you really think Gene Simmons would back down after being publicly roasted for offering fans a $12,495 “roadie for a day” experience on his upcoming solo tour?

Well, think again. The Kiss star doubled down on the idea in a new interview, saying he was inspired by remembering his own questions while attending shows as a child.

“I was always curious, ‘What’s it like when they’re in a hotel? What’s it like when the stage is set up? What’s it like being onstage when they’re performing and seeing the audience from the stage?'” Simmons explained to the New York Post.

“I decided, ‘you know what, nobody’s ever done it. Why not open the idea to be my personal roadie for the day?'” The five-figure fee does include all of the things Simmons mentioned above – breakfast at the hotel, helping assemble the stage, accompanying Simmons on his various promotional meetings for the day, get introduced to the crowd during the concert and take home an autographed bass.

Read More: Why Gene Simmons is Back Performing Live

Important note: This deal does not include an actual ticket to the show, “as they are sold through the individual venues.”

“This is not for everybody and it ain’t cheap,” Simmons said of the offer in a separate interview with Buffalo’s WIVB, placing some of the blame for the high cost on the need for insurance. “It’s also a different world than what I grew up in. Nowadays, if you get a papercut… everybody gets sued.”

Although over a dozen of the shows on Simmons’ 2025 solo tour were recently postponed, up to 10 fans still have the chance to fulfill their dreams as the God of Thunder’s roadie at the shows listed below.

Gene Simmons Band 2025 Tour Dates

May 2 – Peachtree City, GA – The Fred Amp
May 3 – Beaver Dam, KY @ Beaver Dam Amphitheater
May 5 – Red Bank, NJ @ Basie
May 6 – Montclair, NJ @ Wellmont
May 8 – Bethlehem, PA @ Wind Creek Casino
May 9 – Huntington, NY @ The Paramount
May 11 – Uncasville, CT @ Mohegan Sun Arena
May 14 – Northfield, OH @ MGM
May 15 – Niagara Falls, ON @ Fallsview Casino
Aug. 3 – Sturgis, SD – Buffalo Chip

Top 15 Hard Rock and Metal Albums of 1980

Bold new sounds for a bold new decade.

Gallery Credit: Bryan Rolli

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Billy Joel will be the subject of a two-part HBO documentary titled Billy Joel: And So It Goes, which arrives this summer.

The original feature, directed by Emmy winners and HBO veterans Susan Lacy (Jane Fonda in Five Acts, Spielberg) and Jessica Levin (The Janes, Jane Fonda in Five Acts) will debut on HBO and be available to stream on Max this summer. An exact release date has not been announced yet.

Billy Joel: And So It Goes promises “an expansive portrait of the life and music of Billy Joel, exploring the love, loss and personal struggles that fuel his songwriting.” The documentary will include never-before-seen performances, home movies, personal photographs and extensive one-on-one interviews.

READ MORE: The Best Song From Every Billy Joel Album

“For those who think they know Joel’s story, as well as those who are not as familiar, I believe this two-part film is both a revelation and a surprise,” Lacy said in a statement. “I was drawn to his story as someone who knew little at the outset, and was astounded at how autobiographical his songs are and how complex his story is. We are gratified that Bill trusted us with his story, which we have told as honestly as possible, diving into territory which has not been explored before.”

Joel, meanwhile, recently postponed his upcoming tour dates four months so he could handle an unspecified medical condition. He’s got one show booked for November and several for spring and summer 2026, with support from Stevie Nicks or Sting on select dates.

Billy Joel Albums Ranked

From ‘Cold Spring Harbor’ to ‘River of Dreams,’ we run through the Piano Man’s LPs from worst to best.

Gallery Credit: Matt Springer

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Billy Idol’s journey began in Stanmore, Middlesex, England, and later he spent formative years in Bromley, Kent. Idol, whose birth name is William Michael Albert Broad, first cut his musical teeth in the punk-rock explosion of the late 1970s as a member of the band Generation X. After several successful singles like “King Rocker” and “Dancing with Myself,” the band ultimately disbanded in 1981, setting the stage for Idol’s ambitious solo career.

Idol relocated to New York City, seeking a broader stage for his charismatic image and energetic performance style. His early solo efforts were marked by a significant collaboration with guitarist Steve Stevens, whose distinctive riffs and virtuosity complemented Idol’s snarling, rebellious vocal delivery. Idol’s self-titled debut album, Billy Idol (1982), set the tone for his career with breakout hits like “White Wedding” and “Hot in the City,” both of which established him as an MTV mainstay, thanks to their memorable music videos.

The commercial apex of Idol’s career arrived with his second studio album, Rebel Yell (1983). Powered by the electrifying title track, along with other iconic songs like “Eyes Without a Face,” “Flesh for Fantasy,” and “Catch My Fall,” Rebel Yell elevated Idol to international stardom. The album achieved double platinum status in the United States and cemented Idol’s image as an iconic rock rebel—complete with trademark platinum hair, punk-inspired attire, and unmistakable sneer.

Billy Idol’s continued momentum carried into the late 1980s with his 1986 release, Whiplash Smile, generating popular singles such as “To Be a Lover” and “Sweet Sixteen.” Idol’s compilation Vital Idol (1987) further solidified his chart dominance, particularly through its dance remix of “Mony Mony,” which soared to number one on the Billboard Hot 100. The subsequent album, Charmed Life (1990), produced yet another enduring hit with “Cradle of Love,” which peaked at number two and received extensive airplay, driven largely by its edgy and provocative music video.

Throughout his prolific career, Idol has released eight studio albums, multiple compilations, and several EPs. He has achieved three Grammy nominations, notably earning recognition in the Best Male Rock Vocal Performance category for “Rebel Yell,” “To Be a Lover,” and “Cradle of Love.” Though he has yet to win a Grammy, Idol’s iconic status and influence on rock music are undisputed. His music has repeatedly charted in the top ten worldwide, making him one of rock’s most recognizable and enduring figures.

Billy Idol is beloved in the music industry primarily for his dynamic stage presence, unapologetic attitude, and his ability to fuse punk sensibilities with pop accessibility. His blend of rebellion, sexuality, and catchy melodies allowed him to transcend genre limitations, capturing a diverse audience from punk purists to mainstream rock fans. Idol’s dedication to visual artistry—particularly his early embrace of music video culture—has secured him a lasting legacy as an influential figure during the rise of MTV and beyond.

Outside of music, Idol has pursued various creative endeavors, including acting roles and appearances in film and television. Notably, his cameo appearance in the film The Wedding Singer (1998) introduced him to new generations of fans. Idol has also authored an autobiography, Dancing with Myself, detailing his turbulent life, career struggles, and numerous triumphs, further showcasing his talents beyond music. With decades in the spotlight and an undiminished passion for performing, Billy Idol continues to exemplify the spirit of rock and roll rebellion, resonating across generations.

Complete List Of Billy Idol Songs From A to Z

1. All Summer Single – Whiplash Smile – 1986
2. Auld Lang Syne – Happy Holidays – 2006
3. Baby Put Your Clothes Back On – The Roadside EP – 2021
4. Beyond Belief – Whiplash Smile – 1986
5. Bitter Pill – Cyberpunk – 1993
6. Bitter Pill – Kings & Queens of the Underground – 2014
7. Bitter Taste – The Roadside EP – 2021
8. Blue Christmas – Happy Holidays – 2006
9. Blue Highway – Rebel Yell – 1983
10. Body Snatcher – Devil’s Playground – 2005
11. Brooklyn Bridge – Kings & Queens of the Underground – 2014
12. Buried Alive – Devil’s Playground – 2005
13. Burning Down the House – Don’t Stop – 1981
14. Cage – Devil’s Playground – 2005
15. Can’t Break Me Down – Kings & Queens of the Underground – 2014
16. Charm – Charmed Life – 1990
17. Cherie – Generation X – 1979
18. Christmas Love – Happy Holidays – 2006
19. Come On, Come On – Billy Idol – 1982
20. Coming Home – Kings & Queens of the Underground – 2014
21. Concrete Kingdom – Charmed Life – 1990
22. Crank Call – Rebel Yell – 1983
23. Cradle of Love – Charmed Life – 1990
24. Cry – Kings & Queens of the Underground – 2014
25. Cyberpunk – Cyberpunk – 1993
26. Dancing With Myself – Billy Idol – 1982
27. Daytime Drama – Rebel Yell – 1983
28. Devil’s Playground – Devil’s Playground – 2005
29. Do Not Stand in the Shadows – Rebel Yell – 1983
30. Don’t Need a Gun – Whiplash Smile – 1986
31. Don’t Stop – Don’t Stop – 1981
32. Drug Addiction – Generation X – 1979
33. Endless Sleep – Charmed Life – 1990
34. Evil Eye – Devil’s Playground – 2005
35. Eyes Wide Shut – Kings & Queens of the Underground – 2014
36. Eyes Without a Face – Rebel Yell – 1983
37. Fatal Charm – Whiplash Smile – 1986
38. Flesh for Fantasy – Rebel Yell – 1983
39. Fright Night – Vital Idol – 1985
40. Frosty the Snowman – Happy Holidays – 2006
41. Generation X – Generation X – 1979
42. Ghost in My Guitar – Kings & Queens of the Underground – 2014
43. Ghostriders in the Sky – Don’t Stop – 1981
44. God Rest Ye, Merry Gentlemen – Happy Holidays – 2006
45. Happy Holiday – Happy Holidays – 2006
46. Here Comes Santa Claus – Happy Holidays – 2006
47. Heroin – Cyberpunk – 1993
48. Hollywood Promises – Kings & Queens of the Underground – 2014 (Bonus track)
49. Hot in the City – Billy Idol – 1982
50. I Need More – Generation X – 1979
51. I’m Not a Junkie – Devil’s Playground – 2005
52. It’s So Cruel – Billy Idol – 1982
53. (It’s) So Cruel – Rebel Yell – 1983
54. Jingle Bell Rock – Happy Holidays – 2006
55. Kings & Queens of the Underground – Kings & Queens of the Underground – 2014
56. Kiss Me Deadly – Generation X – 1979
57. LA Woman – Charmed Life – 1990
58. Lady Do or Die – Devil’s Playground – 2005
59. La La Rules the World – Cyberpunk – 1993
60. Let It Snow! Let It Snow! Let It Snow! – Happy Holidays – 2006
61. License to Thrill – Charmed Life – 1990
62. Love and Glory – Kings & Queens of the Underground – 2014
63. Love Calling – Billy Idol – 1982
64. Love Labours On – Kings & Queens of the Underground – 2014
65. Love Unchained – Charmed Life – 1990
66. The Loveless – Charmed Life – 1990
67. Man for All Seasons – Whiplash Smile – 1986
68. Mark of Caine – Charmed Life – 1990
69. Merry Christmas Baby – Happy Holidays – 2006
70. Mony Mony – Don’t Stop – 1981
71. Motorbikin’ – Cyberpunk – 1993
72. Neuromancer – Cyberpunk – 1993
73. New Future Weapon – Devil’s Playground – 2005
74. Nobody’s Business – Billy Idol – 1982
75. Nothing to Fear – Kings & Queens of the Underground – 2014
76. O Christmas Tree – Happy Holidays – 2006
77. One Breath Away – Kings & Queens of the Underground – 2014
78. One Night, One Chance – Whiplash Smile – 1986
79. Peace Frog – VH1 Storytellers – 2002
80. Plastic Jesus – Devil’s Playground – 2005
81. Power to the Music – Devil’s Playground – 2005
82. Prodigal Blues – Charmed Life – 1990
83. Postcards from the Past – Kings & Queens of the Underground – 2014
84. Pumping on Steel – Charmed Life – 1990
85. Ready Steady Go – Generation X – 1979
86. Rebel Yell – Rebel Yell – 1983
87. The Right Way – Charmed Life – 1990
88. Rita Hayworth – The Roadside EP – 2021
89. Run Rudolph Run – Happy Holidays – 2006
90. Running with the Boss Sound – Generation X – 1979
91. Santa Claus Is Back in Town – Happy Holidays – 2006
92. Save Me Now – Kings & Queens of the Underground – 2014
93. Scream – Devil’s Playground – 2005
94. Shock to the System – Cyberpunk – 1993
95. Shooting Stars – Billy Idol – 1982
96. Shotgun Solution – Generation X – 1979
97. Silver Bells – Happy Holidays – 2006
98. Silent Night – Happy Holidays – 2006
99. Skateboard – Cyberpunk – 1993
100. Slash & Burn – Cyberpunk – 1993
101. Soul Standing By – Whiplash Smile – 1986
102. Speed – Cyberpunk – 1993
103. Suburbs – Generation X – 1979
104. Summer Running – Charmed Life – 1990
105. Supercharged – Charmed Life – 1990
106. Sweet Sixteen – Billy Idol – 1982
107. Sweet Sixteen – Whiplash Smile – 1986
108. The Dead Next Door – Rebel Yell – 1983
109. The Loveless – Cyberpunk – 1993
110. The Right Way – Devil’s Playground – 2005
111. Then the Night Comes – Cyberpunk – 1993
112. Thy Will Be Done – Generation X – 1979
113. To Be a Lover – Whiplash Smile – 1986
114. Tomorrow People – Cyberpunk – 1993
115. Trouble with the Sweet Stuff – Charmed Life – 1990
116. U Don’t Have to Kiss Me Like That – The Roadside EP – 2021
117. Venus – Cyberpunk – 1993
118. Wasteland – Cyberpunk – 1993
119. Whiskey and Pills – Kings & Queens of the Underground – 2014
120. White Christmas – Happy Holidays – 2006
121. White Wedding – Billy Idol – 1982
122. Who’s Laughing Now – Billy Idol – 1982
123. Wild Child – Devil’s Playground – 2005
124. Winter Wonderland – Happy Holidays – 2006
125. Worlds Forgotten Boy – Whiplash Smile – 1986
126. Your Generation – Generation X – 1979

Albums

Generation X (1979): 10 songs

Don’t Stop EP (1981): 4 songs

Billy Idol (1982): 10 songs

Rebel Yell (1983): 9 songs

Whiplash Smile (1986): 10 songs

Charmed Life (1990): 11 songs

Cyberpunk (1993): 12 songs

Devil’s Playground (2005): 13 songs

Happy Holidays (2006): 17 songs

Kings & Queens of the Underground (2014): 12 songs (including bonus track)

The Roadside EP (2021): 4 songs

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

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Complete List Of Billy Idol Songs From A to Z article published on ClassicRockHistory.com© 2025

Fleetwood Mac’s legendary journey began in London in 1967, when guitarist Peter Green, drummer Mick Fleetwood, and bassist John McVie united their musical visions to create a blues-rock band deeply rooted in traditional American blues. Initially named “Peter Green’s Fleetwood Mac,” the group rapidly gained recognition through dynamic live performances and authentic blues sensibilities. Their early singles, notably “Black Magic Woman,” later popularized by Santana, and “Albatross,” which soared to number one in the UK charts, established them firmly in the British blues scene.

Throughout the late 1960s and early 1970s, Fleetwood Mac endured multiple lineup shifts, notably with the departure of Green and the brief presence of guitarist Bob Welch. The band’s sound evolved significantly during this period, drifting from its blues origins toward a more melodic rock style. In 1975, the addition of American musicians Lindsey Buckingham and Stevie Nicks propelled Fleetwood Mac into an unprecedented era of commercial success and creative vitality. This refreshed lineup released their self-titled album, Fleetwood Mac (1975), introducing hit singles like “Rhiannon,” “Over My Head,” and “Say You Love Me,” marking their commercial breakthrough in the United States.

The follow-up, 1977’s Rumours, became the definitive album of Fleetwood Mac’s career. Driven by intricate interpersonal relationships and emotional tensions among band members, Rumours yielded massive hits including “Go Your Own Way,” “Dreams,” “Don’t Stop,” and “The Chain.” The album dominated charts worldwide, spending 31 weeks atop the Billboard 200 in the U.S., eventually earning a Grammy Award for Album of the Year in 1978. To date, Rumours has sold over 40 million copies globally, making it one of the best-selling albums of all time.

Fleetwood Mac’s ambitious streak continued with the experimental double album Tusk (1979), notable for its bold departure from the accessible style of Rumours. Although it received mixed reviews initially, Tusk later gained critical appreciation for its artistic courage, further solidifying the band’s legacy as innovators. Subsequent albums like Mirage (1982), featuring hits such as “Hold Me” and “Gypsy,” and Tango in the Night (1987), driven by chart-toppers “Little Lies” and “Everywhere,” reinforced Fleetwood Mac’s reputation as consistent hitmakers capable of adapting to shifting musical landscapes.

In recognition of their significant cultural impact, Fleetwood Mac has garnered multiple prestigious accolades. In 1998, the core lineup—Fleetwood, McVie, Buckingham, Nicks, and Christine McVie—was inducted into the Rock and Roll Hall of Fame. Their enduring influence also earned them a Brit Award for Outstanding Contribution to Music. Beyond awards, Fleetwood Mac’s distinctive combination of heartfelt songwriting, intricate harmonies, and relatable themes has cemented their widespread adoration among generations of listeners.

Outside of their considerable musical achievements, Fleetwood Mac’s members have often championed charitable causes and social activism. Stevie Nicks, particularly vocal about women’s rights, has supported organizations combating domestic violence and advocating for veterans. Mick Fleetwood and John McVie have engaged in various environmental and wildlife conservation initiatives, reflecting their personal passions beyond the stage.

With a discography encompassing 18 studio albums, numerous live recordings, and countless compilations, Fleetwood Mac remains an enduring symbol of creative resilience and musical innovation. Their remarkable ability to navigate internal turmoil and reinvent themselves artistically has deeply endeared them to fans worldwide. Whether through their timeless anthems, their deeply human storytelling, or their unwavering authenticity, Fleetwood Mac has secured an unrivaled legacy in popular music.

Complete List Of Fleetwood Mac Songs From A to Z

1. Affairs of the Heart – Behind the Mask – 1990
2. All Over Again – Time – 1995
3. Although the Sun Is Shining – Then Play On – 1969
4. Angel – Heroes Are Hard to Find – 1974
5. Angel – Tusk – 1979
6. Bad Loser – Heroes Are Hard to Find – 1974
7. Bare Trees – Bare Trees – 1972
8. Beautiful Child – Tusk – 1979
9. Before the Beginning – Then Play On – 1969
10. Behind the Mask – Behind the Mask – 1990
11. Believe Me – Mystery to Me – 1973
12. Bermuda Triangle – Heroes Are Hard to Find – 1974
13. Big Love – Tango in the Night – 1987
14. Bleed to Love Her – Say You Will – 2003
15. Blood on the Floor – Kiln House – 1970
16. Blow by Blow – Time – 1995
17. Blue Letter – Fleetwood Mac – 1975
18. Book of Love – Mirage – 1982
19. Book of Miracles – Tango in the Night – 1987
20. Born Enchanter – Heroes Are Hard to Find – 1974
21. Bright Fire – Penguin – 1973
22. Brown Eyes – Tusk – 1979
23. Buddy’s Song – Kiln House – 1970
24. Can’t Go Back – Mirage – 1982
25. Caroline – Tango in the Night – 1987
26. Caught in the Rain – Penguin – 1973
27. Child of Mine – Bare Trees – 1972
28. Closing My Eyes – Then Play On – 1969
29. Cold Black Night – Fleetwood Mac – 1968
30. Come – Say You Will – 2003
31. Come a Little Bit Closer – Heroes Are Hard to Find – 1974
32. Coming Home – Mr. Wonderful – 1968
33. Coming Home – Heroes Are Hard to Find – 1974
34. Coming Your Way – Then Play On – 1969
35. Crystal – Fleetwood Mac – 1975
36. Danny’s Chant – Bare Trees – 1972
37. Destiny Rules – Say You Will – 2003
38. Did You Ever Love Me – Penguin – 1973
39. Dissatisfied – Penguin – 1973
40. Do You Know – Behind the Mask – 1990
41. Doctor Brown – Mr. Wonderful – 1968
42. Don’t Stop – Rumours – 1977
43. Down Endless Street – Tango in the Night – 1987
44. Dragonfly – Kiln House – 1970
45. Dreamin’ the Dream – Time – 1995
46. Dreams – Rumours – 1977
47. Dust – Bare Trees – 1972
48. Dust My Broom – Mr. Wonderful – 1968
49. Earl Gray – Kiln House – 1970
50. Empire State – Mirage – 1982
51. Emerald Eyes – Mystery to Me – 1973
52. Evenin’ Boogie – Mr. Wonderful – 1968
53. Everybody Finds Out – Say You Will – 2003
54. Everywhere – Tango in the Night – 1987
55. Eyes of the World – Mirage – 1982
56. Family Man – Tango in the Night – 1987
57. Fighting for Madge – Then Play On – 1969
58. For Your Love – Mystery to Me – 1973
59. For Your Love (Mono promo edit) – Mystery to Me – 1973
60. Forever – Mystery to Me – 1973
61. Freedom – Behind the Mask – 1990
62. Future Games – Future Games – 1971
63. Go Your Own Way – Rumours – 1977
64. Gold Dust Woman – Rumours – 1977
65. Goodbye Baby – Say You Will – 2003
66. Good Things (Come to Those Who Wait) – Mystery to Me – 1973
67. Got to Move – Fleetwood Mac – 1968
68. Gypsy – Mirage – 1982
69. Hard Feelings – Behind the Mask – 1990
70. Hellhound on My Trail – Fleetwood Mac – 1968
71. Heroes Are Hard to Find – Heroes Are Hard to Find – 1974
72. Heroes Are Hard to Find (single version) – Heroes Are Hard to Find – 1974
73. Hi Ho Silver – Kiln House – 1970
74. Hold Me – Mirage – 1982
75. Hollywood (Some Other Kind of Town) – Time – 1995
76. Honey Hi – Tusk – 1979
77. Homeward Bound – Bare Trees – 1972
78. Homeward Bound (Live) – Bare Trees – 1972
79. Hypnotized – Mystery to Me – 1973
80. I Do – Time – 1995
81. I Don’t Want to Know – Rumours – 1977
82. I Got It in for You – Time – 1995
83. I Know I’m Not Wrong – Tusk – 1979
84. I Loved Another Woman – Fleetwood Mac – 1968
85. I Wonder Why – Time – 1995
86. I’m So Afraid – Fleetwood Mac – 1975
87. (I’m a) Road Runner – Penguin – 1973
88. Illume (9-11) – Say You Will – 2003
89. In the Back of My Mind – Behind the Mask – 1990
90. I’ve Lost My Baby – Mr. Wonderful – 1968
91. If You Be My Baby – Mr. Wonderful – 1968
92. Isn’t It Midnight – Tango in the Night – 1987
93. Isn’t it Midnight (alternate mix) – Tango in the Night – 1987
94. Jewel Eyed Judy – Kiln House – 1970
95. Jewel Eyed Judy (Single Version) – Kiln House – 1970
96. Juliet – Tango in the Night – 1987
97. Just Crazy Love – Mystery to Me – 1973
98. Keep On Going – Mystery to Me – 1973
99. Landslide – Fleetwood Mac – 1975
100. Lay It All Down – Future Games – 1971
101. Lay It All Down (Alternate Version) – Future Games – 1971
102. Lazy Poker Blues – Mr. Wonderful – 1968
103. Like Crying – Then Play On – 1969
104. Little Lies – Tango in the Night – 1987
105. Little Lies (Extended Version) – Time – 1995
106. Looking for Somebody – Fleetwood Mac – 1968
107. Long Grey Mare – Fleetwood Mac – 1968
108. Love in Store – Mirage – 1982
109. Love Is Dangerous – Behind the Mask – 1990
110. Love Minus Zero/No Limit – Say You Will – 2003
111. Love That Burns – Mr. Wonderful – 1968
112. Merry Go Round – Fleetwood Mac – 1968
113. Miles Away – Mystery to Me – 1973
114. Miranda – Say You Will – 2003
115. Mission Bell – Kiln House – 1970
116. Monday Morning – Fleetwood Mac – 1975
117. Morning Rain – Future Games – 1971
118. Murrow Turning Over in His Grave – Say You Will – 2003
119. My Baby’s Good to Me – Fleetwood Mac – 1968
120. My Dream – Then Play On – 1969
121. My Heart Beat Like a Hammer – Fleetwood Mac – 1968
122. Mystified – Tango in the Night – 1987
123. Mystified (alternate version) – Tango in the Night – 1987
124. Mystified (instrumental demo) – Tango in the Night – 1987
125. Need Your Love Tonight – Mr. Wonderful – 1968
126. Never Forget – Tusk – 1979
127. Never Going Back Again – Rumours – 1977
128. Never Make Me Cry – Tusk – 1979
129. Night Watch – Penguin – 1973
130. Nights in Estoril – Time – 1995
131. No Place to Go – Fleetwood Mac – 1968
132. Not Make Believe – Say You Will – 2003
133. Not That Funny – Tusk – 1979
134. Nothing Without You – Time – 1995
135. Oh Daddy – Rumours – 1977
136. Oh Diane – Mirage – 1982
137. One Sunny Day – Then Play On – 1969
138. One Together – Kiln House – 1970
139. Only Over You – Mirage – 1982
140. Ooh My Love – Tango in the Night – 1987
141. Over & Over – Tusk – 1979
142. Over My Head – Fleetwood Mac – 1975
143. Peacekeeper – Say You Will – 2003
144. Peacekeeper (Live from Sessions@AOL) – Say You Will – 2003
145. Prove Your Love – Heroes Are Hard to Find – 1974
146. Purple Dancer – Kiln House – 1970
147. Rattlesnake Shake – Then Play On – 1969
148. Red Rover – Say You Will – 2003
149. Remember Me – Penguin – 1973
150. Revelation – Penguin – 1973
151. Rhiannon – Fleetwood Mac – 1975
152. Ricky – Tango in the Night – 1987
153. Rollin’ Man – Mr. Wonderful – 1968
154. Running Through the Garden – Say You Will – 2003
155. Safe Harbour – Heroes Are Hard to Find – 1974
156. Sands of Time – Future Games – 1971
157. Sands of Time (Single Version) – Future Games – 1971
158. Sara – Tusk – 1979
159. Save Me – Behind the Mask – 1990
160. Save Me a Place – Tusk – 1979
161. Say Goodbye – Say You Will – 2003
162. Say You Love Me – Fleetwood Mac – 1975
163. Say You Will – Say You Will – 2003
164. Say You Will (Live from Sessions@AOL) – Say You Will – 2003
165. Searching for Madge – Then Play On – 1969
166. Second Hand News – Rumours – 1977
167. Sentimental Lady – Bare Trees – 1972
168. Sentimental Lady (Single Version) – Bare Trees – 1972
169. Seven Wonders – Tango in the Night – 1987
170. Seven Wonders (early version) – Tango in the Night – 1987
171. Shake Your Moneymaker – Fleetwood Mac – 1968
172. She’s Changing Me – Heroes Are Hard to Find – 1974
173. Show Me a Smile – Future Games – 1971
174. Show Me a Smile (Alternate Version) – Future Games – 1971
175. Show-Biz Blues – Then Play On – 1969
176. Silver Girl – Say You Will – 2003
177. Silver Heels – Heroes Are Hard to Find – 1974
178. Sisters of the Moon – Tusk – 1979
179. Skies the Limit – Behind the Mask – 1990
180. Smile at You – Say You Will – 2003
181. Somebody – Mystery to Me – 1973
182. Sometimes – Future Games – 1971
183. Sometimes (Alternate Version) – Future Games – 1971
184. Songbird – Rumours – 1977
185. Sooner or Later – Time – 1995
186. Spare Me a Little of Your Love – Bare Trees – 1972
187. Special Kind of Love – Tango in the Night – 1987
188. Stand on the Rock – Behind the Mask – 1990
189. Station Man – Kiln House – 1970
190. Station Man (Single Version) – Kiln House – 1970
191. Steal Your Heart Away – Say You Will – 2003
192. Stone – Future Games – 1971
193. Stop Messin’ Round – Mr. Wonderful – 1968
194. Storms – Tusk – 1979
195. Straight Back – Mirage – 1982
196. Sugar Daddy – Fleetwood Mac – 1975
197. Sunny Side of Heaven – Bare Trees – 1972
198. Talkin’ to My Heart – Time – 1995
199. Tango in the Night – Tango in the Night – 1987
200. Tango in the Night (demo) – Tango in the Night – 1987
201. Tell Me All the Things You Do – Kiln House – 1970
202. That’s All for Everyone – Tusk – 1979
203. That’s Alright – Mirage – 1982
204. That’s Enough for Me 
205. That’s Enough for Me – Tusk – 1979
206. The Chain – Rumours – 1977
207. The City – Mystery to Me – 1973
208. The Derelict – Penguin – 1973
209. The Ghost – Bare Trees – 1972
210. The Ledge – Tusk – 1979
211. The Second Time – Behind the Mask – 1990
212. The Way I Feel – Mystery to Me – 1973
213. The World Keep on Turning – Fleetwood Mac – 1968
214. These Strange Times – Time – 1995
215. Think About Me – Tusk – 1979
216. This Is the Rock – Kiln House – 1970
217. Thoughts on a Grey Day – Bare Trees – 1972
218. Thrown Down – Say You Will – 2003
219. Trinity (Mono Version) – Bare Trees – 1972
220. Trying So Hard to Forget – Mr. Wonderful – 1968
221. Tusk – Tusk – 1979
222. Underway – Then Play On – 1969
223. Walk a Thin Line – Tusk – 1979
224. Warm Ways – Fleetwood Mac – 1975
225. Welcome to the Room… Sara – Tango in the Night – 1987
226. What a Shame – Future Games – 1971
227. What a Shame (Unedited) – Future Games – 1971
228. What Makes You Think You’re the One – Tusk – 1979
229. What’s the World Coming To? – Say You Will – 2003
230. When It Comes to Love – Behind the Mask – 1990
231. When I See You Again – Tango in the Night – 1987
232. When the Sun Goes Down – Behind the Mask – 1990
233. When You Say – Then Play On – 1969
234. Where We Belong – Tango in the Night – 1987
235. Why – Mystery to Me – 1973
236. Winds of Change – Time – 1995
237. Wish You Were Here – Mirage – 1982
238. Without You – Then Play On – 1969
239. Woman of 1000 Years – Future Games – 1971
240. World Turning – Fleetwood Mac – 1975
241. You and I, Part II – Tango in the Night – 1987
242. You and I, Part II (full version) – Tango in the Night – 1987
243. You Make Loving Fun – Rumours – 1977

Albums

Fleetwood Mac (1968): 12 songs

Mr. Wonderful (1968): 12 songs

Then Play On (1969): 14 songs

Kiln House (1970): 14 songs

Future Games (1971): 14 songs

Bare Trees (1972): 13 songs

Penguin (1973): 9 songs

Mystery to Me (1973): 14 songs

Heroes Are Hard to Find (1974): 12 songs

Fleetwood Mac (1975): 11 songs

Rumours (1977): 11 songs

Tusk (1979): 20 songs

Mirage (1982): 12 songs

Tango in the Night (1987): 25 songs

Behind the Mask (1990): 13 songs

Time (1995): 15 songs

Say You Will (2003): 21 songs

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

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Complete List of Fleetwood Mac Songs From A to Z article published on ClassicRockHistory.com© 2025

Marking three decades together, Mogwai have transformed a difficult period into a blazing post-rock extravaganza. The Bad Fire finds them in fine form and taking unexpected inspiration from King Crimson and Jan Hammer – with, perhaps, Pink Floyd to be added in the future.

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In 1995, when Stuart Braithwaite, Dominic Aitchison and Martin Bulloch formed a band in Glasgow, nobody could have had any inkling that a group playing mostly instrumental post-rock would make it to the top of the UK charts with As The Love Continues in 2021. Mogwai’s success is as surprising as it is heartwarming – and proof that independently-minded artists can prosper by sticking to their musical principles.

The band have had a good run from almost the beginning, charting from the off with 1997’s Mogwai Young Team, while their homespun label Rock Action has proved durable,boasting an ever-expanding roster that includes Kathryn Joseph, Arab Strap and Bdrmm. How does Braithwaite feel about the fact that Mogwai are still here, and seemingly going from strength to strength?

“Oh, I’m definitely proud,” he says. “I’m proud that we’re still making music, and I’m proud that people still want to hear the music we’re making. I’m pretty chuffed about it.”

One imagines a No.1 album at the start of their career would have been downright dangerous, given their propensity for hedonism. “It would have been, yeah,” he agrees. “I don’t think we would have lasted too long after that. It’s probably quite good that it happened when we were well into our 40s.”

How did it feel to have the best-selling album in Britain, keeping pop artists like Dua Lipa and Ariana Grande at bay – for a week, at least? “It was lovely. The only unfortunate thing was that it happened during the pandemic, and we couldn’t do a big celebratory tour. But we eventually managed to get out and play the songs. I think the kind of support and warmth we received around that time gave us a lot of confidence going into this record.”

He means The Bad Fire, Mogwai’s remarkable 11th album, which hasn’t been without tribulation. Barry Burns, their auxiliary multi-instrumentalist who’s been with the group since 1998, was put through the wringer when his daughter became seriously ill just as they started planning the record in early 2024. Thankfully, she’s responded well to treatment and has been on the up since then.

While that brought a dark complexion to proceedings, it also consolidated the unit in their creative endeavours. The Bad Fire is as emphatic and dynamic as you might expect, with plenty of peaks and troughs and surprises, too. Mogwai, it seems, were surprised themselves when the significance of the title of the album – a Scottish schoolyard expression for Hell – eventually dawned on them.

I think we only realised the title’s relevance in retrospect. We just thought it was funny

“I think we only realised its relevance in retrospect,” says Braithwaite. “We just thought the title was funny. And then we’re like: ‘Oh, that’s actually kind of heavy.’ It was a hard time; but it just felt really nice to be able to all get together and make some music after not being able to be together, and knowing that Barry was going through a really awful time with his family. It kind of made the recording feel even more special than usual.”

The group worked with the American producer John Congleton, whose credits include St Vincent, Swans and Sparks, to name but three. “He’s an absolute workaholic,” says Braithwaite. “He’s probably made 20 records since he made this one. I met him and I got on well with him, and he’s also made some records that we really like, like All Mirrors by Angel Olsen, and he’s done records with our friends Explosions In The Sky.”

Congleton flew into Glasgow for the recording. “It was the first time we’ve ever had a producer come to Scotland. It was a good experience. John had a ‘let’s just smash out some takes’ energy, which I like.”

While that might suggest there are rough edges to The Bad Fire, it’s polished in a poppy way in places, such as lead track God Gets You Back, while Hammer Room is ambitious and even proggy, with notes reaching into infinity, sounding almost virtuosic at times. “It’s definitely unusual. It’s very busy for a Mogwai song,” says Braithwaite.

Another, Pale Vegan Hip Pain, reminds Prog of Jan Hammer’s Crockett’s Theme, which Braithwaite takes well. “I love Crockett’s Theme! That’s actually the tune Kenny, our sound guy, always checks the PA with.” As for the unusual title: “My wife was at the doctor for a sore head. She looked over the desk and saw that ‘pale vegan hip pain’ were the only words written on the doctor’s notes.”

Barry uses different equipment for every record, which helps change the sound up. I’m a bit too lazy for that

Thirty years into their career, Mogwai are still evolving. “I don’t think we would like to just keep making the same record. We always try to do something new. Barry uses completely different equipment for every record, which helps change the sound up. I’m probably a bit too lazy for that, but I like to have some new toys and do something different. There’s definitely some songs that wouldn’t get on any other records.”

Which ones? Braithwaite mentions the axe-wielding Lion Rumpus, God Gets You Back and the brilliantly-titled Fanzine Made Of Flesh. The latter aches with pathos, with lyrics sung through a vocoder such as, ‘My heart breaks with every beat’ and, ‘See the stars and know they’re dead by now’ that hint at turmoil. Arpeggios drift into space like cosmic escalators as perspective is sought in the most trying of times.

It’s perhaps not surprising that Mogwai have a concomitant career as soundtrack composers, with their cinematic music scoring momentous big- and small-screen pictures like Mark Cousins’ Atomic: Living In Dread And Promise. Mogwai played it in Hiroshima, which Braithwaite describes as “probably the most intense experience I’ve ever had with a band.” Then there’s the recent true crime miniseries, Black Bird. “It’s always the cheery stuff with us!”

Across the Channel, there was the soundtrack to the lauded TV drama Les Revenants in 2012, and most famously, Zidane: A 21st Century Portrait from 2006, an arty on-field portrait of French footballing genius Zinédine Zidane where the camera follows him around for an entire match. A fine concept, slightly let down by the fact he had a lacklustre game. “I think that’s why he got sent off,” chuckles Braithwaite. “Just so there was something to remember.”

Hawkwind are a really important band… the glue between punk rock, prog rock and krautrock

Mogwai have always had their heads in the clouds, with a style of music that’s perfect for accompanying the viewing of great expanses or staring longingly into the empyrean and wondering what’s out there. Braithwaite’s late father made astronomical telescopes, which makes Prog wonder if that had an influence on the music?

“One hundred per cent,” he agrees. “I grew up around astronomers and sci-fi people. I’m not a big label person, but one of the few labels that I’m totally comfortable with is ‘space rock,’ because I can’t think of a band described that way that I don’t like. It’s a kind of music that connects us with the universe.”

Are Mogwai secret Hawkwind fans, then? “I love Hawkwind!” he confirms. “They’re a really important band, aren’t they? They’re the glue between punk rock, prog rock and krautrock. Dave Brock did the liner notes for Neu! back in 1972, and then there’s Lemmy, who’s a punk-rock icon.”

Braithwaite’s 2022 memoir Spaceships Over Glasgow recounts his time as a fan of The Cure and Sonic Youth. He recalls the tribalism of the 1980s and 1990s that seemed so important to him at the time. These allegiances often led to arguments and even some scrapes. Now, however, that pursuit of post-punk authenticity seems to have fallen by the wayside in an internet-dominated world.

“Nothing matters any more,” he reflects. “The concept of cool and uncool is completely gone. Which is good and bad, you know? It’s bad when people are unashamedly listening to Rick Astley. You’ve got to draw a line somewhere!”

The guitar part in Lion Rumpus is me trying to play like Fripp. If Fripp was pretending he couldn’t play

The punk-rock doctrinaire of old has even come around to the idea that what he does isn’t a million miles away from progressive rock. “We’re prog curious,” he declares with a laugh. His wife, the singer Elisabeth Elektra, has helped lead him there.

“I went to see Roger Waters last year, mainly because my wife is a Pink Floyd fan, and I loved it so much. I even bought The Dark Side Of The Moon. I’d never listened to it until three months ago. The music fans I grew up with all thought Pink Floyd disappeared after Syd Barrett left – but I’m realising that there’s some good stuff after that.”

And that’s not all: he’s also become obsessed with King Crimson, turned onto the band by Toby Amies’ In The Court Of The Crimson King – King Crimson At 50 documentary. “I’m working my way through all of the records, which are just so good. I think the guitar part in Lion Rumpus is me trying to deconstruct Robert Fripp’s guitar solo from [Eno’s] Baby’s On Fire. It’s me trying to play like Fripp. If Fripp was pretending he couldn’t play!”

Braithwaite and his wife took part in a sonic experiment as Covid restrictions began to lift in 2021. They and some stir-crazy musicians they’d met online embarked on a ferry to the Outer Hebrides to record at the Black Bay Studio on the Isle Of Lewis. The unanticipated result was a brand-new band, Silver Moth, with a critically-lauded debut album Black Bay.

Braithwaite said at the time the project had unleashed his “inner prog.” Did that experience influence the new Mogwai recording at all? “It may have done,” he considers, “because there definitely was a prog element to that. I really enjoyed making that record, and I really enjoyed going on the tour as well. It was nice remembering those experiences of fear when you’re first in a band.

“We’re definitely going to make another record. We’ll be back in the wilderness [of Lewis] again. The guy that recorded us [inhouse engineer/owner Pete Fletcher] is a really nice bloke as well, so it’ll be good to spend more time with him again.”

Iron Maiden guitarist Adrian Smith has named his favourite of the band’s songs.

During a recent interview with Sonic Perspectives, the 68-year-old names Wrathchild from 1981 album Killers as his pick for Maiden’s standout achievement. He does admit, however, that the Paul Di’Anno-era anthem is “awkward” to perform.

“One of my favourites has always been Wrathchild,” says Smith (via Ultimate Guitar). “That’s a great one. It’s not a great one to play, weirdly. It’s kind of awkward to play. That riff is kind of awkward. But I like the song. I do love the song.”

Smith joined Maiden just before the recording of Killers, replacing Dennis Stratton. The album was the last of two featuring Di’Anno, who was dismissed in 1981 and replaced by current frontman Bruce Dickinson. Di’Anno died last year at the age of 66.

Smith has become one of Maiden’s longest-serving members (his absence from the lineup between 1990 and 1998 notwithstanding) and also performs backing vocals in the band. Elsewhere in the Sonic Perspectives chat, he talks about his friendship with fellow long-standing Maiden guitar player Dave Murray, whom he’s known since his teens.

“When I was 15 years old, back in London, I met Dave Murray,” he remembers. “We became best buddies because no one else in our neighbourhood at that time was into Deep Purple and Free. We were crazy about it. We had long hair already. All the other kids were into soul music, and all the other kids wanted to do was get cars, get married and all that. Nothing wrong with that. But we wanted guitars, to be in a band. That was it.”

He continues: “I mean, we were just obsessed with it. Dave could play the guitar already, and I wanted to be in a band with him. I said, ‘Well, I’ll have a go at singing.’ So, that’s how I started. I sang and learned guitar as I went along, and I did that right up until I joined Maiden. I was fronting a band and singing, and I paid my dues in the pubs and clubs, singing through shitty PAs, no monitors, singing myself raw, and loved every minute of it.”

Maiden will tour Europe this summer, playing the first leg of their Run For Your Lives shows. The band will perform material from their first nine albums, from 1980’s Iron Maiden to 1992’s Fear Of The Dark, to celebrate their 50th anniversary. See details of all announced dates below.

Run For Your Lives will be Maiden’s first tour since 1982 without drummer Nicko McBrain. Though he’s still officially part of the band, McBrain retired from the live stage late last year. He suffered a mini-stroke in January 2023 that affected his playing.

Iron Maiden 2025 tour dates:

May 27: Budapest Aréna, Hungary *
May 28: Budapest Aréna, Hungary *
May 31: Prague Letnany Airport, Czech Republic *
Jun 01: Bratislava TIPOS Arena, Slovakia *
Jun 05: Trondheim Rocks, Norway ≠
Jun 07: Stavanger SR-Bank Arena, Norway *
Jun 09: Copenhagen Royal Arena, Denmark *
Jun 12: Stockholm 3Arena, Sweden *
Jun 13: Stockholm 3Arena, Sweden *
Jun 16: Helsinki Olympic Stadium, Finland *
Jun 19: Dessel Graspop Metal Meeting, Belgium≠

Jun 21: Birmingham Utilita Arena, UK ^
Jun 22: Manchester Co-op Live, UK ^
Jun 25: Dublin Malahide Castle, Ireland *^
Jun 28: London Stadium, UK *^
Jun 30: Glasgow OVO Hydro, UK ^

Jul 03: Belfort Eurockéennes, France ≠
Jul 05: Madrid Estadio Cívitas Metropolitano, Spain **
Jul 06: Lisbon MEO Arena, Portugal **
Jul 09: Zurich Hallenstadion, Switzerland **
Jul 11: Gelsenkirchen Veltins-Arena, Germany **
Jul 13: Padova Stadio Euganeo, Italy **
Jul 15: Bremen Bürgerweide, Germany **
Jul 17: Vienna Ernst Happel Stadium, Austria **
Jul 19: Paris Paris La Défense Arena, France **
Jul 20: Paris Paris La Défense Arena, France **
Jul 23: Arnhem GelreDome, Netherlands **
Jul 25: Frankfurt Deutsche Bank Park, Germany **
Jul 26: Stuttgart Cannstatter Wasen, Germany **
Jul 29: Berlin Waldbühne, Germany **
Jul 30: Berlin Waldbühne, Germany **
Aug 02: Warsaw PGE Narodowy, Poland **

* = Halestorm support
^ = The Raven Age support
** = Avatar support
≠ = Festival date