10 Best Rock Songs About Miracles

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The concept of miracles has long been a favorite theme in motion pictures and television, often used to highlight extraordinary events that defy logic and expectations. However, miracles have also been a common subject in music across various genres. From pop to soul, jazz, blues, and country, artists have explored the idea of miracles in their own unique ways. In this article, we will focus primarily on rock and pop songs that capture the essence of miracles, whether personal, spiritual, or societal.

Jefferson Starship’s “Miracles” blends love and spirituality in a dreamy, romantic ode to the power of belief, while Mike + The Mechanics’ “All I Need Is a Miracle” tells a hopeful story of redemption and second chances. Slade’s “Do You Believe in Miracles” celebrates the transformative impact of Bob Geldof’s Live Aid, and Dream Theater’s “Metropolis – Part I: ‘The Miracle and the Sleeper'” explores life, death, and love within an epic progressive metal framework.

Queen’s “The Miracle” envisions a better world filled with peace and unity, contrasting with Jon Bon Jovi’s “Miracle,” which blends personal redemption with societal hope. Ozzy Osbourne’s “Miracle Man” takes a sharp, satirical look at hypocrisy, while The Ramones’ “I Believe in Miracles” offers a punk rock anthem of personal survival and triumph. Foo Fighters’ “Miracle” conveys a more intimate reflection on overcoming adversity, while Laura Nyro and Labelle’s “Gonna Take a Miracle” fuses soul and rock to express deep faith in love and perseverance. Together, these songs capture the many ways in which miracles, whether personal, spiritual, or societal, continue to inspire and resonate in rock and pop music.

# 10 – Miracle – Foo Fighters

“Miracle” by Foo Fighters is the fifth single from their fifth studio album, In Your Honor. This acoustic-driven track stands out for its emotive depth and features the legendary John Paul Jones of Led Zeppelin on piano, alongside Petra Haden on violin. The song was recorded during sessions at the band’s own 606 Studio in Los Angeles, with production helmed by Nick Raskulinecz and Foo Fighters’ frontman, Dave Grohl. Although released only as a promotional single, “Miracle” gained significant attention, being featured in popular television shows such as The West Wing, Scrubs, and Cold Case, allowing it to reach a broad audience.

The instrumentation of “Miracle” is more subdued than the typical Foo Fighters sound, embracing acoustic arrangements and subtle orchestration. John Paul Jones’ piano playing lends the track a classic, almost timeless quality, further enriched by Petra Haden’s poignant violin. The song offers a softer, more introspective contrast to the harder rock tracks found on In Your Honor. While it didn’t make a huge splash on the charts, reaching number twenty-nine on Canada’s Billboard Rock chart and number thirty-nine on the US Adult Pop Airplay chart, “Miracle” resonated deeply with fans through its heartfelt message and sincere delivery.

Lyrically, “Miracle” explores themes of perseverance and finding hope in the face of overwhelming challenges. The repeated line, “Hands on a miracle,” suggests that the narrator has endured significant hardship but has found something transformative—a miracle. The lyrics, “Everything that we survived, it’s gonna be alright,” encapsulate a feeling of relief and gratitude after a difficult journey. The emotional weight of these lyrics is amplified by the minimal, yet powerful, instrumental arrangement, allowing Grohl’s voice to deliver the message with clarity and conviction. “Miracle” stands as a testament to the band’s ability to convey a message of hope and redemption, aligning perfectly with the theme of miracles in rock music.

Read More: Top 10 Foo Fighters Songs

# 9 – I Believe in Miracles – The Ramones

“I Believe in Miracles” by The Ramones is one of the defining tracks from their eleventh studio album, Brain Drain, released on May 23, 1989. The album marked a transitional phase for the band, with Dee Dee Ramone contributing as a bassist, songwriter, and vocalist for the last time before his departure. The track also features the return of drummer Marky Ramone, who had been absent since the 1983 album Subterranean Jungle. Produced by Daniel Rey, the album was recorded at The Loft in Bronxville, New York, and Quad Recording Studios in Manhattan. Rey, who had produced for the band in previous sessions, managed to harness the raw punk energy of The Ramones while introducing elements of polish, making “I Believe in Miracles” stand out as a significant anthem in the band’s later career.

The song itself, written by Dee Dee Ramone and Daniel Rey, is a departure from the reckless abandon often associated with the band’s earlier material. Instead, “I Believe in Miracles” embraces themes of survival, redemption, and hope. The lyrics reflect Dee Dee’s personal struggles and his recognition of having survived through difficult times: “I used to be on an endless run / Believed in miracles ’cause I’m one.” His past, filled with substance abuse and self-destruction, is mirrored in these lines, but there’s also a sense of triumph over adversity. The chorus, with its repeated refrain, “I believe in a better world for me and you,” serves as a hopeful declaration, giving the song an optimistic tone not often found in punk rock. The track is driven by a strong melody, marked by the signature gritty guitars and Joey Ramone’s powerful, distinctive vocals.

In comparison to Foo Fighters’ “Miracle,” which also conveys themes of overcoming adversity and finding hope, “I Believe in Miracles” leans into a rawer, more direct approach. Where Foo Fighters employ acoustic textures and orchestration to evoke emotion, The Ramones maintain their gritty punk sound, delivering the message of survival and belief in a more aggressive, straightforward manner. Despite these differences in musical style, both songs tap into the notion of finding strength through hardship, making “I Believe in Miracles” a fitting inclusion on this list of rock songs about miracles.

Lyrically, the song weaves personal reflections with broader, more universal themes. Lines like “If she can find a reason to forgive / Then I can find a reason to live” introduce a narrative of personal redemption through love and connection. Dee Dee’s lyrics explore the power of relationships as a source of salvation, echoing the idea that belief in miracles often comes from finding strength in others. This theme aligns with the recurring notion of miracles as a form of personal revelation and survival, seen in both “I Believe in Miracles” and “Miracle” by Foo Fighters. The Ramones’ track, however, is more direct in its delivery, presenting the listener with a raw emotional message underscored by their fast-paced, driving punk sound. As the chorus repeats, the belief in miracles becomes almost a mantra, reinforcing the song’s hopeful energy amidst the backdrop of the band’s typically rebellious spirit.

# 8 – Miracle Man – Ozzy Osbourne

“Miracle Man” by Ozzy Osbourne is the first track from his fifth solo studio album, No Rest for the Wicked, released in October 1988. This song marked the debut of Zakk Wylde as Osbourne’s lead guitarist, and it features bassist Bob Daisley, who had returned to the band for this recording. The album was produced by Roy Thomas Baker and Keith Olsen and recorded at Enterprise Studios in Burbank, California. The combination of Wylde’s signature guitar riffs, Daisley’s driving basslines, and Osbourne’s biting vocals made No Rest for the Wicked a commercial success, peaking at number thirteen on the Billboard 200 and going double platinum. “Miracle Man” was one of the album’s standout singles, with its sharp criticism of televangelist Jimmy Swaggart, who had publicly condemned Osbourne’s music, only to be embroiled in a notorious prostitution scandal.

Musically, “Miracle Man” is a quintessential Osbourne track, blending heavy metal power with satirical lyricism. Zakk Wylde’s energetic, blues-infused guitar riffs shine throughout the song, making an immediate impact on Osbourne’s sound. Wylde’s fiery solos and distinctive tone would go on to define much of Osbourne’s later work, but “Miracle Man” was the song that introduced fans to this new collaboration. Bob Daisley’s return to the band brought a solid, aggressive bassline that supported the track’s relentless energy, while drummer Randy Castillo provided the thunderous backbone. The song, like the rest of the album, was produced with a clean, polished sound that allowed each instrument to shine. This marked a shift in Osbourne’s production style compared to earlier albums, bringing a more modern, radio-friendly edge to his heavy metal roots.

Lyrically, “Miracle Man” is a direct response to the hypocrisy Osbourne saw in televangelists like Jimmy Swaggart, who preached against the so-called evils of rock music but was later caught in his own scandal. Lines like, “I’m looking for a Miracle Man / Who’s not in disguise” and “Such a hypocritical man / Born again, dying” illustrate Osbourne’s biting commentary on Swaggart’s moral failure. The song mocks the televangelist’s downfall, with Osbourne gleefully pointing out that the “Miracle Man got busted” in a very public way. This cynical tone sets it apart from other tracks in this list of songs about miracles, such as Foo Fighters’ “Miracle,” which approaches the concept with a sense of hope and redemption. In contrast, Osbourne takes the idea of a “miracle man” and turns it on its head, exposing the falsehoods and moral decay beneath the surface.

“Miracle Man” stands as a scathing social critique wrapped in Osbourne’s signature heavy metal style. The dark humor of the song is underscored by its driving, powerful sound, making it a unique take on the theme of miracles in rock music. Its sharp, critical lens and biting lyrics offer a stark contrast to the more earnest explorations of miracles found in other tracks on the list, making it an essential addition to this collection of songs.

Read More: Top 10 Ozzy Osbourne Songs

# 7 – Miracle – Jon Bon Jovi

“Miracle,” the second solo single by Jon Bon Jovi, was released in 1990 as part of his debut solo album, Blaze of Glory, which served as the soundtrack to the film Young Guns II. The song blends rock with a cinematic feel, in line with the Western themes of the movie. Co-produced by Jon Bon Jovi and Danny Kortchmar, the track features iconic guitarist Jeff Beck, whose electrifying performance elevates the song’s intensity. The single peaked at number twelve on both the US Billboard Hot 100 and Cash Box charts, while also reaching number twenty on the Album Rock Tracks chart, further solidifying Bon Jovi’s status as a successful solo artist outside of his work with the band Bon Jovi.

The song’s production is polished and expansive, with rich instrumentation that complements Bon Jovi’s passionate vocal delivery. Beck’s guitar work stands out, weaving through the track with fiery solos that evoke a sense of urgency and drama. The track’s length, running at five minutes and twenty seconds, allows for a dynamic range of emotion, from quieter, contemplative moments to powerful crescendos. The music video for “Miracle” also adds a layer of intrigue, featuring a young Matt LeBlanc in one of his earliest acting roles, giving the song additional pop culture relevance.

Lyrically, “Miracle” speaks to themes of hope, salvation, and the need for divine intervention in desperate times. The lines, “Gonna take a miracle to save us this time / And your savior has just left town,” reflect a sense of disillusionment and despair, as the narrator searches for a miracle in the face of overwhelming odds. The song grapples with the contradictions of life, where salvation seems distant, and yet the narrator remains determined to hold on. The metaphor of angels leaving the nation and salvation “catching the last train out” paints a vivid picture of a world in chaos, a fitting theme for the film Young Guns II, set in a lawless Western landscape.

Compared to Foo Fighters’ “Miracle,” which also explores the idea of overcoming adversity, Jon Bon Jovi’s take on the concept feels more epic and rooted in a cinematic narrative. While Foo Fighters’ song focuses on personal triumph, “Miracle” casts a wider net, addressing societal collapse and existential struggle. The grandiose tone of the song, propelled by Jeff Beck’s guitar and Bon Jovi’s soaring vocals, gives it a sense of scale that matches the high stakes of the lyrics. Both tracks, however, share an underlying belief in the possibility of redemption, making them strong additions to this list of rock songs about miracles.

Read More: Top 10 Bon Jovi Love Songs

# 6 – Gonna Take A Miracle – Laura Nyro and Labelle

“Gonna Take A Miracle” is the title track from Laura Nyro’s fifth studio album, released in November 1971. This album marked a departure from Nyro’s usual original songwriting, as it is her only record composed entirely of covers, paying tribute to 1950s and 1960s R&B and soul classics. Backed by the powerful vocal trio Labelle, including Patti LaBelle, Nona Hendryx, and Sarah Dash, Nyro reinterprets these songs with a soulful yet understated approach. The track itself is a heartfelt rendition of the 1965 original by The Royalettes, brought to life by the blend of Nyro’s impassioned delivery and Labelle’s soaring harmonies. Produced by Philadelphia soul legends Kenny Gamble and Leon Huff, the album reflects the lush and soulful production that made the duo famous, lending a richness to the song’s arrangement.

Recorded at Sigma Sound Studios in Philadelphia, the album’s sessions occurred in a city known for its pioneering role in shaping the Philadelphia soul sound, and “Gonna Take A Miracle” captures that essence beautifully. Nyro’s collaboration with Labelle was a seamless blend of two powerful musical forces, with Labelle’s vocals adding depth and texture to Nyro’s piano-driven foundation. Gamble and Huff’s production provided a smooth, polished backdrop, highlighting Nyro’s deep connection to the soul genre, which she had admired throughout her career. The song’s laid-back groove and effortless musicianship have helped it remain a fan and critical favorite, with Gonna Take a Miracle reaching number forty-six on the Billboard 200 and number forty-one on the Black Albums chart, making it Nyro’s last commercially successful album before she stepped away from the spotlight.

Lyrically, “Gonna Take A Miracle” revolves around themes of heartbreak, longing, and the deep emotional struggle of moving on from a lost love. The chorus, “It’s gonna take a miracle to make me love someone new, ’cause I’m crazy for you,” captures the sentiment of holding on to a past love even when it is no longer reciprocated. Nyro’s raw vocal performance, combined with Labelle’s powerful harmonies, elevates the song’s emotional weight, making it a poignant anthem of love and loss. In comparison to other songs on this list of rock songs about miracles, Nyro’s take on the concept is deeply personal, focusing on the emotional miracle required to heal from a broken heart, contrasting with more existential or external interpretations of miracles like Jon Bon Jovi’s “Miracle,” which deals with societal and spiritual salvation.

Read More: Top 10 Laura Nyro Songs

# 5 – The Miracle – Queen

“The Miracle,” released as the fifth and final single from Queen’s 1989 album of the same name, is a powerful anthem that blends the band’s signature rock sound with an optimistic, hopeful message. Written by all four members of Queen—Freddie Mercury, Brian May, Roger Taylor, and John Deacon—the song primarily came from the creative efforts of Mercury and Deacon. It was released as a single on November 27, 1989, marking the end of the band’s releases in the 1980s. The track showcases Queen’s ability to tackle grand, philosophical themes while maintaining their rock edge. “The Miracle” was recorded at Olympic Studios in London, and it was produced by Queen and David Richards, reflecting the band’s late-career penchant for highly polished, complex production.

Thematically, “The Miracle” explores the miracles of life, from everyday occurrences like rain in the Sahara to grand creations like the Taj Mahal and the Golden Gate Bridge. The song juxtaposes these natural and human-made wonders with a yearning for an even greater miracle—peace on Earth. Lyrics such as “The one thing we’re all waiting for is peace on Earth, an end to war” show that despite all the marvels the world holds, the band believed the ultimate miracle would be global harmony. The song’s structure supports this message, building from gentle verses into a powerful, layered chorus, where Mercury’s vocals soar above intricate harmonies and an elaborate instrumental arrangement, showcasing Queen’s signature grandeur.

The music video for “The Miracle” is a standout, featuring four young boys portraying each member of Queen in a playful tribute to the band’s history. Filmed at Elstree Studios in November 1989, it features a then-unknown Ross McCall as Freddie Mercury, dressed in various iconic Freddie outfits, alongside the other boys mimicking the looks and styles of Brian May, Roger Taylor, and John Deacon. Queen themselves make a brief appearance at the end, watching the young actors onstage. The video’s nostalgic and joyful tone complements the song’s message, while also reflecting Mercury’s desire to step back from the spotlight as his health declined.

Lyrically, “The Miracle” stands out on this list for its optimistic vision of a better future. Compared to Jon Bon Jovi’s “Miracle,” which takes a more personal and emotional approach to the idea of salvation, Queen’s song zooms out to a global perspective, addressing miracles both big and small, natural and human-made. The track offers a vision of hope and peace, with Mercury delivering lines like, “If all God’s people could be free to live in perfect harmony,” underscoring the song’s utopian idealism. This grand scale and message of peace align “The Miracle” with the broader theme of miracles in rock music, cementing it as a key entry in this list.

# 4 – Metropolis – Part I: “The Miracle and the Sleeper” – Dream Theater

“Metropolis – Part I: ‘The Miracle and the Sleeper'” is one of the most iconic songs in Dream Theater’s catalog, featured on their breakthrough 1992 album Images and Words. Written by guitarist John Petrucci, with contributions from the entire band, the song was initially conceived as a standalone piece with no intention of a sequel. However, its popularity and the thematic depth ultimately led to the creation of Metropolis Pt. 2: Scenes from a Memory, a full concept album released in 1999. The song, recorded at BearTracks Studios in Suffern, New York, showcases Dream Theater’s intricate blend of progressive metal with virtuoso musicianship, establishing the band as one of the premier acts in the genre. Produced by David Prater, Images and Words marked the band’s commercial breakthrough, thanks in part to tracks like “Metropolis I,” which became a fan favorite due to its complex time signatures, technical proficiency, and profound lyrical content.

The song’s composition features the quintessential elements of progressive metal, with intricate instrumental sections and shifting dynamics. Running at nine minutes and thirty seconds, “Metropolis I” is a multi-part epic that takes listeners through a journey of heavy guitar riffs, soaring vocals, and complex rhythmic patterns. John Petrucci’s guitar work, coupled with Kevin Moore’s keyboards, creates a dramatic and atmospheric soundscape. The interplay between John Myung’s bass lines and Mike Portnoy’s dynamic drumming pushes the song into uncharted musical territory. James LaBrie’s powerful vocals add another layer of emotion to the track, making it one of the most compelling performances on Images and Words.

Lyrically, “Metropolis I” delves into themes of life, death, and love, with a mystical narrative surrounding “The Miracle” and “The Sleeper.” Lines like “I was told there’s a miracle for each day that I try” and “Now the miracle and the Sleeper know that the third is love” suggest a complex story of spiritual transformation and the eternal struggle between life and death. The song explores metaphysical concepts, weaving a narrative that speaks to the human condition. In comparison to other songs on this list of rock songs about miracles, Dream Theater’s approach is far more abstract and cerebral. While Jon Bon Jovi’s “Miracle” speaks to personal redemption and Queen’s “The Miracle” reflects on societal miracles, Dream Theater’s “Metropolis I” tackles miracles on an existential level, reflecting on the nature of life and the mysteries of the human soul.

“Metropolis I” is more than just a song—it became a cornerstone of Dream Theater’s live performances and remains one of their most frequently played tracks. Its complexity and narrative depth set it apart, making it a fitting addition to this collection of rock songs about miracles. Through its layered storytelling and instrumental mastery, Dream Theater’s “Metropolis I” stands as a testament to the power of progressive music to explore profound, philosophical themes.

# 3 – Do You Believe In Miracles – Slade

“Do You Believe in Miracles” by Slade, released in 1985, is a song that reflects the band’s admiration for Bob Geldof’s extraordinary efforts in organizing Live Aid. Written by lead vocalist Noddy Holder and bassist Jim Lea, the track is both a tribute to Geldof’s charitable work and a reflection on Slade’s own journey, particularly their struggles during the late 1970s when they had faded from the spotlight. The single was produced by John Punter and included on the band’s compilation album Crackers. Although it peaked at number fifty-four on the UK Singles Chart and stayed in the top 100 for six weeks, its impact was more profound on a symbolic and charitable level, with all publishing royalties going to the Band Aid Trust and NSPCC.

Musically, “Do You Believe in Miracles” features Slade’s characteristic blend of rock with a powerful message. The track’s acoustic-driven instrumentation, with all members except drummer Don Powell playing acoustic guitars, offers a softer yet energetic backdrop for Holder’s distinctive vocals. The song also carries a contemplative tone, underscored by its earnest lyrics. Bob Geldof’s influence is woven into the song’s narrative, as Holder and Lea recount the band’s encounter with Geldof when they were struggling to maintain their popularity. Lyrics like, “Oh, do you believe in miracles, just as only dreamers can,” encapsulate the song’s message of perseverance and belief in the possibility of positive change, both personal and global.

In comparison to other songs on this list, Slade’s “Do You Believe in Miracles” is deeply rooted in the real-world miracle of organizing Live Aid, contrasting with the more abstract or existential takes on miracles found in tracks like Dream Theater’s “Metropolis – Part I” or Queen’s “The Miracle.” Slade’s song offers a grounded perspective on how one person, driven by determination, can create monumental change. The song also reflects on the power of music as a tool for hope, as it references how rock and roll played a vital role in spreading awareness and uniting people for a cause. The music video, which features the band performing in multiple settings, mirrors the song’s reflective yet hopeful tone, with the recurring image of Halley’s Comet suggesting that miracles, much like the comet, are rare but not impossible.

Lyrically, the song emphasizes the persistence required to create miracles, especially in the face of adversity. “Like a bloody-minded man,” the lyrics portray Geldof’s single-minded determination to make Live Aid a success. The miracle in this song is not a supernatural event, but rather the result of human effort and grit, reinforcing the idea that miracles can be made through sheer willpower and belief.

Read More: Top 10 Slade Songs

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

“All I Need Is a Miracle” is one of the signature songs by Mike + The Mechanics, released as the second single from their self-titled debut album in 1985. Written by guitarist Mike Rutherford and producer Christopher Neil, the song features lead vocals by Paul Young (formerly of Sad Café) and became a major hit in 1986, reaching number five on the Billboard Hot 100. Produced by Neil, the song was recorded with the full band lineup, including Rutherford on guitar and bass, Paul Carrack on backing vocals, Adrian Lee on keyboards, and Peter Van Hooke on drums, alongside additional contributors such as Dereck Austin and Ian Wherry on keyboards. The song’s infectious melody, driving rhythm, and bright, pop-rock sound helped solidify Mike + The Mechanics’ place in the pop-rock scene of the 1980s.

Musically, “All I Need Is a Miracle” stands out for its upbeat and energetic arrangement, a contrast to the more introspective and moody tracks often associated with Mike Rutherford’s work, particularly with Genesis. Paul Young’s powerful and emotive vocal performance drives the song, while the catchy chorus emphasizes the hopeful and pleading nature of the lyrics. Rutherford himself described the song as one of the few tracks in his career that felt genuinely “happy” and optimistic, a sentiment reflected in the song’s uplifting tempo and lively instrumentation. Critically, Cash Box described the song as having a “clean, lively sound,” and Billboard noted its “upbeat and danceable” qualities, making it a commercial and radio success. The song was later re-recorded in 1996 for the band’s Hits compilation album, further cementing its place as one of their most beloved tracks.

Lyrically, “All I Need Is a Miracle” tells a story of regret and redemption, where the protagonist acknowledges past mistakes in a relationship and realizes what they have lost. The line “You never know what you got ’til it’s gone” encapsulates the song’s emotional core, as the narrator expresses a desire for reconciliation and a miraculous resolution. In comparison to other songs on this list of rock songs about miracles, the theme in Mike + The Mechanics’ track is deeply personal, focusing on the miracle of forgiveness and second chances in love, unlike the more philosophical or societal miracles explored in songs like Queen’s “The Miracle” or Slade’s “Do You Believe in Miracles.” The recurring chorus, “All I need is a miracle, all I need is you,” emphasizes the emotional plea for the return of the lost love, making it a heartfelt anthem about the power of love and human connection.

The music video for “All I Need Is a Miracle” adds a comedic element to the song’s narrative, depicting the band’s fictional manager trying to settle a debt with a restaurant owner while the band performs their set. This lighthearted approach complements the song’s upbeat tone and became memorable for its storyline and playful portrayal of the band. As one of Mike + The Mechanics’ most enduring hits, “All I Need Is a Miracle” remains a staple in the band’s repertoire and a classic example of 1980s pop-rock, encapsulating the themes of hope and redemption that are central to the idea of miracles.

Read More: Top 10 Mike + The Mechanics Songs

# 1 – Miracles – Jefferson Starship

“Miracles” by Jefferson Starship, released in 1975 on their Red Octopus album, became the highest-charting single of the band’s career, reaching number three on the Billboard Hot 100. Written by lead vocalist Marty Balin, the song is an ode to the transformative power of love and the belief in miracles. Its smooth, melodic flow, combined with Balin’s soulful delivery, made it one of the standout tracks of the 1970s, blending the band’s rock roots with a softer, almost ethereal vibe. The track was produced by Jefferson Starship and recorded at Wally Heider Studios in San Francisco, with the entire band contributing to its layered, rich sound.

The song’s lyrics are deeply personal, inspired by two sources: Balin’s spiritual connection to the Indian guru Sathya Sai Baba and his romantic feelings for a woman he was in love with at the time. These dual inspirations are evident in the song’s lyrics, which juxtapose metaphysical and spiritual concepts with the physical and emotional intensity of a romantic relationship. Lines such as “If only you believe in miracles, so would I” and “I might have to move Heaven and Earth to prove it to you” reflect the theme of belief, both in the miraculous nature of love and the extraordinary events that can happen when one has faith. The song’s sexual undertones, particularly in the original album version’s line “I had a taste of the real world when I went down on you, girl,” pushed boundaries at the time and led to edits for the single version to ensure more radio airplay.

In comparison to other songs on this list, “Miracles” stands out for its sensual, almost mystical take on the concept of miracles. Where tracks like Queen’s “The Miracle” or Mike + The Mechanics’ “All I Need Is a Miracle” focus on broader societal or personal struggles, Jefferson Starship’s song centers on the intimate, personal miracles that arise from human connection and love. The song’s instrumentation, particularly its soft, swirling keyboards and lush harmonies, complements the romantic and spiritual themes, creating a dreamy, transcendent atmosphere. The song’s commercial success and critical acclaim helped solidify Jefferson Starship’s place in rock history, and it remains one of the band’s most enduring and beloved songs.

“Miracles” is a perfect example of how love and faith can intertwine to create a powerful emotional experience. The song’s slow groove and tender delivery encapsulate the deep yearning and belief that something extraordinary can happen if both partners share the same conviction. It’s a unique take on the idea of miracles, making it an essential addition to this list of rock songs that explore the miraculous.

Read More: Top 10 Jefferson Starship Songs