What makes this collection so engaging is the diversity of artists and styles represented, spanning different eras of rock music. From the laid-back introspection of The Beatles’ “I’m Only Sleeping” to the haunting melancholy of Jackson Browne’s “Sleep’s Dark and Silent Gate,” each song captures a unique aspect of sleep. You’ll find the restless energy of Warren Zevon’s “I’ll Sleep When I’m Dead,” standing in stark contrast to the soft, acoustic beauty of Pink Floyd’s “A Pillow of Winds.” Yet, all of these songs—whether upbeat or somber—find a way to tap into the universal experience of needing rest, whether it’s welcomed or elusive.
It was important to us to not just default to the most obvious choices; instead, we’ve unearthed tracks that offer deeper reflections on sleep and its many forms. From classic rock anthems to lesser-known gems, this list explores the emotional range tied to sleep: exhaustion, relief, escape, and even defiance. We’ve picked songs that speak directly to the state of rest itself—songs that make you feel like you’re lying in bed, pulling the covers over, or staring at the ceiling, waiting for sleep to come. And that, in essence, is what connects these tracks—they each reflect a different facet of sleep, while being grounded in the rich history of rock music’s evolution.
In compiling this list, we aimed to cover a wide range of moods and tones, ensuring that this collection mirrors the multifaceted nature of sleep itself. Some songs, like Billy Joel’s “Sleeping With the Television On,” bring a more playful approach to the topic, while others, like America’s “Sandman,” are contemplative and meditative. Together, they offer a complete picture of what sleep means within rock music, all while leaving room for the unique interpretations these artists have brought to the table.
This is rock’s exploration of sleep—through all its light and dark moments—and a testament to how even the quietest part of our lives can be filled with sound.
# 10 – Talking In Your Sleep – The Romantics
The Romantics’ “Talking in Your Sleep” is a quintessential ’80s track that combines rock with synth-driven new wave elements, making it one of the band’s most recognizable hits. Released in September 1983 as part of their In Heat album, this song represents a pivotal moment in the band’s career. With its infectious rhythm, the song reached No. 3 on the Billboard Hot 100 in early 1984 and topped the Dance/Disco Top 80 chart, cementing its place in rock and pop culture history. The combination of catchy hooks, relatable lyrics, and the synth-heavy sound that characterized much of ’80s rock made “Talking in Your Sleep” a chart-topping success. The Romantics embraced their signature power pop sound, but with this track, they also ventured into new sonic territory.
Recorded during the height of their career, “Talking in Your Sleep” was produced by Peter Solley and featured the signature lineup of Wally Palmar on lead vocals and guitar, Mike Skill on bass, Rich Cole on guitar, and Jimmy Marinos on drums. The production aimed to blend the band’s garage rock roots with more polished, radio-friendly pop rock, which is evident in the song’s vibrant, layered sound. The instrumentation is driven by a steady beat, with swirling synths creating an almost hypnotic backdrop for Palmar’s sultry vocals. The song’s lyrics explore the concept of vulnerability during sleep, where a lover’s hidden emotions and desires are inadvertently revealed in their sleep-talking, adding an intimate, almost voyeuristic layer to the narrative. This connection between love and mystery is woven throughout the track, emphasizing the theme of trust and subconscious revelations.
Musically, “Talking in Your Sleep” blends the rock energy of The Romantics with the polished production style of ’80s new wave bands like The Cars. It’s easy to draw comparisons between the rhythmic drive of this track and earlier dance-inflected rock songs, but what sets this song apart is the subtle use of synthesizers and its sultry vocal delivery. The music video, featuring the band performing amidst women dressed in sleepwear, played a significant role in the song’s success, especially with the growing influence of MTV. The video further emphasized the nocturnal, dream-like atmosphere of the song, creating a visual narrative that echoed the lyrics.
With its chart success and enduring appeal, “Talking in Your Sleep” remains a staple of ’80s rock, capturing the era’s obsession with synthesizers, love, and danceable rock.
Read More: Top 10 Songs From The Romantics
# 9 – Wake Up Little Susie – The Everly Brothers
“Wake Up Little Susie” by The Everly Brothers is a 1957 classic that not only became a major hit but also stirred controversy with its seemingly innocent yet suggestive lyrics. Written by the prolific songwriting duo Felice and Boudleaux Bryant, the song tells the story of a teenage couple who fall asleep at the drive-in and find themselves in a dilemma when they wake up past curfew. The playful tone of the song is heightened by the worry of how they will explain their late return to their parents and friends. The song’s simple yet catchy refrain, “Wake up, little Susie,” emphasizes the urgency and youthful panic in the storyline.
Recorded in 1957 and released by Cadence Records, “Wake Up Little Susie” became a smash hit, reaching No. 1 on the Billboard Pop chart and spending seven weeks at the top of the Billboard Country chart. Despite—or perhaps because of—the minor scandal surrounding its lyrics, which were banned in Boston for being suggestive, the song resonated with listeners across the United States. Its upbeat tempo, tight harmonies, and relatable theme of teenage angst struck a chord with the youth of the era. The Everly Brothers’ seamless blend of rockabilly, country, and pop created a timeless sound that continues to be appreciated decades later.
Critically, the song has earned a place in rock and roll history, ranking at No. 318 on Rolling Stone magazine’s list of “The 500 Greatest Songs of All Time.” The harmonies between Don and Phil Everly, which became the duo’s signature sound, shine on this track, combining country twang with a pop sensibility. The recording, produced by Archie Bleyer at Cadence Records, exemplifies the energy and innocence of 1950s rock and roll. The song’s inclusion in the Grammy Hall of Fame in 2017 further solidifies its legacy as one of the greats.
Lyrically, the song captures the anxious humor of young love, with lines like, “What are we gonna tell your mama? / What are we gonna tell your pa?” showcasing the lighthearted trouble the couple finds themselves in. While the song is often categorized as rockabilly, it also shares stylistic similarities with early rock and roll, akin to the work of Buddy Holly and Chuck Berry, making “Wake Up Little Susie” a quintessential example of 1950s rock.
Read More: Top 10 Everly Brothers Songs Decade By Decade
# 8 – Sleeping With The Television On – Billy Joel
“Sleeping With The Television On” is a lesser-known gem from Billy Joel’s highly successful Glass Houses album, released on March 12, 1980. While the album is widely remembered for its chart-topping singles like “It’s Still Rock and Roll to Me,” this track stands out as a thoughtful exploration of loneliness and modern relationships, encapsulating a restless, late-night feeling of isolation. Glass Houses was recorded at A&R Recording Studios in New York City, produced by Billy Joel’s longtime collaborator Phil Ramone. The album showcased Joel’s shift toward a more rock-oriented sound, heavily inspired by the new wave and punk movements of the time.
Musically, “Sleeping With The Television On” carries an upbeat, power-pop vibe that contrasts with its melancholic lyrics. Joel weaves a narrative about unspoken desires and missed connections. The song’s protagonist watches Diane—an emotionally distant woman who hides behind her defenses—waiting for someone “good” to come along but ultimately settling for superficial encounters. Joel’s clever use of the television as a metaphor for emotional disconnection adds a layer of depth to the lyrics, suggesting that both characters are seeking solace in distractions rather than confronting their deeper feelings. The song features Joel’s energetic piano playing alongside David Brown on guitar, Doug Stegmeyer on bass, and Liberty DeVitto on drums, adding to the dynamic rock feel of the track.
Lyrically, the song taps into a recurring theme of Glass Houses: vulnerability beneath a tough exterior. Joel’s lines like, “Your eyes are saying talk to me, but your attitude is ‘don’t waste my time,’” convey the disconnect between internal desires and outward behaviors, a sentiment echoed throughout the album. The track resonates with other songs on the record, especially the more introspective ones like “Don’t Ask Me Why,” in which Joel balances emotional complexity with infectious melodies. The vivid imagery of “sleeping with the television on” speaks to a larger sense of numbness and loneliness, echoing themes of isolation found in songs by contemporaries like Bruce Springsteen and Jackson Browne during the same period.
Despite its lack of commercial release as a single, “Sleeping With The Television On” remains a fan favorite due to its relatable themes and catchy melody. Joel’s vocal delivery, combined with the tight instrumentation, brings a sense of immediacy to the track, making it an essential listen for those who appreciate deeper cuts from the Glass Houses era.
Read More: Our 10 Favorite Covers Of Billy Joel Songs
# 7 – Sleep’s Dark and Silent Gate – Jackson Browne
“Sleep’s Dark and Silent Gate” is a hauntingly reflective song from Jackson Browne’s 1976 album The Pretender, a record that marked a pivotal moment in Browne’s career both artistically and personally. Recorded in the aftermath of the tragic death of his wife, Phyllis Major, the song captures a profound sense of loss, regret, and contemplation. Produced by Jon Landau and recorded at Sunset Sound in Los Angeles, The Pretender blends Browne’s poignant, introspective songwriting with lush, yet subtle arrangements, and “Sleep’s Dark and Silent Gate” is a key example of his ability to transform personal grief into a universal meditation on life and love.
Musically, “Sleep’s Dark and Silent Gate” features Browne’s signature soft-rock sound, with piano and guitar providing a mournful backdrop to his plaintive vocals. The gentle instrumentation mirrors the themes of the lyrics—nighttime, sleep, and the passage of time—evoking a kind of peaceful resignation, yet tinged with sorrow. Musicians on the track include David Lindley on guitar, who adds subtle flourishes to Browne’s melancholy melody, and Russell Kunkel on drums, whose restrained playing complements the reflective tone of the song. It was recorded during sessions that saw Browne pushing through personal heartache, yet his artistry remained focused, crafting a timeless sound that resonated with fans and critics alike.
The lyrics of “Sleep’s Dark and Silent Gate” express a deep weariness, as Browne contemplates lost love and missed opportunities. Lines like, “I found my love too late” and “Running around day after day, looking for the time to play” speak to a life spent chasing fleeting moments of happiness while those closest to him drifted away. The metaphor of “Sleep’s dark and silent gate” serves as a poetic representation of both the literal escape of sleep and a more existential longing for peace. In this way, the song shares thematic similarities with other entries in the list, such as Billy Joel’s “Sleeping with the Television On,” where the television serves as a distraction from emotional pain, and The Everly Brothers’ “Wake Up Little Susie,” in which sleep leads to unintended consequences.
Browne’s ability to blend personal tragedy with universal themes of love, loss, and introspection gives “Sleep’s Dark and Silent Gate” a timeless quality. The song’s vulnerability and quiet power make it a standout on The Pretender and a moving example of rock’s ability to explore deep emotional landscapes. For those who appreciate introspective tracks like The Romantics’ “Talking in Your Sleep,” this song delves even further into the human psyche, offering a raw, honest meditation on the fragility of life and the quiet darkness of sleep.
Read More: Jackson Browne’s Best Song From Each Of His Studio Albums
# 6 – I’ll Sleep When I’m Dead – Warren Zevon
“I’ll Sleep When I’m Dead” by Warren Zevon perfectly encapsulates the late singer-songwriter’s dark sense of humor, wit, and rebellious spirit. We had first hesitated at including this song because of course Warren has passed away. But we thought in his honor it would make more sense to include it because that’s something that he would have enjoyed. Featured on his 1976 self-titled album Warren Zevon, this song is a brilliant reflection of Zevon’s cynical yet joyful approach to life, tackling the theme of living on the edge, pushing through exhaustion, and refusing to slow down—at least not until the inevitable end. Released on Asylum Records and produced by Jackson Browne, the album featured a host of well-known musicians, including members of the Eagles and Fleetwood Mac. This lineup elevated Zevon’s sardonic yet melodic songwriting, helping him break through in the rock music scene of the late ’70s.
Musically, the track is driven by an infectious rhythm and Zevon’s trademark mix of rock, folk, and blues. With lyrics like “So much to do, there’s plenty on the farm / I’ll sleep when I’m dead,” the song’s humor is clear, but it also serves as a testament to a life lived in the fast lane. Zevon’s gruff voice pairs perfectly with his darkly comedic words, delivering a performance that feels both reckless and reflective. The tongue-in-cheek nature of the lyrics—like “Saturday night I like to raise a little harm”—mirrors the ethos of many rock songs that glorify a wild lifestyle, but Zevon’s unique blend of cynicism and charm sets it apart. His ability to walk the line between satire and genuine emotion is what makes this song resonate so deeply.
The theme of defying exhaustion and embracing a relentless pace connects “I’ll Sleep When I’m Dead” to other rock anthems that celebrate living in the moment, despite the consequences. In comparison, songs like Billy Joel’s “Sleeping With The Television On” explore sleeplessness as a form of escapism, while Zevon’s track revels in the thrill of overindulgence and living to the extreme. Though the song may take on a bittersweet tone in light of Zevon’s eventual battle with terminal illness, it remains a fitting tribute to his fearless and unflinchingly honest approach to life. Zevon, always the humorist, lived by the creed that he would indeed “sleep when [he’s] dead,” and the song stands as one of his signature declarations of his larger-than-life attitude.
Read More: Complete List Of Warren Zevon Albums And Discography
# 5 – Sandman – America
“Sandman” by America, featured on their 1972 debut America, is a haunting, atmospheric track that has become a fan favorite despite not being released as an official single. Written by Dewey Bunnell, the song delves into themes of sleeplessness, anxiety, and the elusive nature of peace, all encapsulated through the metaphor of the Sandman. This track, along with the smash hit “A Horse with No Name,” helped catapult the album to No. 1 on the Billboard 200, where it stayed for five weeks. The album itself was certified platinum, cementing America’s place in the early ’70s folk-rock scene.
The song’s lyrics reference an ongoing sense of unrest and paranoia, particularly evident in the lines “I understand you’ve been running from the man that goes by the name of the Sandman.” Bunnell has revealed that the song was partially inspired by conversations with Vietnam veterans, who often spoke of their inability to sleep due to the trauma of the war. The Sandman, traditionally a figure that brings sleep, takes on a darker role in this song, as the veterans in Bunnell’s lyrics appear to be running from him rather than embracing the rest he offers. This perspective gives the song a deeper emotional resonance, especially within the context of its release during the aftermath of the Vietnam War.
Musically, “Sandman” embodies America’s signature blend of acoustic guitar work, rich harmonies, and a breezy yet melancholic melody. The song’s acoustic layers and reflective tone evoke similarities to contemporaries like Crosby, Stills & Nash and Neil Young, artists who also balanced folk storytelling with poignant commentary on the social and political climates of the time. The arrangement features tight harmonies between Bunnell, Gerry Beckley, and Dan Peek, creating a lush soundscape that has become synonymous with America’s early works.
Although it never charted as a single, “Sandman” has earned a lasting place in the band’s live performances and continues to resonate with fans, showcasing how America was able to blend introspective lyrics with engaging, melodic instrumentation. It’s a perfect representation of how songs about sleep can explore complex emotions and societal issues beneath the surface, making it an essential track in any discussion of rock songs on the theme of sleep.
Read More: America’s Best Song On Each Of Their Studio Albums
# 4 – Sleeping Angel – Stevie Nicks
“Sleeping Angel” by Stevie Nicks, featured on the soundtrack for Fast Times at Ridgemont High, is a captivating song that blends Nicks’ ethereal voice with introspective and emotional lyrics. Released in 1982, this song accompanies a film known for its candid depiction of high school life in the early 1980s. Directed by Amy Heckerling and based on a book by Cameron Crowe, Fast Times at Ridgemont High has become a cultural touchstone, showcasing teenage angst, love, and coming-of-age experiences. Nicks’ contribution to the soundtrack provides a perfect emotional backdrop to the film’s more tender and reflective moments.
“Sleeping Angel” was recorded at Studio 55 in Los Angeles during a prolific time in Nicks’ career, when she was working on both solo projects and contributing to Fleetwood Mac. The song features Stevie Nicks on vocals, accompanied by delicate, dreamlike instrumentation that underscores the emotional weight of her lyrics. The song was produced by Jimmy Iovine, a frequent collaborator of Nicks, who brought out the raw vulnerability in her performance. The gentle yet haunting piano melodies, paired with Nicks’ signature rasp, give “Sleeping Angel” an otherworldly feel, making it one of the more understated yet emotionally resonant tracks in her catalog.
Lyrically, “Sleeping Angel” addresses themes of trust, love, and vulnerability. Nicks explores the complexity of relationships through lines like “Real love affairs are heavy spells for a woman and a man,” highlighting the intense emotional pull that love can have. She compares love to a “soft silver chain,” emphasizing both its beauty and its potential to bind. The song captures the delicate balance between dependence and freedom, much like other Stevie Nicks songs, such as “Landslide” or “Storms,” where she reflects on the passage of time and personal growth.
Critically, “Sleeping Angel” did not receive the same level of attention as some of her other solo work, but it has remained a fan favorite. The song stands out for its intimacy and poetic depth, fitting seamlessly into the emotional tone of the Fast Times at Ridgemont High soundtrack. It serves as a reminder of Nicks’ ability to tap into universal emotions through her unique storytelling and vivid imagery, making it a timeless piece in both her discography and the larger landscape of rock music.
Read More: Stevie Nicks’ Best Song On Each Of Her Albums
# 3 – A Pillow Of Winds – Pink Floyd
“A Pillow of Winds” by Pink Floyd, from their 1971 album Meddle, stands as one of the band’s most serene and introspective tracks. This acoustic love song offers a contrast to the more experimental and often darker sounds that Pink Floyd is typically known for, showcasing a softer side to the band. The song is anchored by David Gilmour’s beautifully intricate guitar work, which is played using an open E tuning, creating a delicate, flowing sound that matches the dreamy quality of the lyrics. Gilmour’s slide guitar and Roger Waters’ fretless bass add subtle layers to this pastoral track, enveloping the listener in a tranquil atmosphere.
Lyrically, “A Pillow of Winds” is meditative, using nature-based imagery to explore themes of love, sleep, and comfort. The song opens with the line, “A cloud of eiderdown draws around me,” immediately setting a tone of softness and warmth. As the song progresses, it drifts between themes of the changing seasons, nighttime rituals, and the dreamlike state of early morning. The line “Now wakes the owl, now sleeps the swan” encapsulates the stillness of nighttime, while the concluding line, “And I rise like a bird in the haze when the first rays touch the sky,” hints at a peaceful awakening. This imagery, paired with the gentle, almost hypnotic music, creates a lullaby-like quality that evokes the quiet intimacy of lying next to a loved one, on the cusp of sleep.
The song’s structure, moving between major and minor keys, further enhances the dreamlike mood. The shift to a darker E minor in the middle of the track, coinciding with the lyric “And the candle dies,” adds a brief moment of melancholy, but the return to E major restores the soothing tone. Pink Floyd’s ability to navigate between light and dark, peace and unease, is on full display here. While the song is quite different from the more progressive or space-rock elements that would define other works like The Dark Side of the Moon or Wish You Were Here, its beauty lies in its simplicity and the tender emotions it conveys.
Recorded during the Meddle sessions at AIR Studios and EMI Studios in London, “A Pillow of Winds” was produced by Pink Floyd and engineered by John Leckie. The album itself marked a transition for Pink Floyd, as they were moving away from the psychedelia of their early albums and developing the more expansive and conceptual sound they would become known for. Though “A Pillow of Winds” wasn’t a commercial hit, it remains a deep cut cherished by fans for its emotional depth and tranquil beauty, making it a fitting inclusion in any discussion of rock songs centered around sleep.
Read More: Top 25 Pink Floyd Songs
# 2 – Behind the Wall of Sleep – The Smithereens
“Behind the Wall of Sleep” by The Smithereens is a quintessential track from their 1986 debut album Especially for You. This song captures the band’s signature blend of alternative rock, power pop, and catchy melodies. Written by lead singer Pat DiNizio, the lyrics are inspired by a real-life crush he developed on Kim Ernst, the bassist of the Boston-based band The Bristols, after a show. The song’s vivid imagery, like “She had hair like Jeannie Shrimpton, back in 1965” and “She stood just like Bill Wyman,” offers a nostalgic snapshot of 1960s pop culture while blending the personal and the fantastical. DiNizio crafted the lyrics on a cocktail napkin during a hungover flight from Boston to New York, and the song’s melody came to him in the same moment, which he kept humming to himself to ensure he wouldn’t forget it.
The track quickly became a fan favorite, blending a driving rhythm with jangly guitars and DiNizio’s longing vocals. Musically, the song’s upbeat tempo contrasts with the more melancholic undertones of the lyrics, which center around unrequited love and daydreaming. The central theme of being captivated by someone you can’t have, expressed in the recurring line, “Now I lie in bed and think of her, sometimes I even weep / Then I dream of her, behind the wall of sleep,” resonates with listeners who have experienced the bittersweet pangs of infatuation. The Smithereens were masters at creating catchy hooks layered with emotion, and this song is a perfect example of that balance.
“Behind the Wall of Sleep” saw success, reaching number 23 on the US Mainstream Rock Charts and number eight on the UK Indie Charts. The band’s ability to blend alternative rock with pop sensibilities garnered them a loyal following in the underground rock scene of the 1980s, and this song remains one of their standout tracks. Its raw, guitar-driven sound, combined with its introspective lyrics, draws comparisons to bands like R.E.M. and The Replacements, who similarly merged jangly guitars with emotional depth. The Smithereens’ knack for storytelling, nostalgia, and heartache is on full display here, making “Behind the Wall of Sleep” a perfect inclusion in any list of classic rock songs about sleep.
Read More: Top 10 Smithereens Songs
# 1 – Tie – I’m Only Sleeping / Golden Slumbers The Beatles
To wrap up our list of the 10 Best Rock Songs About Sleep, we couldn’t settle on just one Beatles song to close it out, so it’s a tie between “I’m Only Sleeping” and “Golden Slumbers.” Each track offers a different perspective on sleep, from the dreamy, laid-back vibe of “I’m Only Sleeping” to the tender, hopeful lullaby of “Golden Slumbers.” Both songs are beloved classics in the Beatles catalog, and their distinctive sounds, themes, and moods make it impossible to choose between them.
“I’m Only Sleeping”
“I’m Only Sleeping” is a track from Revolver, released in 1966, during a period when the Beatles were experimenting heavily with studio techniques and psychedelic sounds. Written primarily by John Lennon, the song captures his desire to escape the pressures of fame and find peace in the sanctuary of sleep. The song was recorded at Abbey Road Studios between April 27 and May 6, 1966, with production by George Martin.
Musically, “I’m Only Sleeping” stands out with its backward guitar solos, a technique that was groundbreaking at the time. George Harrison’s reversed guitar parts give the song a hazy, dream-like quality, matching the lyrics’ themes of drifting between consciousness and sleep. Paul McCartney’s bassline and Ringo Starr’s subtle drumming contribute to the laid-back, almost lethargic groove of the song. Lennon’s lazy, almost slurred vocals underscore the feeling of relaxation and a longing for sleep, with lines like “When I’m in the middle of a dream / Stay in bed, float upstream” perfectly encapsulating the desire to remain in a state of rest. The track reached No. 1 in several countries, solidifying its place as one of the band’s most iconic songs from the Revolver album, which itself is often regarded as one of the greatest albums in rock history.
“Golden Slumbers”
“Golden Slumbers” is another Beatles song focused on sleep, though its tone is vastly different from “I’m Only Sleeping.” Released on the iconic Abbey Road album in 1969, “Golden Slumbers” was written by Paul McCartney and serves as the first part of the medley that closes the album. It’s based on a poem from Thomas Dekker’s Patient Grissel (1603), which McCartney found in his step-sister’s piano book. Since McCartney couldn’t read the music notation, he composed a new melody and turned the poem into a lullaby. The track was recorded at Abbey Road Studios in July and August 1969, with George Martin once again handling production duties.
While the lyrics are minimal, they are deeply emotional: “Golden slumbers fill your eyes / Smiles await you when you rise.” McCartney’s powerful vocal delivery and the orchestration arranged by George Martin create a sweeping, cinematic effect that adds to the song’s grandeur. The track leads directly into “Carry That Weight” in the famous Abbey Road medley, and its place in Beatles history is significant as it was one of their final recordings together. The song evokes a sense of nostalgia, as it hints at both the end of an era for the band and the closing of their musical journey. The orchestral arrangement, alongside McCartney’s expressive piano playing, offers a contrast to the more psychedelic, dreamy sound of “I’m Only Sleeping.”
Conclusion
Although vastly different in style and mood, “I’m Only Sleeping” and “Golden Slumbers” both demonstrate The Beatles’ ability to convey deep emotional and thematic content within the framework of sleep. While “I’m Only Sleeping” embraces the detachment and blissful laziness associated with escaping into sleep, “Golden Slumbers” serves as a bittersweet lullaby, offering comfort and hope. Both songs also showcase The Beatles’ exceptional production techniques—whether through backward guitar solos or lush orchestral arrangements. Together, these two tracks represent different aspects of sleep: one as a refuge from reality, and the other as a tender, almost parental farewell into slumber.
Read More: Complete List Of Beatles Band Members
10 Best Rock Songs About Good News article published on Classic RockHistory.com© 2024
A favorite of mine to crank up the volume, and get lost in the music and lyrics – “Chimes” by the J. Geils Band;
Eerie and menacing organ opening solo from Seth Justman, and Peter Wolf’s sinewy vocals and solitude lyrics, climaxing to a full blown epic.
(Version from “Blow Your Face Out”)